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Dates: during 1990-1999
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...case, however, is considered unlikely ever to reach a jury, which would be about as capable of unraveling the programming parentage of a modern microprocessor as it would be of figuring out which Sierra mountain stream was the source of a glass of water taken from San Francisco Bay. In fact, some observers think the suit's lasting legacy could well be revision of a body of patent law increasingly inadequate to handle the staggering intricacies of digital technology...
...microprocessor is the most complex man-made creation in history," says Michael Slater, principal analyst for MicroDesign Resources, based in Sebastopol, Calif. "Everything is built on everything that went before. It's a continuous stream of new ideas...but none of these ideas are broad. The broad ideas are almost all IBM's." Hey, maybe Big Blue ought to be calling its lawyer...
...means more than the addition of new frequencies to the wireless spectrum. Unlike many older systems, which send a voice in a single stream as analog waves, PCS uses digital signals that break sound into discrete bits--the 1s and 0s that run computers. Digital technology enables PCS to offer such features as E-mail, caller ID and paging as well as compact-disc-quality sound and greater security from wireless eavesdroppers and phone-number thieves. (Digital technology is also becoming available in non-PCS formats...
...canvas with uncanny grace and energy. But his fellow Abstract Expressionist Willem de Kooning (1904-97) brought into painting a new sense of the contradictions of American culture and made erotic poetry out of them. De Kooning, the "slipping glimpser," as he called himself, was open to a constant stream of momentary impressions: smiles from Camel ads, shoulders from Ingres, pinups and Raphael--high and low, everywhere. In this way he became a bridge to a younger generation of painters, chiefly Jasper Johns and Robert Rauschenberg, who carried forward his exploration of the American vernacular...
...song, a slight ballad by Friedrich Rueckert (the same one who made Mahler's masterpiece possible), was the evening's first jewel. As an astute listener remarked, "Dass sie hier gewesen" (That she was here) was ravishing because Goode wove in Upshaw's calm melody among a gently insistent stream of suspended fourths. The last of the five, "Der Musensohn" (The Muses' Son, a poem by Goethe), was a vehicle more for Goode's talent than Upshaw's--his capricious part intimated one of his upcoming Brahms solos. Unfortunately, the lace of technical difficulty left him free...