The contentious history of the computer programmers who developed the software that made the computer revolution possible. This is a book about the computer revolution of the mid-twentieth century and the people who made it possible. Unlike most histories of computing, it is not a book about machines, inventors, or entrepreneurs. Instead, it tells the story of the vast but largely anonymous legions of computer specialists—programmers, systems analysts, and other software developers—who transformed the electronic computer from a scientific curiosity into the defining technology of the modern era. As the systems that they built became increasingly powerful and ubiquitous, these specialists became the focus of a series of critiques of the social and organizational impact of electronic computing. To many of their contemporaries, it seemed the “computer boys” were taking over, not just in the corporate setting, but also in government, politics, and society in general. In The Computer Boys Take Over, Nathan Ensmenger traces the rise to power of the computer expert in modern American society. His rich and nuanced portrayal of the men and women (a surprising number of the “computer boys” were, in fact, female) who built their careers around the novel technology of electronic computing explores issues of power, identity, and expertise that have only become more significant in our increasingly computerized society. In his recasting of the drama of the computer revolution through the eyes of its principle revolutionaries, Ensmenger reminds us that the computerization of modern society was not an inevitable process driven by impersonal technological or economic imperatives, but was rather a creative, contentious, and above all, fundamentally human development.

Discussion of the current Information Revolution tends to focus on technological developments in information and communication and overlooks both the human labour involved in the development, maintenance and daily use of information and communication technologies (ICTs), and the consequences of the implementation of these ICTs for the position and divisions of labour. This volume aims to redress this imbalance by exploring the role, position and divisions of information and communication labour in the broadest sense through periods of revolutionary technological change.

The history of the first programmable electronic computer, from its conception, construction, and use to its afterlife as a part of computing folklore. Conceived in 1943, completed in 1945, and decommissioned in 1955, ENIAC (the Electronic Numerical Integrator and Computer) was the first general-purpose programmable electronic computer. But ENIAC was more than just a milestone on the road to the modern computer. During its decade of operational life, ENIAC calculated sines and cosines and tested for statistical outliers, plotted the trajectories of bombs and shells, and ran the first numerical weather simulations. ENIAC in Action tells the whole story for the first time, from ENIAC's design, construction, testing, and use to its afterlife as part of computing folklore. It highlights the complex relationship of ENIAC and its designers to the revolutionary approaches to computer architecture and coding first documented by John von Neumann in 1945. Within this broad sweep, the authors emphasize the crucial but previously neglected years of 1947 to 1948, when ENIAC was reconfigured to run what the authors claim was the first modern computer program to be executed: a simulation of atomic fission for Los Alamos researchers. The authors view ENIAC from diverse perspectives—as a machine of war, as the “first computer,” as a material artifact constantly remade by its users, and as a subject of (contradictory) historical narratives. They integrate the history of the machine and its applications, describing the mathematicians, scientists, and engineers who proposed and designed ENIAC as well as the men—and particularly the women who—built, programmed, and operated it.

When electronic digital computers first appeared after World War II, they appeared as a revolutionary force. Business management, the world of work, administrative life, the nation state, and soon enough everyday life were expected to change dramatically with these machines’ use. Ever since, diverse prophecies of computing have continually emerged, through to the present day. As computing spread beyond the US and UK, such prophecies emerged from strikingly different economic, political, and cultural conditions. This volume explores how these expectations differed, assesses unexpected commonalities, and suggests ways to understand the divergences and convergences. This book examines thirteen countries, based on source material in ten different languages—the effort of an international team of scholars. In addition to analyses of debates, political changes, and popular speculations, we also show a wide range of pictorial representations of "the future with computers."

Hundreds of grassroots groups have sprung up around the world to teach programming, web design, robotics, and other skills outside traditional classrooms. These groups exist so that people don't have to learn these things on their own, but ironically, their founders and instructors are often teaching themselves how to teach. There's a better way. This book presents evidence-based practices that will help you create and deliver lessons that work and build a teaching community around them. Topics include the differences between different kinds of learners, diagnosing and correcting misunderstandings, teaching as a performance art, what motivates and demotivates adult learners, how to be a good ally, fostering a healthy community, getting the word out, and building alliances with like-minded groups. The book includes over a hundred exercises that can be done individually or in groups, over 350 references, and a glossary to help you navigate educational jargon.

Leading technologists, historians, and journalists reveal the stories behind the computer coding that touches all aspects of life—for better or worse Few of us give much thought to computer code or how it comes to be. The very word “code” makes it sound immutable or even inevitable. “You Are Not Expected to Understand This” demonstrates that, far from being preordained, computer code is the result of very human decisions, ones we all live with when we use social media, take photos, drive our cars, and engage in a host of other activities. Everything from law enforcement to space exploration relies on code written by people who, at the time, made choices and assumptions that would have long-lasting, profound implications for society. Torie Bosch brings together many of today’s leading technology experts to provide new perspectives on the code that shapes our lives. Contributors discuss a host of topics, such as how university databases were programmed long ago to accept only two genders, what the person who programmed the very first pop-up ad was thinking at the time, the first computer worm, the Bitcoin white paper, and perhaps the most famous seven words in Unix history: “You are not expected to understand this.” This compelling book tells the human stories behind programming, enabling those of us who don’t think much about code to recognize its importance, and those who work with it every day to better understand the long-term effects of the decisions they make. With an introduction by Ellen Ullman and contributions by Mahsa Alimardani, Elena Botella, Meredith Broussard, David Cassel, Arthur Daemmrich, Charles Duan, Quinn DuPont, Claire L. Evans, Hany Farid, James Grimmelmann, Katie Hafner, Susan C. Herring, Syeda Gulshan Ferdous Jana, Lowen Liu, John MacCormick, Brian McCullough, Charlton McIlwain, Lily Hay Newman, Margaret O’Mara, Will Oremus, Nick Partridge, Benjamin Pope, Joy Lisi Rankin, Afsaneh Rigot, Ellen R. Stofan, Lee Vinsel, Josephine Wolff, and Ethan Zuckerman.

An alternative history of software that places the liberal arts at the very center of software's evolution. In The Software Arts, Warren Sack offers an alternative history of computing that places the arts at the very center of software's evolution. Tracing the origins of software to eighteenth-century French encyclopedists' step-by-step descriptions of how things were made in the workshops of artists and artisans, Sack shows that programming languages are the offspring of an effort to describe the mechanical arts in the language of the liberal arts. Sack offers a reading of the texts of computing—code, algorithms, and technical papers—that emphasizes continuity between prose and programs. He translates concepts and categories from the liberal and mechanical arts—including logic, rhetoric, grammar, learning, algorithm, language, and simulation—into terms of computer science and then considers their further translation into popular culture, where they circulate as forms of digital life. He considers, among other topics, the “arithmetization” of knowledge that presaged digitization; today's multitude of logics; the history of demonstration, from deduction to newer forms of persuasion; and the post-Chomsky absence of meaning in grammar. With The Software Arts, Sack invites artists and humanists to see how their ideas are at the root of software and invites computer scientists to envision themselves as artists and humanists.

The untold history of women and computing: how pioneering women succeeded in a field shaped by gender biases. Today, women earn a relatively low percentage of computer science degrees and hold proportionately few technical computing jobs. Meanwhile, the stereotype of the male “computer geek” seems to be everywhere in popular culture. Few people know that women were a significant presence in the early decades of computing in both the United States and Britain. Indeed, programming in postwar years was considered woman's work (perhaps in contrast to the more manly task of building the computers themselves). In Recoding Gender, Janet Abbate explores the untold history of women in computer science and programming from the Second World War to the late twentieth century. Demonstrating how gender has shaped the culture of computing, she offers a valuable historical perspective on today's concerns over women's underrepresentation in the field. Abbate describes the experiences of women who worked with the earliest electronic digital computers: Colossus, the wartime codebreaking computer at Bletchley Park outside London, and the American ENIAC, developed to calculate ballistics. She examines postwar methods for recruiting programmers, and the 1960s redefinition of programming as the more masculine “software engineering.” She describes the social and business innovations of two early software entrepreneurs, Elsie Shutt and Stephanie Shirley; and she examines the career paths of women in academic computer science. Abbate's account of the bold and creative strategies of women who loved computing work, excelled at it, and forged successful careers will provide inspiration for those working to change gendered computing culture.

How differing assessments of risk by physicists and computer scientists have influenced public debate over nuclear defense. In a rapidly changing world, we rely upon experts to assess the promise and risks of new technology. But how do these experts make sense of a highly uncertain future? In Arguments that Count, Rebecca Slayton offers an important new perspective. Drawing on new historical documents and interviews as well as perspectives in science and technology studies, she provides an original account of how scientists came to terms with the unprecedented threat of nuclear-armed intercontinental ballistic missiles (ICBMs). She compares how two different professional communities—physicists and computer scientists—constructed arguments about the risks of missile defense, and how these arguments changed over time. Slayton shows that our understanding of technological risks is shaped by disciplinary repertoires—the codified knowledge and mathematical rules that experts use to frame new challenges. And, significantly, a new repertoire can bring long-neglected risks into clear view. In the 1950s, scientists recognized that high-speed computers would be needed to cope with the unprecedented speed of ICBMs. But the nation's elite science advisors had no way to analyze the risks of computers so used physics to assess what they could: radar and missile performance. Only decades later, after establishing computing as a science, were advisors able to analyze authoritatively the risks associated with complex software—most notably, the risk of a catastrophic failure. As we continue to confront new threats, including that of cyber attack, Slayton offers valuable insight into how different kinds of expertise can limit or expand our capacity to address novel technological risks.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media.