Jez san biography definition

Published in final edited form as: J Exp Zool B Mol Dev Evol. May 30;(6)– doi: /jez.b

Abstract

Organisms exhibit an incredible diversity of form, a fact that makes the evolution of novelty seemingly self-evident. However, despite the “obvious” case for novelty, defining this concept in evolutionary terms is highly problematic, so much so that some have suggested discarding it altogether. Approaches to this problem tend to take either an adaptation or development-based perspective, but we argue here that an exclusive focus on either of these misses the original intent of the novelty concept and undermines its practical utility. We instead propose that for a feature to be novel it must have evolved both by a transition between adaptive peaks on the fitness landscape and that this transition must have overcome a previous developmental constraint. This definition focuses novelty on the explanation of apparently difficult or low probability evolutionary transitions and highlights how the integration of developmental and functional considerations is necessary to evolutionary explanation. It further reinforces that novelty is a central concern not just of evolutionary developmental biology (i.e., “evo-devo”) but of evolutionary biology more generally. We explore this definition of novelty in light of four examples that range from the obvious to subtle.

Keywords: Evolutionary novelty, development and evolution, developmental constraint, integration, generation of variation, adaptive landscape

The evolution of features such as the tetrapod limb, bird wings/feathers, and the mammalian placenta, present some of the most interesting and challenging questions in evolutionary biology. While each of these examples can be argued to be “novel”, there is much disagreement about what exactly this means, and thus whether the concept is useful at all to evolutionary explanation (Brigandt and Love ). On the one hand, some who arg

Japanese video game designer (born )

"Miyamoto" redirects here. For the Japanese surname, see Miyamoto (surname). For the crater, see Miyamoto (crater).

The native form of this personal name is Miyamoto Shigeru. This article uses Western name order when mentioning individuals.

Shigeru Miyamoto (Japanese: 宮本 茂, Hepburn: Miyamoto Shigeru, born November 16, ) is a Japanese video game designer, producer and game director at Nintendo, where he has served as one of its representative directors as an executive since Widely regarded as one of the most accomplished and influential designers in video games, he is the creator of some of the most acclaimed and best-selling game franchises of all time, including Mario,The Legend of Zelda, Donkey Kong, Star Fox and Pikmin. More than 1&#;billion copies of games featuring franchises created by Miyamoto have been sold.

Born in Sonobe, Kyoto, Miyamoto graduated from Kanazawa Municipal College of Industrial Arts. He originally sought a career as a manga artist, until developing an interest in video games. With the help of his father, he joined Nintendo in after impressing the president, Hiroshi Yamauchi, with his toys. He helped create art for the arcade game Sheriff, and was later tasked with designing a new arcade game, leading to the game Donkey Kong.

Miyamoto's games Super Mario Bros. () and The Legend of Zelda () helped the Nintendo Entertainment System dominate the console game market. His games have been flagships of every Nintendo video game console, from the arcade machines of the late s to the present day. He managed Nintendo's Entertainment Analysis & Development software division, which developed many Nintendo games, and he played an important role in the creation of other influential games such as Pokémon Red and Blue () and Metroid Prime (). Following the death of Nintendo president Satoru Iwata in July , Miyamoto became acting

Janet Abrams
jan@

Janet Abrams is Creative Director of Leading Questions, a New York consultancy producing events and criticism in the fields of design, new media and urbanism. She is also editor of If/Then, the new Netherlands Design Institute publication. Abrams has published widely on the subjects of entertainment, design, information technology and urbanism. An accomplished moderator of panel discussions and symposia on digital culture, Abrams produced and published the I.D. magazine roundtables on Multimedia, and on Entertainment Design, featuring industry leaders, published in and , respectively. She moderated Print magazine's symposium on digital manipulation of editorial photography in She is a co-founder of the Digital Algonquin, an alliance of leading New York interactive designers that meets on-line and face to face to discuss the cultural implications of new media.

ID magazine

conferences
Olalala New Media Festival
America's Hottest (note: this article appeared as part of ne's 'I.D. Forty' for )
'On Gender', with Janet Abrams (moderator), Amy Adler, Carol Gigliotti and Tom Reilly. On-line Dialogue April at

Internet publications
Women artists, Riot gURLs and avatars ml
Janet Abrams reports from Washington on a conference of women artists who are flexing their digital muscle.

books
Michael Graves : Buildings and Projects by Janet Abrams, Karen Nichols (Editor), Lisa Burke (Editor), Patrick Burke
Paperback () Rizzoli Bookstore; ISBN:

Line of home computers from Atari Corporation

Atari ST is a line of personal computers from Atari Corporation and the successor to the company's 8-bit home computers. The initial model, the Atari ST, had limited release in April–June , and was widely available in July. It was the first personal computer with a bitmapped color graphical user interface, using a version of Digital Research's GEM interface / operating system from February The Atari ST, released in with 1&#;MB of memory, was the first home computer with a cost per kilobyte of RAM under US$1/KB.

After Jack Tramiel purchased the assets of the Atari, Inc. consumer division in to create Atari Corporation, the ST was designed in five months by a small team led by Shiraz Shivji. Alongside the Macintosh, Amiga, Apple IIGS and Acorn Archimedes, the ST is part of a mids generation of computers with 16 or 16/bit processors, &#;KB or more of RAM, and mouse-controlled graphical user interfaces. "ST" officially stands for "Sixteen/Thirty-two", referring to the Motorola 's bit external bus and bit internals.

The ST was sold with either Atari's color monitor or less expensive monochrome monitor. Color graphics modes are available only on the former while the highest-resolution mode requires the monochrome monitor. Some models can display the color modes on a TV. In Germany and some other markets, the ST gained a foothold for CAD and desktop publishing. With built-in MIDI ports, it was popular for music sequencing and as a controller of musical instruments among amateur and professional musicians. The Atari ST's primary competitor was the Amiga from Commodore.

The ST and ST were followed by the Mega series, the STE, and the portable STacy. In the early s, Atari released three final evolutions of the ST with significant technical differences from the orig