During Terry Pratchett’s first visit to South African in 1999, the planet’s leading fantasy writer reluctantly revealed to ARTHUR GOLDSTUCK the secret to the gadgets that helped mould the technology of his Discworld. Pratchett passed away on 12 March 2015. This is the text of the original article in Gadget.
“If I didn’t use computers, would you ask me about my pens?” is Terry Pratchett’s testy response to the obvious gadget question about his writing tools.
And the answer, frankly Terry, is Yes.
Eventually, Pratchett succumbs. Perhaps it’s the Italian food we’re eating. Perhaps it’s the chemicals in the Johannesburg air. It’s certainly not the fact that this interviewer has been introduced to him as “a fan”.
He dreads being asked questions by fans who remember obscure punch lines long after he has retired them from his best-selling Discworld series of satirical fantasy novels. Or questions about his computers.
But persevere, and he begins to wax lyrical.
“If I still used a typewriter, it would be an old Imperial 58. That’s the one I had most fun with. After that I got an electric typewriter, but typing a page was so final. You felt you had control of the Imperial 58; it was purely manual.”
“When computers became available I began using a computer immediately. My first computer was a ZX-81, but I did word processing on it only for fun. The first computer I used for writing was an Amstrad 464. It was really a games machine with a tape drive built in, so my first word processor was on a cassette.”
Pratchett then “graduated” to the personal computer:
“In the last 10 years I got through six PCs, six portables and a couple of handhelds. Which is less odd than it sounds, since the real life of early machines was very short – from the XT to the AT and then pretty soon the 386, which let one use Windows with one window open. No one would expect an author of my input to use a PC bought 10 years ago.”
“I always had a policy of having two machines to work on and at the moment it is a low end and a high end Pentium. If one blows up, I want a maximum of 10 minutes before I am working on the other machine.”
Pratchett likes his computing as portable as possible, but is not wildly impressed with Windows CE. “It looks nice,” he says, “but it just doesn’t have the capacity.”
Instead, he uses a Toshiba Libretto when travelling.
“The nice thing about the Libretto is that I am writing a novel on it, I have all my other novels on it and my letters are on it, so if I need to check on something, I’ve got it there. With CE you can’t have that. And the Libretto is not much heavier than a high-end CE. I’ve also got a Palm Pilot with me. It’s fun and quite useful.”
A little more useful, indeed, than Hex, the hilarious, elaborate computer housed at the Unseen University in the Discworld series. Although Pratchett might disagree…
Pratchett’s gadget put a Hex on his work
Hex is a computer like no other the world has ever seen. Or rather, that the Discworld has ever seen. For it is the one and only computer on the bizarre world created by Terry Pratchett, Britain’s best-selling author and the world’s favourite fantasy writer.
In the Discworld series, Hex evolves under the watchful eyes of apprentice wizard Ponder Stibbons, who by default becomes what we might think of as the IT manager at the Unseen University in the city of Ankh-Morpork.
As Pratchett puts it in his Christmas send-up, Hogfather, “Hex worried Ponder Stibbons. He didn’t know how it worked, but everyone else assumed that he did.”
Sounds like most IT managers we know, doesn’t it? But this is different: Hex is activated by “initialising the GBL”, which Stibbons reluctantly admits stands for “pulling the Great Big Lever”. This releases millions of ants into a network of glass tubing, hence the sticker on Hex that reads “Anthill inside”. And it is all powered by a waterwheel covered with sheep skulls. That is, male sheep. In other words, RAM.
“Hex is a lot brighter than most computers,” says Pratchett, discussing the properties of this very insane machine in the very sane light of a Johannesburg afternoon.
In The Last Continent (his new book, set in Australia), Stibbons says that after he has been working with HEX for a long time, it is easier to talk to senior wizards, because he has to break every idea into small bits and mustn’t leave any room for ambiguity.
“It always amazes me that people who spend a great deal of time programming computers don’t spend time programming their fellow human beings.”
The inspiration for Hex, which evolves through seemingly unexplainable upgrades like extra cheese, a CWL (clothes wringer from the laundry) and “small religious pictures” (that is. “icons”), came from Pratchett’s own early experiments with unfathomable upgrades.
“I started off with a ZX-81 which I put together myself. It was very easy to add things to it. By the time I was finished with it, it had a speech card, a sound card, and eight or nine sensors: a barometer, solar sensor, temperature sensor and various light sensors.
“I invented Paged RAM; effectively, I gave ZX-81 lots and lots of memory, but it could only access a certain amount of it at one time. It was important that information was at specific memory locations and stayed there. I had lots and lots of 2kb memory chips. One program would dump all kinds of sub-routines on all these RAM chips, and the next routine would run the whole damn show.
“I no longer knew why that sub-routine was there or what it was doing there but it was vitally important that it was there. I couldn’t figure out why, except that it stopped working if I took it out.”
This Hex prototype still exists today, and would probably be a fine exhibit in a literary museum, if they could prize it from Pratchett’s grasp. But he does not share the same respect for it.
“It’s still lying in a shed. It’s a real rat’s nest, and I no longer know how I got it to work.”
Pratchett got the ZX-81 do do things that the computer industry is still trying to get right in the consumer versions of multimedia PCs and artificial intelligence. In those early days, the world “multimedia” did not even exist.
“I would get up and it would sense me when I went into the office and say good morning, tell me what the weather conditions were, and whatever the forecast for the day was. It had a wind sensor too. If you know the wind direction and what the barometer is doing today, and you have a lookup table, it’s not difficult to forecast the weather.”
“It had a lovely sound card with the sound of waves breaking. It had to do things all the time. Eventually there was too much to do, and BASIC (the computer language that founded Bill Gates’ empire) couldn’t keep up.”
He pauses, and with a practised sense of timing that would have done a stand-up comedian proud, adds: “The voice recognition system was probably a mistake.”
But it did provide inspiration for the Discworld.
“Hex is pretty much the same thing. The wizards are not quite sure why it works and not sure that everything it’s got is what they added. For instance, someone gave me a box of relays, so relays became part of the system. I’m not sure why. It was all done with a soldering iron and a box of spares and a bit of BASIC. Once I stopped using it for a while, I completely forgot how it worked.”
One can never be sure if Pratchett is being serious, but there is no denying that he has a unique view – if rather a strange one in a way that would interest the medical fraternity – of the world and the things in it.
While it is almost comforting to know that our reality helped shape his lunatic ideas, perhaps we also need to look at it from the opposite perspective: if the Discworld is inspired by the real world, we have to question the sanity of our own existence.
As the Unseen University’s Archchancellor, Mustrum Ridcully, would probably say, “Sanity? Now there’s an interesting concept. Totally impractical, of course…”
Prepare your cam to capture the Blood Moon
On 27 July 2018, South Africans can witness a total lunar eclipse, as the earth’s shadow completely covers the moon.
Also known as a blood or red moon, a total lunar eclipse is the most dramatic of all lunar eclipses and presents an exciting photographic opportunity for any aspiring photographer or would-be astronomers.
“A lunar eclipse is a rare cosmic sight. For centuries these events have inspired wonder, interest and sometimes fear amongst observers. Of course, if you are lucky to be around when one occurs, you would want to capture it all on camera,” says Dana Eitzen, Corporate and Marketing Communications Executive at Canon South Africa.
Canon ambassador and acclaimed landscape photographer David Noton has provided his top tips to keep in mind when photographing this occasion. In South Africa, the eclipse will be visible from about 19h14 on Friday, 27 July until 01h28 on the Saturday morning. The lunar eclipse will see the light from the sun blocked by the earth as it passes in front of the moon. The moon will turn red because of an effect known as Rayleigh Scattering, where bands of green and violet light become filtered through the atmosphere.
A partial eclipse will begin at 20h24 when the moon will start to turn red. The total eclipse begins at about 21h30 when the moon is completely red. The eclipse reaches its maximum at 22h21 when the moon is closest to the centre of the shadow.
David Noton advises:
- Download the right apps to be in-the-know
The sun’s position in the sky at any given time of day varies massively with latitude and season. That is not the case with the moon as its passage through the heavens is governed by its complex elliptical orbit of the earth. That orbit results in monthly, rather than seasonal variations, as the moon moves through its lunar cycle. The result is big differences in the timing of its appearance and its trajectory through the sky. Luckily, we no longer need to rely on weight tables to consult the behaviour of the moon, we can simply download an app on to our phone. The Photographer’s Ephemeris is useful for giving moonrise and moonset times, bearings and phases; while the Photopills app gives comprehensive information on the position of the moon in our sky. Armed with these two apps, I’m planning to shoot the Blood Moon rising in Dorset, England. I’m aiming to capture the moon within the first fifteen minutes of moonrise so I can catch it low in the sky and juxtapose it against an object on the horizon line for scale – this could be as simple as a tree on a hill.
- Invest in a lens with optimal zoom
On the 27th July, one of the key challenges we’ll face is shooting the moon large in the frame so we can see every crater on the asteroid pockmarked surface. It’s a task normally reserved for astronomers with super powerful telescopes, but if you’ve got a long telephoto lens on a full frame DSLR with around 600 mm of focal length, it can be done, depending on the composition. I will be using the Canon EOS 5D Mark IV with an EF 200-400mm f/4L IS USM Ext. 1.4 x lens.
- Use a tripod to capture the intimate details
As you frame up your shot, one thing will become immediately apparent; lunar tracking is incredibly challenging as the moon moves through the sky surprisingly quickly. As you’ll be using a long lens for this shoot, it’s important to invest in a sturdy tripod to help capture the best possible image. Although it will be tempting to take the shot by hand, it’s important to remember that your subject is over 384,000km away from you and even with a high shutter speed, the slightest of movements will become exaggerated.
- Integrate the moon into your landscape
Whilst images of the moon large in the frame can be beautifully detailed, they are essentially astronomical in their appeal. Personally, I’m far more drawn to using the lunar allure as an element in my landscapes, or using the moonlight as a light source. The latter is difficult, as the amount of light the moon reflects is tiny, whilst the lunar surface is so bright by comparison. Up to now, night photography meant long, long exposures but with cameras such as the Canon EOS-1D X Mark II and the Canon EOS 5D Mark IV now capable of astonishing low light performance, a whole new nocturnal world of opportunities has been opened to photographers.
- Master the shutter speed for your subject
The most evocative and genuine use of the moon in landscape portraits results from situations when the light on the moon balances with the twilight in the surrounding sky. Such images have a subtle appeal, mood and believability. By definition, any scene incorporating a medium or wide-angle view is going to render the moon as a tiny pin prick of light, but its presence will still be felt. Our eyes naturally gravitate to it, however insignificant it may seem. Of course, the issue of shutter speed is always there; too slow an exposure and all we’ll see is an unsightly lunar streak, even with a wide-angle lens.
On a clear night, mastering the shutter speed of your camera is integral to capturing the moon – exposing at 1/250 sec @ f8 ISO 100 (depending on focal length) is what you’ll need to stop the motion from blurring and if you are to get the technique right, with the high quality of cameras such as the Canon EOS 5DS R, you might even be able to see the twelve cameras that were left up there by NASA in the 60’s!
How Africa can embrace AI
Currently, no African country is among the top 10 countries expected to benefit most from AI and automation. But, the continent has the potential to catch up with the rest of world if we act fast, says ZOAIB HOOSEN, Microsoft Managing Director.
To play catch up, we must take advantage of our best and most powerful resource – our human capital. According to a report by the World Economic Forum (WEF), more than 60 percent of the population in sub-Saharan Africa is under the age of 25.
These are the people who are poised to create a future where humans and AI can work together for the good of society. In fact, the most recent WEF Global Shapers survey found that almost 80 percent of youth believe technology like AI is creating jobs rather than destroying them.
Staying ahead of the trends to stay employed
AI developments are expected to impact existing jobs, as AI can replicate certain activities at greater speed and scale. In some areas, AI could learn faster than humans, if not yet as deeply.
According to Gartner, while AI will improve the productivity of many jobs and create millions more new positions, it could impact many others. The simpler and less creative the job, the earlier, a bot for example, could replace it.
It’s important to stay ahead of the trends and find opportunities to expand our knowledge and skills while learning how to work more closely and symbiotically with technology.
Another global study by Accenture, found that the adoption of AI will create several new job categories requiring important and yet surprising skills. These include trainers, who are tasked with teaching AI systems how to perform; explainers, who bridge the gap between technologist and business leader; and sustainers, who ensure that AI systems are operating as designed.
It’s clear that successfully integrating human intelligence with AI, so they co-exist in a two-way learning relationship, will become more critical than ever.
Combining STEM with the arts
Young people have a leg up on those already in the working world because they can easily develop the necessary skills for these new roles. It’s therefore essential that our education system constantly evolves to equip youth with the right skills and way of thinking to be successful in jobs that may not even exist yet.
As the division of tasks between man and machine changes, we must re-evaluate the type of knowledge and skills imparted to future generations.
For example, technical skills will be required to design and implement AI systems, but interpersonal skills, creativity and emotional intelligence will also become crucial in giving humans an advantage over machines.
“At one level, AI will require that even more people specialise in digital skills and data science. But skilling-up for an AI-powered world involves more than science, technology, engineering and math. As computers behave more like humans, the social sciences and humanities will become even more important. Languages, art, history, economics, ethics, philosophy, psychology and human development courses can teach critical, philosophical and ethics-based skills that will be instrumental in the development and management of AI solutions.” This is according to Microsoft president, Brad Smith, and EVP of AI and research, Harry Shum, who recently authored the book “The Future Computed”, which primarily deals with AI and its role in society.
Interestingly, institutions like Stanford University are already implementing this forward-thinking approach. The university offers a programme called CS+X, which integrates its computer science degree with humanities degrees, resulting in a Bachelor of Arts and Science qualification.
Revisiting laws and regulation
For this type of evolution to happen, the onus is on policy makers to revisit current laws and even bring in new regulations. Policy makers need to identify the groups most at risk of losing their jobs and create strategies to reintegrate them into the economy.
Simultaneously, though AI could be hugely beneficial in areas such as curbing poor access to healthcare and improving diagnoses for example, physicians may avoid using this technology for fear of malpractice. To avoid this, we need regulation that closes the gap between the pace of technological change and that of regulatory response. It will also become essential to develop a code of ethics for this new ecosystem.
Preparing for the future
With the recent convergence of a transformative set of technologies, economies are entering a period in which AI has the potential overcome physical limitations and open up new sources of value and growth.
To avoid missing out on this opportunity, policy makers and business leaders must prepare for, and work toward, a future with AI. We must do so not with the idea that AI is simply another productivity enhancer. Rather, we must see AI as the tool that can transform our thinking about how growth is created.
It comes down to a choice of our people and economies being part of the technological disruption, or being left behind.