Friday, January 31, 2014

Paypal executive leaves for mobile payments startup Clinkle

A Clinkle promo image shows off a few screens from the app.

(Credit: Clinkle)

Clinkle has hired away an executive from digital payments giant PayPal, the startup announced Tuesday.

The fledging mobile payments company, which has yet to officially reveal how its product works, has hired Mike Liberatore, a vice president at PayPal heading up enterprise and North American financials, to be Clinkle's chief financial officer. He's leaving PayPal after nearly five years. Prior to his time at PayPal, he worked at the payments service's parent company eBay for four years.

Clinkle's new Chief Financial Officer Mike Liberatore.

(Credit: Clinkle)

"Clinkle is different in that our sole focus is to create a mobile wallet for day-to-day transactions," Liberatore said in a statement. "We're putting all of our energy into perfecting the moment when two people transact."

He said he decided leave PayPal, which has aggressively revamped its mobile products in the last year, for Clinkle, because he wanted to join a startup.

Clinkle has been in flux recently. Although it quickly grew to about 70 employees in September, the company is now at around 50, after it did some "restructuring" in December.

But Clinkle is holding steadfast to its hype. The company seems to have attracted the attention -- and the money -- of Silicon Valley's biggest names, including PayPal co-founder Peter Thiel and Virgin Group CEO Richard Branson. The company previously hired a number of Netflix alumni to round out its executive team, including former Netflix Chief Financial Officer Barry McCarthy, who is now Clinkle's chief operating officer.

Clinkle has taken great care to hide details of its product, but with plans to launch at colleges this year, the general public may finally find out what it's been building. When asked if Clinkle can live up to all the buzz it's generated, Liberatore responded:

"Big opportunities with great investors lead to great expectations -- that's a given. My job is to help us be successful in managing our growth in the event that the product lives up to the hype. We'll do everything we can to capitalize on the opportunity we're chasing, and ultimately, our users will decide our fate."

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Thursday, January 30, 2014

'Downton Abbey' fan makes Lego tribute

A dedicated fan paid tribute with Legos to the Crawley clan and their servants, as well as their impressive home, from the popular British TV drama, "Downton Abbey."

A dedicated fan pays tribute with Legos to Crawley clan members and their servants, as well as their impressive home, from the popular British TV drama, "Downton Abbey."

(Credit: Eric Stevens )

As a present for his girlfriend, New Yorker Eric Stevens has built a Lego replica of the stately home and characters from the hit British period drama, "Downton Abbey."

The Crawley clan of the Earl and Countess of Grantham, Dowager Countess of Grantham, Lady Mary, Lady Edith, Lady Sybil, as well as the servants Carson the butler, Thomas the First Footman, Bates the valet, and Branson the chauffeur are all represented in custom-Lego form.

"I'd just gotten back into Lego through 'Star Wars,' and randomly wondered if anyone built 'Downton Abbey,' because people have done Lego everything else you can imagine," Stevens told WXXI News. "So I just started doing it."

The DIY display took Stevens 10 hours to design and 4 hours in total to build from the 1,600 pieces. "It probably took me longer to find all the parts than to put it together," Stevens said. The replica cost $250 in materials.

How many characters from "Downton Abbey" can you identify from their mini fig counterparts?

How many characters from "Downton Abbey" can you identify from their mini fig counterparts?

(Credit: Eric Stevens )

Using aerial shots of Highclere Castle, where the show is filmed, Stevens was able to make a digital design of the Downton Abbey home.

While some of the mini figures of the male characters were easy to customize, the female members of the cast proved challenging. "Edith, and any of the women -- they really haven't made any dresses from that era out of any official Lego parts," Stevens explained to WXXI News. "They go medieval or modern, but nothing in between."

Stevens submitted his "Downton Abbey" tribute to the Lego Cuusoo Project, where fans submit and vote on ideas to be considered as future Lego products. Fans can vote on Stevens' Lego Architecture Highclere Castle ("Downton Abbey") design here.

(Via Daily Mail)

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Wednesday, January 29, 2014

Finally, someone wants to ease the pain of booking a hotel

An example of two recommendations for two different travelers for the same city on the same day.

(Credit: Traxo)

It's time for a confession.

I used to have an assistant called Brandy. I drove her nuts, so much so that she went into comedy.

You see, when she had to book my flights, she'd have to remember I'd only fly in Boeings and Airbuses (please, don't ask). And when she had to book my hotels, she had to remember to find out if they had windows that opened.

After awhile, we came to understand each other. She understood that I was mentally impaired. I understood that she understood.

Now, perhaps in a fit of seeing "Her" too many times, there's an online personal travel manager that says it's Brandy.

Traxo believes, you see, that it knows where you want to stay before you do. Or, rather, instead of you searching Kayak and Orbitz and all those other fine, intensely time-consuming sites for just what you need, Brandy Traxo will do it for you.

You might wonder how it can do this. Well, it's the Traxo Factor. Which, one hopes, is more enjoyable than "The X Factor."

The Traxo Factor -- of course it's an exclusive and patent-pending and highly intelligent -- requires that you give Brandy Traxo the keys to all your travel loyalty accounts and booking records. Then she quickly cogitates.

More Technically Incorrect

Every time you are ready to travel somewhere, Brandy Traxo goes into action. She scours the Web, with your personality in her heart and perhaps a whiskey in her hand, to offer you the 10 very best, most personal hotel recommendations she can find.

You might sigh and say: "Yes, but I still have to find out whether these places have availability."

Ah, but you don't know Brandy Traxo. She's already done all that for you (how a dram of Johnny Walker can ease the online assistant's sinews).

Naturally, Traxo, which claims to be the world's most powerful personal travel manager, says it understands you because it tries harder.

It isn't so interested in what your friends like or recommend. Your friends aren't your friends because of the hotels they stay in. They're your friends because they know what you did 15 years ago at a yoga retreat in Maine.

Brandy Traxo observes. She's more interested in your quirks, your weirdnesses and your predilection for hotels that are as far away from a Starbucks as possible.

She looks for your patterns. She senses when your trip is business, personal or both.

Oh, this thing may well be good, but it'll never be as good as Brandy. It'll never be as funny.

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Tuesday, January 28, 2014

Sony Xperia Z1 Compact

The Sony Xperia Z1 Compact packs the same blisteringly powerful quad-core processor, 4G LTE connectivity and 20-megapixel camera as Sony's top-end Xperia Z1. It has a 4.3-inch display, rather than the palm-stretching 5 inches of its brother, making it the most technologically advanced small Android phone you can get.

While the iPhone 5S provides great performance in a compact size, if you want a top-end phone running Android, you'll need to pocket a phone pushing 5 inches or more. We've seen miniature flagships before from the likes of Samsung and HTC. While the Galaxy S4 Mini and HTC One Mini both bear the names of their elitist brethren, however, both models actually come with considerably watered down specs that won't keep hardcore tech fans happy. The Z1 Compact provides cutting-edge tech without forcing you to have a phone so big you can camp under it.

The Sony Xperia Z1 Compact is due to go on sale in the UK and wider Europe in the middle of February for £449, SIM-free from Sony's online store or free on contracts starting at £29 per month from Phones 4U. Sony so far has no plans to bring it to the US.

Design and build quality

Size aside, the Z1 Compact is almost identical to its bigger brother. It has the same all-glass front and back, with the one-piece aluminium band running around the edge. The same chunky power button pokes out of the side and there's a dedicated camera shutter button below.

It's a gorgeous, sleek design that feels every bit as luxurious as it looks when you pick it up. The metal band curves gently at the edges to meet the screen and there's no unpleasant creaking or flexing when you squeeze it. All in all, it feels like an extremely well put together piece of kit. One thing to bear in mind though; with glass panels on the front and back, the Z1 Compact is susceptible to scratches and scuffs. If you want it to stay looking its best, try not to carry it in the same pocket as your keys.

The Compact is available in a host of bright colors, including hot pink and a rather vibrant lime green. They might not be to everyone's tastes, but they certainly stand out from the crowd. If colors aren't your thing, you can pick it up in white or black instead.

Like the Z1, the Compact is waterproof to a depth of one metre for up to 30 minutes. Not only can you drop it in the bath or spill a drink on it without worrying, you can dive into the chilly sea and happily snap away at the jellyfish. The camera shutter button means you don't need to tap on the display to take a photo -- which won't be able to register your finger underwater. The charging port and SIM slot are covered with rubberised flaps, but thankfully the headphone jack has been made waterproof, so you don't need to undo a flap every time you want to plug your headphones in.

The Z1 Compact has slimmer bezels than the standard Z1, which helps maximise screen size, without bulging out the phone's body. The Compact is a full 17mm shorter than the regular Z1 and 9mm narrower. Those might not seem like huge numbers, but the size difference is immediately noticeable when you hold the two phones together. I found the Compact much easier to hold in one hand and it shouldn't embarrassingly bulge out of your jeans pocket.

It comes with 16GB of internal storage as standard, but you can find a microSD card slot under a waterproof flap, allowing you to expand the space to fit all your music and photos.

Display

The Compact packs a 720p display, which is a step down from the Full HD of its brother. Don't let that fool you into thinking it's not a great screen though, because it really is. For one, the smaller screen size means it doesn't need as many pixels to remain sharp. Indeed, it has a pixel density of 340 pixels per inch, which is a step above the 326ppi of the iPhone 5 -- and you'd have to be in a pretty foul mood to call that low resolution.

Side by side, I couldn't really tell much difference in sharpness and clarity against the Compact and the Full HD Z1 for everyday tasks. Icon edges are extremely crisp and small text on Web pages was easily readable. You don't have the same screen real estate of course, so if you mostly want your phone for watching high definition video then the 5-inch Z1 would probably still be a better option. Rest assured though that the Compact's display is more than good enough to do justice to Netflix movies.

The Compact's screen is very bright, countering most of the glare from our office lights. I can say with certainty that it's easy to read in the rain-soaked streets of London, although I sadly can't say how it will fare under the bright California sun. Its IPS display technology helps its deliver bold colours -- without looking over-saturated -- and it has great viewing angles too.

Software and processor

The Compact runs the last but one version of Android, known as 4.3 Jelly Bean. At the time of writing, Sony wasn't able to give a firm word on when the Compact, or indeed the full-sized Z1 would see an update to 4.4 KitKat. It's a little disappointing not to see the latest software on board a new top-end phone, but 4.3 is at least recent enough for it to be acceptable.

The software looks identical to the interface on the Z1. You can have up to seven home-screens to pop apps and widgets on, with four customisable app icons along the bottom for quick access. The app menu can be arranged into alphabetical order, a custom order or your most used apps, making it easy to find the tool you want when you have half the Android store installed on your phone. Sony uses its own image and video galleries which I'm not keen on as the folder system is much more awkward to use than the stock Android version. The rest of the interface is simple enough though and won't challenge existing Android users.

Unlike other miniaturised versions of top end phones, the Z1 Compact comes with the same supercharged processor as its larger sibling, rather than a weaker, cheaper chip. It's a 2.2GHz quad-core Qualcomm Snapdragon 800 processor, backed up by 2GB of RAM, that delivers a massive serving of power.

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Monday, January 27, 2014

Apple has the Mac to thank for its next generation of devices

When Apple introduced the Mac 30 years ago, it was already a successful computer company with the Apple II, a product that would continue to be successful for years after the launch of Apple's new darling. If it had taken the approach Microsoft had with Windows 1.0, and later Windows 8 and Surface, it would have grafted a graphical interface onto the Apple II -- something that actually eventually happened toward the line's decline with the Apple IIGS -- and perhaps provided a more limited number of expansion slots.

Instead, the Mac was almost a complete break from Apple's first hit. It had an integrated monitor, eschewed color, said farewell to its ProDOS interface, and seemed to offer a keyboard only reluctantly, omitting cursor keys to push people toward the mouse.

As the company has pointed out at its product introductions over the years, its stubborn commitment to match tailored user interface experiences to devices has been shown in the iPod's click-wheel and the iPhone's multitouch display. Indeed, unlike Microsoft, which is pushing hard to conflate laptops and tablets, Apple sees its user interfaces as a defining difference between them.

The Mac's journey is far from over. When the company introduced its Mavericks operating system, it noted that it wanted a naming scheme that could serve for the next 10 years of OS X. That said, when Apple began the tablet explosion with the iPad, and even at iOS' debut in the iPhone, we saw more of the Mac in Apple's touch devices than we did of the Apple II in the Mac. These characteristics include:

Icons and the dock Unlike the Mac, which departed completely from the Apple II's user interface, the iPad has some strong similarities to the Mac. While there's no desktop, windows, or menus, the iPad features icons and a dock. Apple has even brought the iPad's Launchpad interface and full-screen apps to the Mac, though veteran users mostly ignore at least the former.

A closed box Like the first Mac, the iPad was designed to be minimalist and unobtrusive. One of the great debates in Mac history was about how open the Mac should be toward expansion. Jean Louis Gassée, former head of Macintosh development, argued that the Mac should be open to expansion and advocated for the powerful Macintosh II line of PCs. (His license plate read OPENMAC.) With Steve Jobs' return, though, the Mac again reverted to a closed box limited to external expansion, a journey that has culminated in the now small, but mighty, Mac Pro. Similarly, the iPad has minimal expansion and, unlike other tablets, lacks onboard support for USB, HDMI, and microSD cards. And Apple still has a proclivity for its own connectors -- Apple Desktop Bus on early Macs and Lightning on the iPad.

Single-tasking With the arrival of iOS 7, Apple added full multitasking to the iPad and iPhone. But the first iPad, like the first Mac, had limited multitasking. Curiously, one of the reasons for justifying such a limitation in iOS' early days -- power consumption -- had little relevance for Apple's famous beige box.

Over the next few years, tablets are likely to displace clamshells further as the go-to device for many casual computing tasks, particularly those that Jobs emphasized at the iPad's introduction -- e-mail, Web, video, and books. Samsung even recently introduced a 12-inch Galaxy Tab Pro, and rumors are that Apple may break the 10-inch barrier as well. This will enable tablets to further encroach on the turf of the Mac and traditional PCs. But regardless of the Mac's trajectory, its tradition of breaking with convention and focusing on new user experiences -- even if it means giving up competitive features -- has carried through to Apple's next generation of devices. Deep within, the iPad has the soul of an old machine.

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Sunday, January 26, 2014

Battle of the (broad)bands: Online music's Grammy picks

The Grammys are awarded Sunday starting at 5 p.m. PT. Can online music services' data predict the winners?

(Credit: Getty Images)

The debate over man versus machine has existed as long as machines have. So how well does raw data hold up for something as human as musical expression?

Online music services, which use data to figure out what you like, would say: very well, thanks. And for the Grammy Awards, the Recording Academy's yearly Employees of the Year ceremony, they're putting their data to the test.

Spotify, the on-demand streaming music service, applied the number of streams for each nominee to come up with its list.

"We are truly data driven," said Steve Savoca, Spotify's head of content. "That's just raw data. We're not manipulating...it's really just reflecting the interests of our users."

Shazam, the app that will recognize what song you're hearing simply by listening to it, based their predictions on the number of times users pulled out their phones to help them up to figure out the details of a song.

Director of Music Will Mills called it one of the clearest signs of intent out there. Its data held up last year: The New York Times dubbed the service the most successful crowd-sourced digital predictor of the awards, as it correctly identified three of the four winners of the top categories.

"We've got the heavyweight belt," Mills said, joking.

iHeartRadio, an online radio service owned by terrestrial radio giant Clear Channel, decided not to go the route of play volume, but rather custom-station creation. It's when a listener creates a station based on artist name, which Chris Williams, senior vice president of programming, said helps clarify intent from influences like radio play or marketing. "That was a good measure of passion," he said.

Slacker, an online radio service that focuses on the marriage of data and old-school programming, examined its internal Engagement Quotient to determine how deeply fans engage with a given track, which looks at seven positive and negative factors like how often the song is hearted, banned, skipped and shared. While EQ data is certainly useful in representing the tastes of a very large group of music fans, "anticipating what the panel of Grammy voters will do falls less to what music fans en masse like and more to anticipating what the panel will do based on historical precedent," said Mat Bates, senior program director.

"The songs that have the highest engagement and consensus don't always win out at the Grammys. That's how Justin Bieber didn't win Best New Artist," he said.

In most of the big four categories, Slacker's head (data) and heart (editorial expertise) were in sync, except for Album of the Year. In that round, CNET offers up two Slacker picks, one by machine and another by man -- in this case, Bates himself, predicting with the consideration of historical importance too.

Beats Music sells its heavy human-touch approach as giving it an edge -- unlike all its online competitors, it claims -- in picking your music because it's a "service, not a server." The new subscription service didn't make specific predictions in general categories, but its global head of editorial and programming, Scott Plagenhoef, did post some meandering thoughts about the general-category awards on the company's blog. We'll adopt those picks, so to speak, here too.

CNET compiled the various services' predictions in the top four categories of award: Record of the Year (awarded for a single's performers and producers), Album of the Year, Song of the Year, (awarded for a single's songwriters), and Best New Artist. And the nominees are...

Record of the Year
Beats Music: Lorde - "Royals"
iHeartRadio: Imagine Dragons - "Radioactive," followed closely by Robin Thicke's "Blurred Lines"
Shazam: Robin Thicke - "Blurred Lines"
Slacker: Lorde - "Royals"
Spotify: Imagine Dragons - "Radioactive"

Album of the Year
iHeartRadio: Macklemore & Ryan Lewis - "The Heist"
Shazam: Macklemore & Ryan Lewis - "The Heist"
Slacker (machine): Macklemore & Ryan Lewis - "The Heist"
Slacker (man): Kendrick Lamar- "Good Kid, M.A.A.D City"
Spotify: Macklemore & Ryan Lews - "The Heist"

Song of the Year
Beats Music: Lorde - "Royals" or Macklemore & Ryan Lewis - "Same Love"
iHeart Radio: Katy Perry - "Roar," which was neck-and-neck with "Locked Out of Heaven" by Bruno Mars
Shazam - Pink - "Just Give Me a Reason"
Slacker: Lorde - "Royals"
Spotify: Pink - "Just Give Me a Reason"

Best New Artist
Beats Music: Kacey Musgraves or Ed Sheeran
iHeartRadio: Kendrick Lamar
Shazam: Macklemore & Ryan Lewis
Slacker: Macklemore & Ryan Lewis
Spotify: Macklemore & Ryan Lewis

So which one, if any, has the data or insight to call them? CNET will update after the awards to suss out which service was perfectly in tune with the Grammys.

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Saturday, January 25, 2014

How the 'Netflix of books' won over the publishing industry (Q&A)

Oyster offers more than 100,000 books in an all-you-can-eat subscription model.

(Credit: Oyster)

The world in which people have to rent movies one at a time from a video store, or buy individual songs from iTunes has come and gone. These days, Netflix, Spotify, Rdio, and other services are making it easier and easier for people to subscribe to all-you-can-eat plans.

As slow and painful as it has been to get the media giants on board, they've come around. But not in every industry. Take the book publishing industry, for example, which has been even slower than its counterparts to move into a subscription system.

Still, even the book publishers are now finally coming around. Over the last few months, a number of services have launched that offer monthly subscription plans, and access to tens upon tens of thousands of books in return for a monthly fee. Even better, they are on board with making those titles available across multiple devices (essentially any running Apple's iOS 7), finally seeing that there's a way to make money, even while providing customers with the access they actually want.

Oyster CEO Eric Stromberg.

(Credit: Oyster)

Among the first to offer this type of system for books is Oyster, a New York-based startup founded by Eric Stromberg and two co-founders. For $10 a month, the service offers unlimited access to more than 100,000 titles, books that can be read across a number of devices, and at the reader's pleasure.

This is no fly-by-night operation. Already, it has signed up big-name publishers like HarperCollins, Houghton Mifflin Harcourt, and others. And those companies are, in turn, providing some of their biggest titles. That's why Oyster has been called the "Netflix for books."

CNET recently caught up with Stromberg, both by e-mail and by phone, and asked him about Oyster's origins, its goals, and how it will conquer the world of putting books in readers' hands. The following is a lightly edited transcript.

Q: Where did the idea for Oyster come from?
Eric Stromberg: Growing up, I was a big reader. I grew up in a household where I'd come home from school everyday, and my dad would ask what I was reading, both in school and for enjoyment. Like a lot of people, I was focusing mainly on required reading, but after college I fell back in love with reading for enjoyment. So in 2012, the idea for this came along in a late-night conversation with Chris Dixon, one of my mentors, and I was really excited to combine my passion for books with what I'd worked on for most of my career in technology.

Also, I was inspired by other forms of all-access models, like Spotify, and Netflix, and how they really fundamentally changed people's consumption habits, where you pay once and never have to think about it again. So that inspired me, and my two other co-founders.

How hard was it to get the publishers on board?This is an old industry that's slow to change.
Stromberg: Even in the little over a year since we launched the company, the world has changed. Publishers' reactions are changing as they're seeing the enthusiasm from the reading community around this. But in the really early days, it was about trying to identify who believed in this model, that it was fundamentally a better experience and that it was going to happen over time. We worked with those early adopters first and then moved our way on that spectrum of early adopters to later adopters, and certainly we're still doing that. But the fundamental benefit for publishers is that by creating this fundamentally better reading experience, we can grow the pie for the industry. That means getting people to read more books, bringing in new audiences, and if we're able to do that, it's ultimately a win for us as a company.

Clearly, there's a big win here for readers, but what is the bottom-line benefit for publishers?
Stromberg: We've worked hard to create a sustainable business model that provides value to our readers, alongside attractive economics for publishers and authors. We work directly with publishers and aggregators, and although every deal is different, we pay publishers each time a book is read, and the amount is based on the digital list price of the book.

How do authors benefit?
Stromberg: We work directly with publishers, who in turn pay their authors.

Have there been publishers that wouldn't participate? What was their rationale?
Stromberg: We're extremely pleased with the roster of publisher partners we have so far, from prestigious independents to self-publishing aggregators, and everything in between.

For readers who have to spend more than $10 for each e-book, $9.95 a month seems like a no-brainer. What are the biggest challenges to large-scale adoption?
Stromberg: We're just 4 months old, and we've seen everything from power readers who might read five to ten books a month all the way to people who read only a couple books a year. If you think about over the past year how many books you read -- let's say it's six for somebody. That's one number. There's the number of books you heard about and maybe want to read, and that might be 50, whether it's on Twitter, or a friend shared a link with you, or during dinner conversation about a book. What we're trying to do is close that gap between the books you heard about and the books you actually read. Our model is about lowering the barriers to trying out a new book, and so maybe we can bring you up to reading 15 books a year. Long term, that's our goal: create a platform that inspires you to read more books, and be valuable for all types of readers, from casual to more avid readers.

But what is the actual challenge to breaking through to those obvious customers?
Stromberg: The challenge is to get people to engage with the platform and start reading a book. For us, that means getting someone to read a book in their first month, or in their first couple of weeks. We find that if you do that, you see the value of Oyster. Maybe you see what your friends are reading, and then on the back side of that you start reading another book. But it's really getting people into that first experience.

There are others offering this service (Scribd, for example). What does Oyster offer that sets you apart?
Stromberg: We've put tremendous thought into the design and functionality of Oyster, and our customers have really responded to the positive user experience.

We're confident we have the best library out there right now. We were first to market with a Big 5 publisher -- HarperCollins -- when we launched in September. And our catalog includes titles from hundreds of publishers, including Houghton Mifflin Harcourt, Melville House, Rodale, Smashwords, Perseus, and more. Our publishing partners continue to send us new titles for Oyster on a regular basis.

Also, we built Oyster in the heart of the publishing world, New York. Being there has enabled us to build robust industry relationships. Our geographic proximity to our publishing partners also allows us to work hand-in-hand and face-to-face with them. There is no doubt to us that this is essential to building a product that works for our customers but also our partners and content creators.

What does the emergence of services like yours and your competitors say about the direction the book publishing industry is going in?
Stromberg: Our readers have been very enthusiastic about our product's mobile-centered design. Since they always have their phones on hand, we can provide them with access to books anytime, anywhere.

There's a famous stat about Netflix where almost every single title is viewed by someone somewhere on a regular basis. Is there a similar long tail with books?
Stromberg: For every book that someone reads on Oyster, they download and start four more books. This is a strong indication that people are browsing and discovering new books on Oyster just like they would in a local bookstore or library.

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Friday, January 24, 2014

Tim Cook talks Apple secrecy on Mac's 30th anniversary

Apple CEO Tim Cook

Apple CEO Tim Cook

(Credit: Sarah Tew/CNET)

Apple's Tim Cook admits that Apple is a secretive company, so secretive that he can't spill the beans on very much, at least not to a curious ABC News reporter.

Cook recently sat down for an interview with ABC's David Muir for a segment that airs Friday on "World News with Diane Sawyer" at 9:30 p.m. PT. A brief except of that interview popped up this morning on ABC's "Good Morning America." Along with Cook in the excerpt were Senior VP of Software Engineering Craig Federighi and VP of Software Technology Bud Tribble.

In response to Muir's question about Apple's famed secrecy, Cook acknowledged that secrecy is part of the culture and excitement at Apple based on his belief that "people love surprises."

Digging further into Apple's cloak and dagger measures, Muir said that there are stories of black drapes over products in development.

"Yes, there are black drapes and numerous locked doors and many other things," Cook said.

"And employees who can't even tell their families at home what they're working on?" Muir asked

That's also true, according to Cook. "My wife has no idea," Federighi chimed in with a grin.

Muir said that viewers told him he had to find out what the next big thing is, hoping for a hint at Apple's next major product. But to no surprise, Cook deflected the question by laughing and telling Muir that "your badge probably wouldn't work in those rooms."

Finally, Muir touched on the new Mac Pro manufactured in a factory in Austin, Texas, asking Cook how big a deal it is to make computers in America.

"It's a big deal, but we think we can do more," Cook says. "We also announced a huge investment in Arizona. We haven't said what it's for."

"Sapphire glass?" Muir asked.

"It's the sapphire announcement, and that's all I'll say about it," Cook responded.

"When does that glass come off the line," Muir asked? "Is it for a bigger iPhone? An iWatch?"

Cook jokingly sidestepped that question by saying it's for a ring.

One topic not aired in the excerpt but covered in the full interview is Cook's take on the controversial NSA surveillance. Muir teased that Cook said it "might put the American people at rest if he were able to talk."

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Thursday, January 23, 2014

Steve Jobs' perfect pitch: The Macintosh launch

Steve Jobs introducing the 1984 commercial on October 22, 1983 at the Apple sales conference in Honolulu.

(Credit: Apple video)

Guest post: Jean Louis Gassée, the former president of the Apple Products Division, shares his remembrance of the October 1983 sales conference in Hawaii where Steve Jobs made his call to arms against IBM.

Lights go down in the cavernous auditorium and conversations die off. After a minute of silence, a post-apocalyptic video begins to play on the enormous screen. Through an oppressive gray haze, we see rows of forced-labor prisoners, an unquestioning audience to Big Brother's soporific sermon. One exception: Pursued by police in riot gear, a female athlete in red shorts runs in, rotates for momentum and launches a sledge hammer that breaks the screen and, with it, the spell. The video ends with a promise:

On January 24th, 1984 Apple Computer will introduce Macintosh.

And you'll see why 1984 won't be like "1984."

The lights come up as a Macintosh slowly descends from above the stage, a gift from the gods. Halfway through its descent, the Mac powers up and emits the unforgettable startup bong.

When Steve Jobs appears on stage, the reaction is, as intended, a quasi-religious frenzy.

Steve doesn't disappoint and launches into a speech that moves from the video's promise to a veritable call to arms against Big Brother/Big Blue, against the mighty IBM.

This was more than 30 years ago, the October 1983 Apple Sales Conference in Honolulu.

We know the story only too well. In 1981, IBM introduces a 16-bit clone of the Apple II, down to game controller and tape cassette interfaces.

Jobs puts on a brave face -- and treats the facts in his usual way:

Apple welcomed IBM to the PC market in August 1981 with an advertisement following the debut of IBM's first personal computer, the IBM PC.

(Credit: Apple)

Big Blue does better than shrug off Jobs' high-handed gesture. For its first Personal Computer, the starchy computer giant shows surprising cultural agility. First, it establishes authority by calling its new machine The Personal Computer, and gives it a human face by making Charlie Chaplin the central character of its ads. (At the time, I felt that IBM was "stealing our song.")

IBM quickly improves its product. By 1983, the PC has evolved into the PC XT featuring a hard disk and, more important, Mitch Kapor's Lotus 1-2-3 integrated suite, a "killer app" in more ways than one.

An early prototype of the Finder from spring 1982, created by Macintosh developers Andy Hertzeld and Bruce Horn. The image of a floppy disk, over which the files were represented as draggable tabs.

(Credit: Folklore.org)

Apple has no reply. Despite an improved logic board, the Apple III continues to suffer from widespread reliability problems. Lisa, introduced in January 1983, is a truly modern computer inspired by work at Xerox PARC, but it proves to be too slow, too buggy, and too expensive to make a difference. (The Lisa would ultimately provide an invaluable service by bequeathing its desktop user interface to the Macintosh. In a prototype version of the Mac desktop -- the skeuomorphic "Flounder" -- rounded rectangular splotches that represent files are thrown around a picture of a black floppy disk that fills the screen. Jobs sees the light and adopts the Lisa desktop UI.)

At the end of a difficult 1983, Apple is on its heels. The Cupertino company is losing the hardware/software credibility fight with IBM. We're ready for Jobs' messianic message.

The day after the screening of the 1984 commercial (which would air in public only once before a massive audience, during the 1984 Super Bowl), we're treated to a mock Dating Game featuring Bill Gates, Mitch Kapor, and Fred Gibbons of Software Publishing fame, an event that was captured on video. Seeing these three software giants commit to Macintosh finished the job the commercial started. Watch the video and listen to the reactions, especially when Gates says half of Microsoft software revenue in 1984 will come from the Mac.

(I have a soft spot for Gibbons, the co-creator of the "PFS:" business software that ran on the Apple II and Apple III. I used PFS: a lot for file management and VisiCalc graphics integration demos. Just as important, PFS: software helped me produce the daily detailed sales reports I wanted -- something the centralized IT of Apple Europe was unable to do. In half an hour, I cobbled a PFS: Report template that allowed everyone in the organization to receive a "stimulating" view of everyone's performance.)

We have the Macintosh, a friendly, magical personal computer. The Mac comes with beautiful programs, MacWrite, MacPaint, and MacDraw. And three software giants, including the creator of the feared Lotus 1-2-3, are now behind it.

We file out of the Honolulu auditorium, satisfied and invigorated. 1983 is definitely behind us.

What could go wrong? Well, it turned out that on January 24, 1984, the Macintosh was a shot heard round the world that would forever change the personal computer. But Jobs' quest to save the world from Big Brother Big Blue, which turned into the Microsoft hegemony, would take a few more decades.

Jean-Louis Gassée started Apple France in 1981, moved to Cupertino, California in 1985 and became president of the Apple Products Division, covering worldwide product development, manufacturing and product marketing. In late 1990, he founded Be, Inc., a multimedia system software company, took it to the Nasdaq in 1999 and sold it to Palm in 2001. He has served as a director of publicly traded companies such as Cray Computer Corporation, 3Com and Logitech. He currently sits on the Board of Directors' of Electronics for Imaging and was until late 2005 Chairman of PalmSource. He has been a general partner at the venture capital firm Allegis Capital since 2003.

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Wednesday, January 22, 2014

Expedia stock drops as site falls in Google's search results

SearchMetrics showed this drop in Expedia's score of relevance in search results.

SearchMetrics showed this drop in Expedia's score of relevance in search results. (Click to enlarge.)

(Credit: screenshot by Stephen Shankland/CNET)

Investors fretting about Expedia's prospects sent its stock down 4 percent Tuesday after Google lowered the travel site's ranking in its search results.

Google draws attention these days for projects like self-driving cars, smartphone operating systems, and super-fast broadband, but its search business still has tremendous power over what happens on the Internet. Expedia's stock initially dropped much more, but recovered some of its losses to close at $67.67, a $3.02 drop.

The damage was caused by a precipitous decline in Expedia's rank in search results on Google. Companies can bid for search ads that show when people search for terms like "cheap flights Miami," but they can also get a lot of business by unpaid "organic" search results.

SearchMetrics showed the Expedia plunge in its measurements of search engine visibility, and Patrick Altoft, director of search at Branded3, spotlighted it on Twitter on Monday.

The search engine optimization (SEO) industry has grown up around trying to help clients rank highly in searches, but Google often penalizes SEO techniques it considers to be gaming its system. That punishment typically takes the form of an algorithm adjustment that detects what Google considers to be a particular type of shenanigan and then it demotes the sites that use that technique.

What exactly got Expedia in trouble? Neither it nor Google would comment, but evidence of Expedia-related SEO transgressions emerged in December in a blog post by a SEO firm, Nenad -- specifically, the use of paid links.

Google assesses the importance of a particular Web page in part based on which other Web pages publish links to it. Paying a publisher to include links to the Web page long has been a no-no in Google's rules, but Nenad spotlighted blog posts where terms like "car rental," "United Airlines," and "guaranteed best price on airfare" pointed to relevant parts of Expedia's site.

It's not clear who, if anybody, was responsible for the paid links; the SEO industry is ripe with many contractors, and plenty of their work is above board.

Google long has maintained that publishing good content is the best way to get Web sites to rank high in its results:

The best way to get other sites to create high-quality, relevant links to yours is to create unique, relevant content that can naturally gain popularity in the Internet community. Creating good content pays off: Links are usually editorial votes given by choice, and the more useful content you have, the greater the chances someone else will find that content valuable to their readers and link to it.

Via Search Engine Land

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Tuesday, January 21, 2014

Tracing the origins of the Macintosh

Precursors to the Macintosh: Xerox Alto and the Xerox Star. The Alto was the first relatively small computer to include a mouse, removable storage, networking, a graphical user interface and WYSIWYG printing.

(Credit: Computer History Museum)

This article is part of a CNET special report covering the beginnings of the Macintosh and its impact over the last three decades.

In 1979, Apple was working on a successor to the Apple II called the Lisa. But the product team hadn't yet settled on implementing a graphical user interface. The Macintosh at that point was a research project with four people, and wasn't even on Steve Jobs' radar. It was a visit by Jobs to Xerox's Palo Alto Research Center late in 1979 that set Apple on a new course that would revolutionize personal computing.

During a couple of visits to Xerox PARC, Jobs and a few other Apple employees got to see the Xerox's Alto computer in action. This was an eye-opener. The Alto computer came with with icons, windows, folders, a mouse, pop-up menus, WYSIWYG (What You See Is What You Get) text editor, Ethernet-based local networking, and network-based printing and games. The concept of "cut, copy and paste," was also part of the demonstration as well as the Smalltalk programming environment.

Steve Jobs and other Apple people were inspired by seeing Smalltalk running on Xerox Alto in late 1979. Smalltalk had an object-oriented programming model, with overlapping windows and other features that came to define the graphical user interface.

(Credit: Computer History Museum)

"Steve was very excited and was pacing around the room, and occasionally looking at the screen," said former Xerox PARC and Apple computer scientist Larry Tesler. He recalled Jobs' reaction as he led them on the product tour. "You are sitting on a goldmine. Why aren't you doing something with this technology...you could change this world.' It was clear to him that Xerox was never going to do the kind of revolution things he was envisioning." (Tesler was so impressed by Jobs that he went to work at Apple the following year to manage the Lisa applications team.)

The myriad technologies on display constituted a revelation for Jobs, who later told biographer Walter Isaacson that "it was like a veil being lifted from my eyes. I could see what the future of computing was destined to be."

At this stage the nascent Macintosh project was headed by Jef Raskin, who came up with the product name as well as the idea to create a low-cost personal computer. He would later hire Bill Atkinson, Bud Tribble, Joanna Hoffman, Burrell Smith and other key members of the Macintosh team. By January 1981, after being relieved of oversight for the Lisa, Jobs took over the Macintosh project. The rest is history.

"The idea that you would take a significant amount of computing resource to make the user interface easier to use probably would not have become a popular idea, at least in the 1980s, if it weren't for the Mac," Tesler said in an interview with CNET.

Larry Tesler talking about the origins of the Macintosh in 1985 and the future of computing technology. At that time he predicted that information in corporate databases could be downloaded into personal computers, people could have routine work done by machines, and agents in machines would represent users in transactions.

(Credit: Computer Chronicles )

The Macintosh gets credit for popularizing the graphical user interface, but Apple and Jobs have been accused of stealing the core ideas underlying the Macintosh from Xerox PARC.

Bill Atkinson, who wrote MacPaint, the Quickdraw graphics routines and came up with the pull-down menu implementation, was among the handful of Apple employees who accompanied Jobs to Xerox PARC. 

"We saw the Bravo text editor and Smalltalk. I think that's all we saw running. A lot of people will think, 'Oh, Apple went to Xerox PARC and just stole everything they saw.' It's not true. We over many courses of evolution evolved a user interface. I think what we got mostly from Xerox PARC was an inspiration and a determination. Yes, we're going to do it graphically. We already had a graphic bitmap. We already had overlapping windows, but we weren't totally committed to that."

MacWrite was shipped with the 128K Macintosh, and redefined the concept of a word processor in a mass market computer.

(Credit: Apple)

"In terms of the user interface, there were a lot of things that were developed for the Mac. Some of them came from the Lisa. A couple of them even came from Xerox PARC. But most of them really originated on the Mac, that are still around today," Tesler said. "The ones that even hark back to the '70s at PARC, are cut, copy, paste, undo, and the idea of overlapping windows. There really wasn't much use of icons. Xerox was aware of icons. We had a few icons in some of our applications, but it wasn't thought of as a fundamental thing until the Xerox Star, which came out during the development of the Lisa. Even then, the icons were limited in their application. They were used primarily for folder icons and document icons, and not much else. The Mac was the place that really had icons blossom. There were scroll bars already on some of the Xerox products, but they didn't work exactly the same way as on the Mac. The Mac simplified the scroll bars."

The Macintosh also introduced dragging icons from one place to another on the screen and refined WYSIWYG.

Apple's Lisa computer shipped in 1983, cost nearly $10,000 and didn't sell well. The 128K Macintosh, at $2,495, came into the possession of more than 70,000 buyers in its first three months.

(Credit: Apple)

Bruce Horn, who wrote some of the core Macintosh system software, worked at Xerox PARC as a teenager and through college. He was responsible for the Finder, the Macintosh file manager with icons and folders that persists to this day. In an article on Folklore.org, a site about the early history of the Macintosh, Horn wrote:

"Drag-and-drop file manipulation came from the Mac group, along with many other unique concepts: resources and dual-fork files for storing layout and international information apart from code; definition procedures; drag-and-drop system extension and configuration; types and creators for files; direct manipulation editing of document, disk, and application names; redundant typed data for the clipboard; multiple views of the file system; desk accessories; and control panels, among others. The Lisa group invented some fundamental concepts as well: pull down menus, the imaging and windowing models based on QuickDraw, the clipboard, and cleanly internationalizable software.

One of the lasting legacies of the Macintosh was the constraints it placed on software developers, requiring uniformity of the interface from application to application. "A lot of application developers resented it," Tesler said. "They didn't want Apple telling them what the user interface should be. They thought they could do better, and maybe they could have done better, but it was very important to Apple that if you learn one application you basically had done most of the learning to learn them all."

That tradition lives on in the nearly one billion apps for Apple's iPhone. And so does the tradition of taking the best ideas, wherever they originate, and running with them. Apple didn't invent the touch-screen tablet or cell phone but it created devices that redefined the categories.

As Jobs once said, "Picasso had a saying -- good artists copy, great artists steal -- and we have always been shameless about stealing great ideas." Of course, that didn't stop Xerox from unsuccessfully suing Apple for unlawful use of its copyrights or Apple suing Microsoft over similarities of Windows to the Macintosh and Lisa. More recently Jobs declared war against Google's Android mobile operating system, resulting in a flurry of suits against Samsung Samsung and others who dared to copy ideas expressed in its products.

Good and great artists are always copying, or stealing, from each other.

In a 1995 interview with the Smithsonian, Jobs talked about the origins of the artistry that went into creating the Macintosh. It's about unleashing creative people who see what others can't see:

I think the artistry is in having an insight into what one sees around them. Generally putting things together in a way no one else has before and finding a way to express that to other people who don't have that insight so they can get some of the advantage of that insight that makes them feel a certain way or allows them to do a certain thing. I think that a lot of the folks on the Macintosh team were capable of doing that and did exactly that. If you study these people a little bit more what you'll find is that in this particular time, in the 70's and the 80's, the best people in computers would have normally been poets and writers and musicians. Almost all of them were musicians. A lot of them were poets on the side. They went into computers because it was so compelling. It was fresh and new. It was a new medium of expression for their creative talents. The feelings and the passion that people put into it were completely indistinguishable from a poet or a painter. Many of the people were introspective, inward people who expressed how they felt about other people or the rest of humanity in general into their work, work that other people would use. People put a lot of love into these products, and a lot of expression of their appreciation came to these things. It's hard to explain.

What Apple's artists, who impressively copy or steal and also invent, have consistently been able to do is create products that others want to copy or steal. As long as that holds true, the company will continue to be a brand that commands respect and attracts loyal users.

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Monday, January 20, 2014

Get a 4,000mAh mobile charger for $16.99 shipped

This slim black slab offers 4,000mAh of mobile power for your devices.

This slim black slab offers 4,000mAh of mobile power for your devices.

(Credit: Accessory Power)

Quick housekeeping note: After much deliberation, I will no longer be spotlighting deals from 1Sale (formerly 1SaleADay). I've heard from too many readers who've had too many unhappy experiences with the company. Although a lot of daily-deal sites are slow to ship products (2-3 weeks is the norm for some), this one seems to have a particularly terrible track record in terms of delivery time and customer-service responsiveness. The last thing I want to do is create grief for Cheapskate readers, so until I see evidence that the company has made improvements, I won't be sharing their deals.

On to business. Traveling these days means packing along tablets, e-readers, smartphones, and other mobile devices. Of course, these things require power, which is why a travel charger is also essential gear.

At this year's CES I must have seen several hundred of them, though with not much to distinguish one from another. Ideally, you want a charger with a decent-size battery, a slim, lightweight design, and a low price.

Asked and answered: For a limited time, and while supplies last, Accessory Genie has the ReVive Restore 4,000mAh external battery pack for $16.99 shipped when you apply coupon code SAVE4000 at checkout. Regular price: $29.99.

With a weight of just 4.5 ounces and dimensions of 5 x 2.5 x 0.5 inches, this is a pretty travel-friendly customer for having a such a beefy battery. I especially like the black, monolithic design, which is accented by four blue LEDs that light up when you press the Test button to see how much power remains.

Like most travel chargers, this one recharges via Micro-USB -- you supply the car/boat/laptop USB port or wall adapter. (I actually find it kind of criminal that most chargers come without an AC adapter, but c'est la vie, I guess.) On the plus side, it comes with a way-better-than-average three-year warranty.

As for what it can actually power, that's pretty much anything you plug into its 1A (one-amp) USB port. Although that's not ideal for iPads and other large tablets, the ReStore will charge them -- just not fully, and not very quickly.

I haven't tried this power pack myself, but over at Amazon, some 25 buyers rated it 4.3 stars out of 5 -- and that was at the $30 price point.

Needless to say, if you're looking for cheap portable power, look no further. But do act quickly, as I know for a fact that quantities are limited.

Bonus deal: I'm very excited to announce that my book, "The Cheapskate Rules: 21 Easy Money-Saving Tech Secrets," is now available for Nook! It's a concise but comprehensive guide to getting deals on all manner of tech goodies. And it's a ridiculously good deal itself at just $4.99. The Kindle version received an average rating of 4.5 stars, which makes me feel all warm and gushy like Sally Field in her infamous Oscar speech.

Deals found on The Cheapskate are subject to availability, expiration, and other terms determined by sellers.

Want to know more about The Cheapskate blog and how it works? Read our FAQ.

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Sunday, January 19, 2014

TiVo, Roku, and Sling: Catching up with modern-day TV pioneers

TiVo announced at CES that it will be supporting recordings in the cloud.

(Credit: CNET)

Time-shifting, streaming, and place-shifting have become a part of the modern television experience. All were pioneered by retail electronics products -- TiVo and the DVR in 1999, the Slingbox in 2005, and the Roku TV streamer in 2008. Over the past few years, we've seen televisions pile on and refine video features and the rise of cloud video services such as Aereo. But the three video pioneers are not just alive, they're expanding their businesses with new features and devices.

While video recording had ample precedent in the VCR, TiVo's hard drive-equipped box, with the black, antennae-equipped mascot, paved the way for emancipation from the grid. Over the years, TiVo has had its ups and downs as it has added more capacity and more tuners, and infringed on the turf of later arrivals Roku and Slingbox by streaming a host of video services and allowing access to recordings from outside the home.

At CES, the company announced a move that would take it even further outside its box heritage by supporting recordings in the cloud. However, this will first have to come through cable partners that distribute TiVo devices. The move could enable TiVo users to watch shows after they air without having the foresight to record them first.

Roku TV

At CES, Roku rolled out partnerships with TV brands including Hisense.

(Credit: Roku)

Roku, the company named for the Japanese word for six, first offered tube-like streaming audio devices. But a partnership with Netflix paved the way for it to build one of the most comprehensive lineups of on-demand broadband video sources. While a bet on Wii-like motion-controlled games with the Roku 3 didn't pan out too well, the company has grown and expanded its product portfolio despite direct competition with Apple. That's not something a lot of companies can say.

In the early days of its box, Roku didn't vie to be embedded inside TV boxes, as this meant competing against Microsoft and Google. Now, though, it sees an opportunity to bring its lineup of channels to smart TVs from companies that might otherwise be too small to negotiate deals with certain content providers. At CES, the company rolled out partnerships with two TV brands -- HiSense and TCL -- to integrate the Roku experience as their "smart TV" solution.

A star of CES at its 2005 debut, the Slingbox -- which has often come in an odd industrial design -- did the opposite of what most streaming boxes do. Rather than deliver Internet video to your television, it delivered your TV programming to the Internet so that it could be viewed on a remote laptop. Sling Media was sold long ago to the company that makes set-top boxes for Dish Network and has become integrated into the satellite provider's powerful Hopper multiroom DVR. While it once sought its own TV receiver boxes for sending video from one TV to another, it is now pursuing that functionality via Roku and Apple TV; a Chromecast option likely isn't too far behind.

At CES 2014, the company showed off a native Windows 8 client as well as integration with set-top boxes from Arris, which has integrated it with software acquired from one-time TiVo competitor Moxi. While many cable providers already have their own TV Everywhere strategies that involve streaming directly from servers in the cloud and not a local box, Arris argues that Sling functionality is complementary, since it can provide an alternative for content options for which the provider has not secured streaming rights.

All three companies have seen distribution expand beyond their initial retail box forays and their functionality grow over the years -- sometimes into the turf of one another. Still, it is surprising how closely these device companies have stayed to their initial competencies over the years. While not everyone has a TiVo, Slingbox, or Roku, the functionality at their core permeates an even greater TV experience.

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Saturday, January 18, 2014

From Croatia to CES: The story of Teddy the Guardian's unlikely Las Vegas debut

Central Hall at the International CES in Las Vegas can be a little overwhelming. Wall-sized panels looping short clips of impossibly clear footage will dazzle you into thinking that $10,000 for a new television is perhaps not such a bad investment. Up to North Hall, concept cars from all the major manufacturers will make your own wheels seem impossibly remedial, and it's impossible to get through South Hall without asking yourself why there isn't a robot cleaning your carpet and a fitness tracker charting your activity.

Meanwhile, the rest of CES, scattered across hotels and casinos all along The Strip, has traditionally been a collection of also-rans. These were places that you visited if you had time or if you were called in for a keynote presentation, because otherwise it wasn't worth wrestling with the traffic or waiting for the shuttles.

That's changing. In 2012, the Consumer Electronics Association gathered together some of the smaller companies, usually tucked away in the basement of the Sands Expo or hiding off in a nearby hotel, and created Eureka Park. Here would live the Kickstarter successes, the Indiegogo darlings, and the independent entrepreneurs with small products and big dreams. At the time, it seemed like a rebranding gimmick. Since then it has evolved into my favorite destination of the show.

Here, you not only get more interesting products, like a spherical camera you can throw in the air or a military-grade flashlight that doubles as a phone charger, you get great stories. You don't sit through a pitch about how the additional half-inch of display size on the 2014 rendition of a tablet is going to revolutionize your world. Instead, you hear the story of how the founder came up with the idea for a given product, typically told by the founder him or herself.

It's like being on Shark Tank or Dragon's Den, but nobody wants your money.

It's like being on Shark Tank or Dragon's Den, but nobody wants your money. They just want your attention and, sometimes, your feedback.

No single product nor entrepreneur at CES got more of my attention than Teddy the Guardian, and its creators, Josipa Majic and Ana Burica. As I was walking around the Eureka Park area looking for companies and products of interest, I'd seen the pair clutching stuffed bears. The bears were plain looking, the sort you'd expect would still be scattered across toy store shelves on December 24th. I took one look and kept walking, thinking it was nothing special. I spoke with a number of other overworked CES attendees who did exactly the same.

That was a mistake. Majic, thankfully, tracked me down and gave me the pitch. I went back to learn more.

Origins

Josipa Majic and Ana Burica

Majic and Burica

(Credit: Teddy the Guardian)

Teddy the Guardian may be soft, but he is inarguably a piece of hardware, a toy that can read your vital signs through a smart paw. In a hospital where Teddy's around, kids would never need to see a thermometer or blood pulse oximiter. They'd just need to hold hands with Teddy. Still, the concept of Teddy, his origin story, has its roots in software.

Majic and Burica, both 24 years old, met in Zagreb, Croatia, college classmates assigned to work together in a small group. Majic is founder and CEO, tall with unruly brunette hair and piercing eyes. Her last name is pronounced like "maiej." ("But you probably think it's pronounced 'magic.'" Does she mind Americans garbling her family name? "Nnnope, I love that.") Burica is co-founder and product manager, equally striking with long blonde hair and glasses. Both were passionate about the medical industry and, specifically, the impact that technology was having upon it. They quickly joined forces. Says Burica: "We thought 'Okay, where do we want to go?' We started with dermatology as an industry that satisfies our needs. Then we switched to parentology, to kids, to let's do something that is hardware for a change, because we felt that this is the time where hardware can definitely develop in the best way possible."

Through 2012 and 2013, the pair would deploy medical apps through Europe, India, Jordan, and elsewhere in the world. They learned about the unique demands of doctors and clinicians when it comes to app design and development. ("The more simple and uglier it looks like, the better it looks for them," says Majic.) They gained experience in the increasingly complex rules and regulations governing the medtech arena. They established relationships with clinics and hospitals around the world. But, Majic is candid about the most important thing they gained during this period: "cash flow."

The two had their eyes on solving another problem uncovered while spending time at hospitals and clinics. Majic explains: "We encountered a very specific problem at the pediatric office, which is that nurses usually take plush teddy bears to simply calm the children down, and then they trick them into giving them, for example, a thermometer." The switcheroo is not always effective, as many kids are scared and uncomfortable to begin with. And who would blame them? Hospitals are scary places at any age. The sudden presence of a cold, hard medical device can be a problem.

"The effect is not really satisfactory because the kid again gets really stressed out when he sees the medical device," said Burica. "So we thought, 'Okay, why don't we just put it all together and see how the concept works?'"

How it works

Teddy the Guardian

Burica gets her pulse read by Teddy.

(Credit: Tim Stevens/CNET)

Burica demonstrated a prototype Teddy for me, connected over Bluetooth to a Samsung Galaxy Note 3. After grabbing Teddy's paw, a simple (and, yes, ugly) UI displayed her current heart rate and oxygen saturation. All readings are associated with user profiles, making it easy to track historical data for a given patient.

Instead of clamping a cold, plastic pulse oximeter onto the patient's finger, they just need to hold Teddy's hand for a few seconds while their info is beamed back wirelessly.

The challenge of calming a child down with a stuffed toy before presenting them with a medical sensor is no longer needed. Instead of clamping a cold, plastic pulse oximeter onto the patient's finger, they just need to hold Teddy's hand for a few seconds while their info is beamed back wirelessly.

This is just the beginning for Teddy, base-level functionality, but he can do more. Hospitals and clinics can request a Teddy that connects over Wi-Fi instead of Bluetooth, or one that can also read blood pressure. ("Here the teddy bear just hugs you," explains Majic.) Teddy can also be configured to monitor the environment around the patient, cataloging things like air temperature and humidity.

It's all basic stuff, based on standard sensors already in use in many hospitals. That's not because of laziness, that's because medical regulations make it near-impossible to introduce any truly novel sensors into hospitals. "For the hospital version, it can only be the one with basically repackaged technology. ... Everything that has to go into a hospital or any kind of institution really needs regulatory approval, and that is the barrier. An option for that is to partner with manufacturers and speed it up a little bit, but it is a fact that a lot of the regulation is stopping a lot of med tech innovation."

I ask Majic the cost of a typical sensor capable of reading pulse and blood oxygenation. "Approximately $230." And the cost of a Teddy that reads the same data? "Approximately $230," she says, with a mischievous smile.

Despite these challenges, Majic and Burica have managed to make Teddy a compelling option for the sorts of institutions where he could be useful. I ask Majic the cost of a typical sensor capable of reading pulse and blood oxygenation. "Approximately $230." And the cost of a Teddy that reads the same data? "Approximately $230," she says, with a mischievous smile before explaining further: "Medical market pricing strategies are very complex. In the US, the requirement is usually to partner with a leading medical part producer. They want to have all medical technology produced and approved in the States. In order to fulfill these needs, the price needs to be high. There was a time when Teddy was only $69 and we were asked 'Why is Teddy so cheap?' The medical market is a special one."

Thanks to the lack of additional cost, and the potential to make hospital stays for young patients a little less stressful, Teddy has already garnered 2,800 sales. For Majic and Burica, that's just the beginning.

Going commercial in the US of A

FDA-approved Teddy, with his overpriced but officially certified bionic right paw, is an important part of the equation. But there's another Teddy, a smarter one with more tricks and more abilities. If all goes well, you'll be able to buy him (and his less-ugly app) before the year is through.

"For the hospital version," says Majic, "it can only be the one with basically repackaged technology. But, for the consumer version, and for the version that has a lot of interactivity options, we have our own engineers, our own designers. ... In that version of the product we like to make everything from scratch, and we use a lot of open source."

When she says interactivity, she imagines a version of Teddy that will combine the best the hospital version has to offer, but add some games and rewards to the equation. This Teddy will make kids want to stay healthy and track their own stats. While this is all rather conceptual right now, Majic and Burica envision parents buying their kids a Teddy and then configuring goals for their children.

Teddy the Guardian

A concept of the consumer Teddy the Guardian smartphone app.

(Credit: Teddy the Guardian)

If little Billy lets Teddy check his blood glucose levels after every meal, then maybe Teddy will read him a story at the end of the day. If Billy forgets, the parent might get a notification on their phone. "It becomes more of a communication platform than simply using medical data," Majic tells me.

This teddy also has a plastic heart on his chest with a red LED behind it. When Teddy's owner checks their pulse, the bear's heart beats at the same rate, an effect meant to create a bond between kid and bear.

The expected cost for this smarter, more advanced Teddy? $69 here in the US, which will be his target market. That's about what a Teddy Ruxpin cost in 1985, and all he did was play cassettes.

The expected cost for this smarter, more advanced Teddy? $69 here in the US, which will be his target market. That's about what a Teddy Ruxpin cost in 1985, and all he did was play cassettes.

To the show floor

Ana Burica

Burica in Eureka Park at CES 2014

(Credit: Tim Stevens/CNET)

Though 3,800 sales is a good start, Teddy the Guardian is hardly an operation flush with cash. This begs the question: How did they get from Zagreb to Las Vegas and onto the CES show floor? It's thanks to the 2013 Venture Out Challenge, organized by the World Bank and CRDF Global. Hundreds applied and ten were selected to pitch at the final competition in Moldova, just two months ago.

Burica says the "very extensive" application process lasted for more than a month, and that they learned a lot from a series of mentors who were part of the competition. "They made us work on our presentation, pitch, on how we present the product to different kind of product. We made the best we could, we won. As we were the only hardware startup there, we got a very satisfying award, and the CRDF Global took us to CES, which is an opportunity that we probably wouldn't have been able to take advantage of otherwise."

Majic gives me an abbreviated run-down of the challenges in Croatia: "Poor economic situation, very high youth unemployment, very poor political situation, and it's still considered socially unacceptable for younger women like ourselves to be entrepreneurs in the industry that is predominantly male."

Global awareness is the biggest opportunity. In their home of Croatia, the pair have faced a number of problems both economic and social. Majic gives me an abbreviated run-down: "Poor economic situation, very high youth unemployment, very poor political situation, and it's still considered socially unacceptable for younger women like ourselves to be entrepreneurs in the industry that is predominantly male."

Josipa Majic

Majic in Eureka Park at CES 2014

(Credit: Tim Stevens/CNET)

As Majic struggles to make lives easier for parents in the US, her own parents in Croatia have not always been particularly supportive. "My parents are really heartbroken that I never accepted any bigger financial/IP/healthcare job. We had a lot of offers when I first started. Ana's parents are engineers and are really supportive. Mine aren't...they do not get the whole startup thing. They think we are just wasting our time and money and precious youth."

Likewise, there's still a misconception among many that time spent at Eureka Park is time wasted. This year proved that to not be the case. I spoke with many entrepreneurs, some who were at Eureka Park for the first time and some who have been there in the past, and all were quite flattering. Ben Foreman, who spent much of CES 2013 riding around Eureka Park on his electric ZBoard, was very encouraged by his time there: "I think Eureka Park is great. First of all you don't have to pay the high prices involved with getting space at the main show, and secondly you don't have the follow-on costs of building and staffing a booth that has to try to steal attention away from the big boys like Samsung and Panasonic. Also in the main halls I find that people are often on a beeline to a destination, and they simply blow by the smaller booths. From what I see the attendees -- and journalists -- at Eureka Park are strolling through, taking at least a few seconds to check out every single booth on a row. As a startup thats all the opportunity you can ask for."

And for Burica and Majic, it was well worth the trip. Says Majic "I think Eureka Park is quite a hot topic here. We didn't expect that amount of interest. That is why we haven't really arranged any fancy booth or anything. It's very modest looking. If we come next year, next year, it will be a different story." Coming back next year? "We are almost sure."

Majic does the math for me, adding up travel costs for the two of them, including a long flight from Eastern Europe and a week in an expensive hotel in an over-sold town during peak season, plus the materials costs for the booth itself. She estimates roughly $15,000 for she and Burica just to show up and have something to show up to. That's not counting what the CEA normally charges for the floor space.

Josipa Majic and Ana Burica

Majic and Burica

(Credit: Tim Stevens/CNET)

Can they really afford to do this on their own dime? "At this point it would be completely unacceptable, but since we're extremely ambitious, a year from now it will be extremely affordable," Majic says, laughing. "This is the optimistic answer. Really, being as ambitious as we are, we think it will be realistic and attainable."

Burica agrees, and she thinks Teddy does, too. "This is the opportunity that we are really, really grateful because we got the chance to present Teddy in front of 2,500 other companies and potentially investors. We learned a lot, we got a lot of feedback, which is good. This is Teddy's premiere on the American market. This is the first time we brought him to the States and he definitely plans to stay here. He said he likes it."

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Friday, January 17, 2014

Oily Bits: The cylinder head and valve train

For an engine to work fresh mixture and exhaust gas has to be able to enter and exit the cylinders.

These induction and exhaust processes also need to occur at the correct moments, otherwise the engine won't run properly or even at all.

During the intake cycle the air and fuel mixture has to be drawn into the cylinder, then held there during the compression stroke. This mix then burns and expands, during the power stroke, after which the waste gas remaining needs to be pushed out of the cylinder in the exhaust stroke.

Permitting and controlling flow through the engine's cylinders is the cylinder head and valve train. Effectively the top part of the engine, the cylinder head contains intake ports, exhaust ports and precisely engineered combustion chambers that sit at the top of each cylinder.

The relevant ports connect the cylinders to the engine's intake system, which generally supplies fuel and air in a four-stroke engine, and the exhaust system which carries away spent gases. The design of the combustion chambers help control how the air and fuel fills, mixes and burns in the cylinder.

Cylinder heads tend to be made of aluminium and feature oil and coolant passages to provide lubrication and cooling. In a spark-ignition four-stroke engine spark plugs are also installed in the head, usually in the centre of the combustion chamber, to provide a spark when needed.

To allow the engine to run the intake and exhaust ports can't simply be left open however, because no compression or expansion could take place in the cylinders as they wouldn't be sealed.

So, controlling the opening and closing of the ports is the valve train. This consists primarily of valves, located in the combustion chamber and plugging the open ports, and a camshaft which typically sits in the head. The valves, held shut by springs, are opened by the action of the camshaft.

On the camshaft are lobes, which usually have egg-shaped profiles. Normally there's one lobe per valve and it either acts effectively directly on the valve, or the motion is transmitted to the valve via pushrods, rocker arms or a combination of both.

The profile of the camshaft's lobes, and the design of the pushrods and rockers if present, precisely controls the rate, height and duration of the valve opening. This means that the intake and exhaust valves open at the right point and for the right time, letting each stroke function properly.

With the valves in place and shut the engine's cylinder becomes an enclosed space, allowing for a proper compression and power stroke. As the intake stroke starts the intake valves open, allowing fresh mixture in, and vice versa for the exhaust stroke.

Driving the camshaft, which is around the same length as the cylinder head itself, is a belt or chain that's connected to the engine's crankshaft. This synchronises the action of the valve train to the pistons so that the valves open and close when needed.

Most engines today have four valves per cylinder, two intake and two exhaust, so a four-cylinder engine would have 16 valves in total. These engines tend to have two camshafts in the cylinder head, one which operates the intake valves and the other operates the exhaust valves. This type of valve train is called "twin cam", or "dual overhead cam".

Numerous other designs and layouts of valve train exist but the general principles are the same throughout. Can you name another type of valve train?

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Thursday, January 16, 2014

Google Now notifications now alive in Chrome test version

Google Now notifications have arrived in early test builds of Chrome.

Google Now notifications have arrived in early test builds of Chrome.

(Credit: screenshot by Stephen Shankland/CNET)

Google, taking a big step in its effort to make Android and Chrome equally good homes for people's digital lives, has at last built its Google Now anticipatory notification service into its browser.

Google Now cards for Chrome are active in the very rough Canary build of Chrome, which is three steps removed from the stable version the company recommends for mainstream use. Not only that, the feature must be enabled by activating the Google Now flag by entering "chrome://flags/#enable-google-now" into the address bar then restarting.

Google has been working on building Google Now into Chrome for more than a year. The unofficial Google Operating System blog spotted its arrival in Canary.

The change is modest in some ways -- users will see a new bell-icon system menu that presents some of the cards Google Now shows on Android, including weather forecasts and stock prices. But it signifies a deeper change, the transformation of the browser into a personalized interface to the ever-expanding empire of Google-delivered information.

To enable Google Now cards, first install Chrome Canary, then open the chrome://flags/#enable-google-now address. Enable the setting and click the browser restart button.

To enable Google Now cards, first install Chrome Canary, then open the chrome://flags/#enable-google-now address. Enable the setting and click the browser restart button.

(Credit: screenshot by Stephen Shankland/CNET)

"If you use Google Now on your mobile device, you can see certain Now cards on your desktop computer if you're signed into Chrome, including weather, sports scores, commute traffic, and event reminders cards," Google said in a help page post. "Google Now on Chrome shows a subset of the Now cards you see on your mobile device."

Google Now shows alerts for things that are pretty easy to predict like calendar appointments. But it also tries to figure out other notifications you might be interested in, such as nearby restaurants and tourist attractions, upcoming airline flights, and anything else you might want to know or avoid forgetting. It's all part of Google's vision to become an extension of your mind, not just a search engine, video hosting site, or e-mail provider.

Google is trying to make Web apps more competitive with native apps running on PCs and on mobile devices. Part of that necessarily entails making the browser more like an operating system, a goal shared by Firefox developer Mozilla. For Google the browser-as-an-OS idea is particularly overt in Chrome OS and in the latest version of Chrome, which adds a mini-Chrome OS look to Chrome running in Windows 8's newer interface formerly called Metro.

Of course, the Google Now integration won't work unless you're logged into Google while using Chrome.

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