Lenslok is a copy protection mechanism found in some computer games and other software on the 8bit Atari, Commodore 64, Sinclair ZX Spectrum, Sinclair QL, MSX and Amstrad CPC. The most famous game to use it was Elite for the ZX Spectrum.

The Lenslok device was essentially a row of prisms arranged vertically in a plastic holder. Before the game started, a two-letter code was displayed on the screen, but it was corrupted by being split into vertical bands which were then rearranged on screen. By viewing these bands through the Lenslok they were restored to their correct order and the code could be read and entered allowing access to the game. The device was small enough when folded flat to fit next to an audio cassette in a standard case.

In order for the Lenslok to work correctly the displayed image has to be the correct size. This meant that before each use the software needed to be calibrated to take account of the size of the display. Users found this setup particularly annoying, at least in part due to the poor instructions that were initially shipped.
Additionally, the device could not be calibrated at all for very large and very small televisions, and some games shipped with mismatched Lensloks that prevented the code from being correctly descrambled. The Lenslok system was not used in later releases of Elite.

Software that used the Lenslok system:

Elite, released by Firebird
OCP Art Studio, released by Rainbird
Fighter Pilot, released by Digital Integration
Tomahawk, released by Digital Integration
TT Racer, released by Digital Integration
Jewels of Darkness, released by Level 9 Computing
The Price of Magik, released by Level 9 Computing
ACE, released by Cascade Games Ltd
Graphic Adventure Creator, released by Incentive Software
Moon Cresta, released by Incentive Software
Supercharge, released by Digital Precision

LensLok Emulator

Lenskey
Introduction

LensKey is a Lenslok™ decoder for Windows 95 or later. It emulates the function of the plastic lens, unscrambling an on-screen pattern to reveal a 2 character security code.

The following 9 Lenslok-protected titles are supported: ACE, Art Studio, Elite, Graphic Adventure Creator, Jewels of Darkness, Mooncresta, Price of Magik, Tomahawk and TT Racer.

Usage

1)
Start LensKey, and select a software title from the drop-down list.

Each title uses a slightly different encoding method, so the correct one must be selected!

2)
Click on the main area in the Lens Viewer window to enter selection mode. This allows a pattern region to be selected for decoding.

The cursor changes to a cross-hair until a selection has been made.

3)
On the emulator window, select the right-hand half of the Lenslok pattern, as shown. Do this by holding down the left mouse button and dragging out a selection rectangle.

The left edge of the selection should be in the centre of the central line. The top of the box should be just above the character pattern, and the bottom of the box should be just below it.

4)
Follow the instructions above, and continue dragging to the right until the OK test pattern is visible in the viewer window.

With most patterns, you'll need to extend the selection area slightly beyond the right edge of the pattern.

5)
Finally, press return/space in the emulator to display the real pattern, which will be decoded in the viewer window.

Enter the code in the Spectrum emulator and you're in!

Troubleshooting

If you're using an emulator I'd recommended that you pause it while using LensKey, otherwise the frequent emulator screen updates will overwrite the selection box, making it difficult to see.

Can't see any recognisable characters in the viewer window?

Check the software title selection is correct.
Ensure the left edge of the region selection is on the central line.
Ensure you're dragging down+right, and not up+left.
Re-select the region if the target window has been moved or resized.
Ensure the emulator is not using a video overlay surface for its display.
Try pausing the emulator and/or turning off 'scanline' effects.

Download

Version 1.2, last updated 12th October 2008 [changelog]

http://simonowen.com/spectrum/lenskey/LensKey12.zip
The zipfile includes the source code and Visual Studio 6 project files.

Is All Software Overpriced?
05-27-11 - by Dario
Microsoft just pointed out that, in China, it only makes 5% of the money it makes in the US, because of piracy… though both countries have similar PC sales. That news got my attention, because I’ve been wondering for a while now if all PC/Mac software may be fundamentally overpriced.
Here’s the thinking:
Most paid computer software is so far above the impulse-buy range, that, even in countries with money, most people have to REALLY think about if they want something… meaning also that most people just don’t buy anything. (for example: do you want to pay $30 for some utility that you’ll use for 2 days, then never touch again? Probably not. You’ll likely either use BitTorrent, or do without. Similarly, how’bout paying $120 for Photoshop Elements, when you aren’t even sure if you’ll be using it a year from now? What about $700 for the FULL Photoshop (which is quite similar to Elements in features, and has a less attractive interface)? Same story. Chances are you’ll either do without, or use BitTorrent. Or find a free alternative.)
… and, when you think about this stuff, another weird question comes up: When it comes to utilities, and other non-essentials, why is it that if it isn’t free, it’s between $25-50?? (they just skip right over the range where I’d actually buy it. — Hello free apps.)
-
I first formed this opinion some years ago. At the time, I was only considering all the “rich” Americans, not even realizing yet that most places had even less money than here… like in China, where you see that people just aren’t putting out any money for software.
I think if most programs were an impulse-buy ($1-12, but especially in the lower range), and if this were a consciously known thing, several things would happen: people would mass-consume, software developers would make more money, and piracy would be a lot smaller. (I’m not entirely certain, however, how quickly cultures that are *addicted* to piracy would give it up. Perhaps a good app store would gradually wean them off, like Steam probably does with gamer pirates (to some degree)).
I’ll point out how iTunes attracts people with its easy-sounding $1 per song, and Steam attracts gamers with its crazy fire-sales (75-90% off lots of games, all the time, minus new releases). And, most of all, smartphone app stores have this powerful, almost distracting sense of accessibility that makes buying cheap software a complete joy… and an unfortunate addiction, for many.
I think the primary reason that smartphone apps exploded was just because of how much you CARED about the whole thing, due to everything being so easy to get. (Smartphone app stores are like candy stores.) When most apps are either an impulse buy or free, it makes you want to stick around, and always go see what new apps you can try out, just because you CAN.
(To be fair, there are a few other important factors, all necessary for the success of smartphone apps, but I’m just highlighting what I think is the single largest one. If most paid smartphone apps were between $10-30, all the interest would shift over to whatever’s free, and the whole experience would take a slide… That slide, I think, would also result in less free apps being made altogether (and they’d be of lesser quality). (btw, note to anyone who only downloads free smartphone apps: you’re missing out.)
-
Back to computer apps, we have a few more issues, I think:
With expensive software, people can’t be very curious at all, and get into things “just because”… nor can they afford to buy many curiosities. Now, if someone was walking by a computer section in a store, and saw a box that said you could easily rebuild your house in 3d, with really good graphics, for $5, they might just pick that up. They could have some fun. (in fact, people all over the place might pick that up…) Now, if you bumped that up to $25, most people would probably glance away after a second, just thinking, “Nah”, or they’d have to think about it really deeply.
As another example, I think a promising-looking, powerful $5 movie-editor would probably snag an incredible volume of people, worldwide; people who have been teetering on the brink of getting into editing, and needing only a tiny nudge to get going. (I’m sure there are plenty of people – like students wanting to make films over summer – who’d like to upgrade from Windows Movie Maker.) Trouble is, what most people have come to know and want are really-gotta-think-about-it priced programs like Final Cut, Sony Vegas, and Adobe Premiere (with their light versions costing $170, $50, and $85). Each of these has a “full”, pro version for $900, $530, and $700. (They seem unfairly priced for professionals/studios. In the full versions, you’re seeing maybe 20-35% feature improvement, for somewhere around 700% more cost. Sony Vegas lowers its price to $340 for students and non-profit organizations, but not non-profit individuals (like me, for instance)).
(Quick note: bear in mind that when a “pro” version of a program offers only 20-35% more features, it’s still better than it sounds. On paper, it doesn’t look like much, but, for someone who spends his life using these apps, details really matter. A genuine pro would NOT want to spend his career using a light version, and they know this… therefor, they’re really trapped into paying the extra dough, because the details add up to saving loads of time.)
If I’m right, all of this pricing stuff has negative effects on the world, which I’ll summarize here:
– It prevents the majority of computer users out there from really getting INTO software (which, quite importantly, slows down the developmental progress of the world).
– It prevents software developers from making more money, which prevents them from igniting a surge in new development. If PC software saw the boom that smartphones apps did, there’d probably be a lot more volume of stuff being made, which would increase competition. More competition means more of a drive to make apps of higher quality (which, again, speeds up the progress of our race. 85% of the world lives in a developing country (places building up – not impoverished), and they need all the help they can get in modernizing).
-
Anyway, so, that’s my little theory (which, remember, is just speculation). I’ve thought very similarly about cameras, and a few other things. (I’m wondering if the pricing of all this stuff is a matrix of monkey-see-monkey-do.)

Source :http://www.deefrag.com/
Someone who makes total sense on software.

I stumbled upon this site while searching for more C64, SID and 8bit music. http://www.lukhash.com/ is a SID/C64 retro music experience that is quite refreshing and very cool, both in terms of the music but also the site design, artwork and overall presentation. There are some fantastic tracks and entire albums for download. The music is a fusion of C64, electric guitar. Think C64 Rock and you will have some idea of the sound.

I recommend that everyone goes and has a look at this guys work. I have embedded a youtube video of some of his work to give you a taste.

[url][/url]

Mona by the Numbers
1964
Control Data Corporation, United States

In 1964, H. Philip Peterson of Control Data Corporation (CDC) used a CDC 3200 computer and a "flying-spot" scanner to create a digital representation of the Mona Lisa. The image contained 100,000 pixels that were plotted using numerals, sometimes overprinted, to approximate the required density and took 14 hours to complete.

Below is a close up of Mona's right eye. You can see the individual numbers some printed over one another to achieve the desired brightness and luminosity.


Similar digital images of popular art, cartoon characters, and even nudes adorned the walls of corporate offices, labs, and computer centers throughout the 1960s.

More info and links at : http://www.digitalmonalisa.com

It's not too often that "new" Atari 2600 games are discovered. There are many people engaged in creating new games for the system that arguably defined the entire business of video games, but the discovery of something new from the "good ole days" is quite rare. Museum curator and founder Syd Bolton found himself in a state of disbelief when fellow volunteer George Yallop delivered a "contribution" from someone he knew, who had recently visited the museum.
The envelope contained an Atari 2600 cartridge called Extra Terrestrials. Searches of the web didn't reveal any information about the game. It was at this point that Syd realized he may have found a long lost game. This was an important discovery to the muesum and the Atari community as well. The game was produced in Canada. After making some inquiries to the donator the following information was uncovered

The game was developed by Skill Screen Games and manufactured by Telcom Research Ltd. in Burlington, Ontario, Canada.


Credits:

President: Tom Banting
Producer: Peter Banting
Packaging & Artwork: J. Maitland Banting
Game Design & Programming: Herman Quast
The group was hoping to capitalize on the video game market that was booming at the time. They had hoped to get the game out for the 1983 Christmas season, but delays in the programming precluded that and the game missed the Christmas window. After it was finally finished in early 1984, Peter remembers taking the game out to retailers door to door to purchase copies of the game. They had no distributor, and in the end sold only a couple of hundred copies at most. By then, the video game market had collapsed.

http://www.youtube.com/watch?feature=player_embedded&v=mNlZ-x42QYo
http://www.youtube.com/watch?feature=player_embedded&v=mNlZ-x42QYo
http://www.youtube.com/watch?feature=player_embedded&v=mNlZ-x42QYo
http://www.youtube.com/watch?feature=player_embedded&v=mNlZ-x42QYo
More videos about the discovery : http://www.pcmuseum.ca/extraterrestrials.asp
Source : http://www.pcmuseum.ca/

The computer mouse as we know it today was invented and developed by Douglas Englebart during the 60's and was patented on November 17, 1970. While creating the mouse, Douglas was working at the Stanford Research Institute, a think tank sponsored by Stanford University, and originally referred to the mouse as a "X-Y Position Indicator for a Display System." This mouse was first used with the Xerox Alto computer system in 1973. However, because of its lack of success the first widely used mouse is credited to being the mouse found on the Apple Lisa computer. Today, the mouse is now found and used on every computer.




The original 100-minute video of this event is part of the Engelbart Collection in Special Collections of Stanford University. This original video has been edited into 35 segments and reformatted as Flash streaming video clips. There is a brief abstract of the subject matter treated in each segment. :

http://sloan.stanford.edu/MouseSite/1968Demo.html
Video stream of the : http://sloan.stanford.edu/MouseSite/1968Demo.html#complete

Pongmechanik, an electromechanical version of the early electronic tennis game Pong, has its roots in two strands of technological history. The first follows the transition from the elaborate machines of computer pioneer Konrad Zuse, which had their inner workings prominently displayed inside glass cabinets, to the black boxes of today’s computers, which generally hide their internal processes from view.
The second follows the shift from Pong’s abstract representation of sport, a generation ago, to the increasingly realistic representations seen in contemporary video games. Pongmechanik contrasts these two trajectories by marrying the earliest manifestations of those threads. A physical version of the Ur-video game, Pongmechanik’s highly visible logic circuit, constructed from telephone relays like Zuse used, responds to joystick-guided cues that maneuver a white plastic square and rectangles (the ball and rackets) across the play field.

Pongmechanik


Pongmechanik
Pongmechanik is an electromechanical conversion of the classical game Pong. And instead of more realistic graphics, it ever accurately to reproduces the original Pong. The user is hardly changed. However the game breaks open the Black box: What takes place in the computer, becomes again perceptible and comprehensible.

Pongmechanik is an absolutely physical game. The game is realized electromechanically, and essentially consists of four elements:
A relay computer, the mechanical movement with collision detection, the display and the acoustic components.




Element 1: The relay computer controls the game. It consists entirely of used telephone relays, no semiconductors such as transistors or microprocessors were used. Contrary to modern electronic components, all operatins are visible and audible with the relays.

Element 2: The movements of ball and racquet, as well as the collision detection take place in a metal chassis under the glass cover. Each moving game compoent has a mechanical counterpart, which is moved by electric motors. When these parts collide, contacts are closed and the relays in the computer switch the direction of rotation of the motors.




Element 3: The movement of the mechanical parts is transferred via strings and guide pulleys to the display. The display consists of two closely spaced glass plates. The playing field is painted on the lower plate. The ball, represented by a white plastic square, is moved between the two plates by black string. The raquets, represented by two white plastic rectangles, are moved by string on the upper glass plate. The score is shown by rotating discs visible through openings in the playing field.





Element 4: The sound is produced by two wooden sound blocks, which are struck by the core of two solenoids. The computer controls both solenoids.

Together, these four elements produce an exact copy of the classical Pong.

But there is more:

The game is brought to a physically understandable and comprehensible level. Added to the game is the fascination of a comprehensible mechanism. The classical video game inspires two players. Pongmechanik additionally pulls otherwise indifferent spectators into its spell. They have the liberty to investigate the mechanics of the game in detail.

Video Link:
http://vimeo.com/7548051
Source: http://www.cyberniklas.de/

The Million Dollar Homepage contains only a single image. That image is a giant, ugly, expensive advertisement. And that giant, ugly advertisement made some college kid in the UK one MILLION dollars.

The idea is simple: Create a 1,000,000 pixel image, and sell those pixels off for a dollar each (in blocks of 100). People are free to use those pixels to link to advertise whatever they want (online casinos and scams mostly, it seems). Every single pixel sold out, and Alex Tew of Wilshire England made a cool milli. How could he make so much off of something so dumb? Because he thought of it first

Date : November 1981

Magazine : Computer & Video Games Magazine Issue #1

Advertisement : Towering Inferno



Another advertisement unknown source :



Do not mean to be morbid, but... does this not look like a familiar picture, that was broadcast worldwide on September 11, 2001 ?

Doom as an Interface for Process Management

Dennis Chao
Computer Science Department
University of New Mexico
Albuquerque, NM 87131 USA
+1 505 277 5957
[url]dlchao@cs.unm.edu[/url]
ABSTRACT

This paper explores a novel interface to a system administration task. Instead of creating an interface de novo for the task, the author modified a popular computer game, Doom, to perform useful work. The game was chosen for its appeal to the target audience of system administrators. The implementation described is not a mature application, but it illustrates important points about user interfaces and our relationship with computers. The application relies on a computer game vernacular rather than the simulations of physical reality found in typical navigable virtual environments. Using a computer game vocabulary may broaden an application's audience by providing an intuitive environment for children and non-technical users. In addition, the application highlights the adversarial relationships that exist in a computer and suggests a new resource allocation scheme.

Keywords

Cyberspace, Doom, first-person shooter, games, metaphors, operating systems, Post-Modernism, 3D user interfaces, vernacular, video games, visualization

INTRODUCTION

Those who use computers inevitably encounter some of the metaphors that allow for easier assimilation of abstract concepts. The desktop metaphor is so pervasive that most users hardly notice it [9], but the richness of the science-fiction version of cyberspace is largely confined to research laboratories and Hollywood. The application described in this paper is an initial step towards bringing a richer environment to personal computers.

There is a large gap between how we think about performing actions on our computers and how we actually perform them. For example, people who need to manage processes on a UNIX system think about the ``daemons'' spawning children that may need to be ``killed'' or ``blown away.'' This violent language suggests a metaphor for process management: a first-person shooter game. Each process can be represented as a monster, and interacting with the monsters would affect the corresponding processes. The implementation of this metaphor and the great interest it generated reveal interesting insights about our computers and our society.

IMPLEMENTATION

The Doom process manager (PSDoom) is a modification of the game Doom [8] that displays representations of the processes running on a machine. Rather than using standard text-mode UNIX tools to view and manipulate processes, one surveys and shoots at a room full of bloodthirsty mutants, as shown in Figure 1. When a user starts PSDoom, currently running processes are instantiated as ``process monsters'' in a single room in a ``dungeon.'' These monsters have their associated process' name and id printed on them. The program periodically polls the operating system to add newly-created processes to the game. The user may choose to view the processes from a balcony above the room, as shown in Figure 2, or to enter the room to interact with them. If the user inflicts a wound upon a process monster, the corresponding process' priority is lowered to give it fewer CPU cycles. When the monster accumulates enough damage and is killed, the associated process is also killed.



PSDoom inherits the rest of its behavior from the original Doom, and play is not noticeably affected. Monsters attempt to attack the player and each other. The hostility of the monsters and the user's limited ammunition are disincentives to attack them. Conflict among process monsters could help regulate heavily-utilized systems by making crowded rooms have higher mortality rates. Killing random processes on an extremely loaded system is not an uncommon operating system strategy. When the user is ``killed,'' he or she will be healed and placed at the entrance of the dungeon with a pistol and a modest amount of ammunition.

Doom was chosen for this project for two reasons. The first is that it is a classic game, familiar to most system administrators. The second is that its source code was recently released under the GNU General Public License (GPL) [13]. This license not only allows the author to modify the source code, but it guarantees that future derivatives of the author's work will be available to the public.

RESULTS

PSDoom received a surprisingly large reaction even though it was not publicized [24,26,4,16]. Less than a week after the initial version of the code was written, the project's website was attracting tens of thousands of visitors per day. Approximately 800 responses were e-mailed to the author or http://www.slashdot.org within the first two months. Of these responses 27% praised the project, 23% offered suggestions for improving PSDoom, 10% found the project funny, 10% reported technical problems, 8% related PSDoom to science fiction or to the future of interfaces, 1% disliked the project, and 0.6% were frightened by its implications.

Users found the interface intuitive. One can quickly assess machine load by seeing how crowded a room is. The command line methods to slow down and kill processes are different, while PSDoom unifies them - shooting a monster with a small weapon slows down or ``wounds'' the corresponding process, and repeated firings or the use of a large weapon kills the process, as shown in Figure 3. The violence inflicted upon the monsters reflects the violent terminology of UNIX commands.

Figure 3: Killing a process in PSDoom.

A significant problem with the current implementation of PSDoom is that monsters are much more likely to attack each other than expected. This causes many windows to mysteriously disappear as the program runs. For the same reason, the computer is prone to crashing because certain processes are vital to the computer's operation and should not be killed.

Many users want a larger variety of monsters in PSDoom. If larger or more important processes were represented as larger monsters, it would be easier to assess the machine load at a glance. If these monsters were also more powerful, they would be less likely to be killed by accident and be more able to defend themselves against the player. Several users made similar suggestions for altering the appearance of monsters based on certain attributes. Processes that take more memory could appear wider, while those that take more CPU time can appear taller. Sleeping processes could be represented by napping monsters.

To address some of these requests, I added code to make some of the more important processes ``Barons of Hell,'' the largest monsters in the game. Unfortunately, they had a tendency to quickly kill all of the other processes, and the user could not interact with processes for more than a few seconds before his or her avatar is killed. Making the monsters less aggressive would allow the user to navigate among processes more easily as well as make the computer more stable.

DISCUSSION

The enormous interest that PSDoom generated naturally raises the question of why people find it so compelling. Perhaps even more interesting than the application itself is the set of issues that it raises.

Source:http://www.cs.unm.edu/~dlchao/flake/doom/chi/chi.html