By sectioning off a 3-million-square-foot portion of the city with an air conditioned dome, Dubai is dropping one of the most tangible partitions between the haves and the have nots of the modern era—the 100 hotels and apartment complexes inside the attraction will be cool, comfortable, and nestled into a entertainment-filled, if macabre, consumer paradise."
If software patents were around back in the 80's
They were. Commodore used a character set which contained an inverse-video duplicate set to avoid a software patent on the use of exclusive-OR to draw a cursor. Specifically, some drafting company back in the late 70's patented the idea of using XOR to draw a crosshairs, so in the VIC20, C64, and others, the cursor was implemented by periodically alternating the target location between the character located there and its counterpart in the inverse-video half of the character set. Apple avoided this patent by alternating between the character on the screen and a little checkerboard cursor.
So put a big, obvious indicator on the charging station that shows a color-coded load level. After a while, EV owners will come to understand it at least enough to know that a high reading means their car will charge slower.
If consumers can figure out those little pinch-the-ends-to-read charge indicators in some batteries, and what a regular traffic signal means at an intersection, they can figure out "green means fast, red means slow" at the charge station and charge up or go elsewhere accordingly.
Stations can even display their capacity reading on their main sign under the price, if they're proud of it anyway.
Impossible. Who would bother dragging the mime's invisible box into the carpool lane in the first place?
But a distinction must be made here: Protracker and friends may have had "tracks" that work more or less like a professional studio, but the thing is, the *other* limits of the format meant that making music with a module tracker was a WHOLE different beast than doing it with a recording studio.
With module files/trackers, you could play exactly one sound sample at a time on each track - which is why many of us preferred to call them channels rather than tracks.
Each sound might be a single key on a piano, a single string on a violin, a crash of a cymbal, or whatever. If you needed a chord and you didn't have enough spare channels to play it (which was often the case), then to did it the hard way: you either composed and edited that chord in your favorite sample player/editor program and and loaded the result into your tracker or you sought out someone else who had already done the work... and that's if you only needed one type of chord for just one specific instrument (say, a major chord on a piano). Wait, you need a minor chord for that instrument also? Oops, better go compose/download one. Oh, need a few chords in one of the other instruments? Crap, gotta go do those also.
A module artist had, at most, only 31 sound slots to work with back in the day, so it was pretty easy to run out - and that's before you even start laying down you actual tracks.
With careful attention to note durations and use of the "set sample offset" effect command, you could combine several shorter samples into one "conglomerate" multipurpose sample that you could pick-and-choose from as needed, giving the appearance of more than just 31 samples. Problem is, this came at a price: You couldn't use this trick on anything that might need an effect command, there was no way to set custom sample loop endpoints (that I remember), and you only had 128 kB of sample data per sound slot, so it was only useful for short percussion-like instruments and sound effects.
When you laid down your tracks and assigned pitches, durations, and various effect commands to the samples (I mean the regular stuff like vibrato or portamento) is where the music was actually made.
Newer module formats eliminated the sample lengths, counts, and limits on the numbers of channels, of course.