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Apple Wanted To Replace Cars' Wheels With Balls. Apple, a company you may be aware of from their Pippin game console, until fairly recently had some very ambitious autonomous car plans. Ambitious in the sense that they were planning to build a whole car. Last year, those plans were drastically scaled back, and a recent New York Times article gives some interesting insights as to why.

Good morning! Welcome to The Morning Shift, your roundup of the auto news you crave, all in one. In fact, in a previous story about Apple’s automotive ambitions, it was stated that: Inside Apple, employees recently described the company’s efforts to build a car as a project lacking vision and in complete disarray.

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The recent layoffs, followed by Apple’s pursuit of talent and expertise from outside companies, are part of the company’s effort to “reboot” the project, said people with knowledge of the layoffs. What this recent article gives now is a bit more insight into what Apple had been thinking during the development and eventual failure of Project Titan. Five unnamed sources who worked on or were close to the project spoke with the Times, and what they described seems familiar to those who’ve been watching Apple for decades: novel, ground- up rethinking, a focus—almost fetish—for clean design, and a desire to radically transform the way people interact with machines. This time, though, unlike for desktop computer interfaces, music players, or smartphones, it didn’t really work. My favorite bit from the story is this part: Apple even looked into reinventing the wheel.

A team within Titan investigated the possibility of using spherical wheels — round like a globe — instead of the traditional, round ones, because spherical wheels could allow the car better lateral movement. So, yeah, Apple was literally trying to re- invent the wheel. And not just any wheel, but Minority Report (or maybe i. Robot?)- Audi- style spherical wheels.

Now, Apple’s not wrong, as such—spherical wheels absolutely would make for better lateral movement. But what Apple fundamentally wasn’t used to was building products that have ramifications beyond just being cool or working better or worse. A car can kill you, and, generally, an i.

Phone or i. Pad really can’t. When it comes to taking a radical, out- of- the- box look at something like the wheels a car uses to go, steer, and stop, you can’t just focus- group test it like a touchscreen and decide if it’s a cool innovation or not. You have to really, really test it, push it to its limits, see how it fails and when, and understand that if it does, people die. Film Noir Download The Peanuts Movie (2015) on this page. And that’s not even considering all of the DOT regulations and testing a spherical wheel system would have to go through before getting approval.

Other aspects of Project Titan seem to have had a similar approach: From the beginning, the employees dedicated to Project Titan looked at a wide range of details. That included motorized doors that opened and closed silently. They also studied ways to redesign a car interior without a steering wheel or gas pedals, and they worked on adding virtual or augmented reality into interior displays. The team also worked on a new light and ranging detection sensor, also known as lidar. Lidar sensors normally protrude from the top of a car like a spinning cone and are essential in driverless cars. Apple, as always focused on clean designs, wanted to do away with the awkward cone.

All of these things—motorized doors, control- free interiors with augmented reality displays, Lidar without the funny party hat—all of these things could be cool and novel and possibly even disruptive to what people understand a car to be, but Apple simply wasn’t in a position to execute any of them. The fundamental reason why is that, as far as I can tell, Apple never really respected the very important differences between developing a piece of consumer electronics and a car. The difference isn’t one of scale, as I suspect Apple felt; it’s an entirely different thing.

A car isn’t like most consumer electronic devices like a phone or a laptop because it’s really a colony of many, many devices, all working together. A modern car has networks of computers, a mobile shelter complete with interior design and furniture, a complex prime mover that transforms chemical energy from a fuel tank or a battery into rotational motion, a system to suspend and guide the whole two- ton mass, and has to be able to be whisked around at high speeds, over bumps, through rain, and then left outside for years at a time and still work. Apple has made some incredible products over the years, but a laptop is simply not a car.

I think Apple’s (well- earned) hubris made them gloss over this difference, and when they finally realized that they’re not a car company, it was really too late. There were other disagreements within the team, like the question of how much autonomy makes sense: There was disagreement about whether Apple should develop a fully autonomous vehicle or a semiautonomous car that could drive itself for stretches but allow the driver to retake control. Steve Zadesky, an Apple executive who was initially in charge of Titan, wanted to pursue the semiautonomous option. But people within the industrial design team including Jonathan Ive, Apple’s chief designer, believed that a fully driverless car would allow the company to reimagine the automobile experience, according to the five people.. Now, they’ve accepted that they’ll let a company with decades of experience (or at least an understanding of the scales involved) building cars, and Apple will focus just on the underlying self- driving technology.

Apple is currently developing an autonomous shuttle based on a conventional car platform which they call PAIL (Palo Alto to Infinite Loop) that will serve as a testbed for their tech and shuttle their employees to work. This is a more reasonable direction for Apple, though, as surprising as it is to say out loud (or at least type), I actually think Apple should look into releasing their own car. Now, I don’t think the car should be totally developed at Apple—that’s proven to be a dead end—but I think they should leverage what they’re best at for a car of their own: design and user experience. If Apple were to, say, buy chassis from Tesla and put their own bodies on the chassis and operating systems in that body, they could potentially have a winner. It could be a car that looked and felt like an Apple product, but all of the important, needing- government- approval, hard- to- engineer mechanical parts would already be developed. Really, Apple’s strength is in the front end, the part the consumer interacts with.

When Apple switched from the Power. PC architecture to the Intel x. Macs still felt like Macs, even if their internal guts were essentially the same as any Windows PC out there. This is no different. Apple should make their car, but just the parts that Apple’s customers care about, which is not under the hood.

So, Apple’s not going to make their own car, which is a good idea. But, if they’re smart, they should at least look into making their own car on someone else’s car, because I think that could be an even better idea.

Art Spiegelman - Wikipedia. Art Spiegelman (born Itzhak Avraham ben Zeev on February 1. American cartoonist, editor, and comics advocate best known for his graphic novel. Maus. His work as co- editor on the comics magazines Arcade and Raw has been influential, and from 1. The New Yorker, where he made several high- profile and sometimes controversial covers.

He is married to designer and editor Fran. He gained prominence in the underground comix scene in the 1. A selection of these strips appeared in the collection Breakdowns in 1.

Spiegelman turned focus to the book- length Maus, about his relation with his father, a Holocaust survivor. The postmodern book depicts Nazis as cats, Jews as mice, and ethnic Poles as pigs, and took thirteen years until its completion in 1.

It won a special Pulitzer Prize in 1. Spiegelman and Mouly edited eleven issues of Raw from 1. The oversized comics and graphics magazine helped introduce talents who became prominent in alternative comics, such as Charles Burns, Chris Ware, and Ben Katchor, and introduced several foreign cartoonists to the English- speaking comics world. Beginning in the 1. The New Yorker, which Spiegelman left to work on In the Shadow of No Towers (2.

September 1. 1 attacks in New York in 2. Spiegelman advocates for greater comics literacy. As an editor, a teacher at the School of Visual Arts in New York City, and a lecturer, Spiegelman has promoted better understanding of comics and has mentored younger cartoonists.

Family history. His father was born Zeev Spiegelman, with the Hebrew name Zeev ben Avraham. He was also known as Wilhelm under the German occupation, and upon immigration to the United States he took the name William.

His mother was born Andzia Zylberberg, with the Hebrew name Hannah. She took the name Anna upon her immigration to the US. In Spiegelman's Maus, from which the couple are best known, Spiegelman used the spellings . The surname Spiegelman is German for .

During the Holocaust, Spiegelman's parents sent Rysio to stay with an aunt with whom they believed he would be safe. In 1. 94. 3, the aunt poisoned herself, along with Rysio and two other young family members in her care, so that the Nazis would not take them to the extermination camps. After the war, the Spiegelmans, unable to accept that Rysio was dead, searched orphanages all over Europe in the hope of finding him. Spiegelman talked of having a sort of sibling rivalry with his . Of 8. 5 Spiegelman relatives alive at the beginning of World War II, only 1. Holocaust. Life and career. He immigrated with his parents to the US in 1.

Upon immigration his name was registered as Arthur Isadore, but he later had his given name changed to Art. Initially the family settled in Norristown, Pennsylvania, and then relocated to Rego Park in Queens, New York City, in 1. He began cartooning in 1. Mad. At Russell Sage Junior High School, where he was an honors student, he produced the Mad- inspired fanzine. Blas. He was earning money from his drawing by the time he reached high school and sold artwork to the original Long Island Press and other outlets. His talent was such that he caught the eyes of United Features Syndicate, who offered him the chance to produce a syndicated comic strip. Dedicated to the idea of art as expression, he turned down this commercial opportunity.

He attended the High School of Art and Design in Manhattan beginning in 1. He met Woody Gelman, the art director of Topps Chewing Gum Company, who encouraged Spiegelman to apply to Topps after graduating high school. At 1. 5 Spiegelman received payment for his work from a Rego Park newspaper. After he graduated in 1. Spiegelman's parents urged him to pursue the financial security of a career such as dentistry, but he chose instead to enroll at Harpur College to study art and philosophy.

While there, he got a freelance art job at Topps, which provided him with an income for the next two decades. Spiegelman attended Harpur College from 1. After a summer internship when he was 1. Topps hired him for Gelman's Product Development Department as a creative consultant making trading cards and related products in 1. Wacky Packages series of parodic trading cards begun in 1. Spiegelman began selling self- published underground comix on street corners in 1.

He had cartoons published in underground publications such as the East Village Other and traveled to San Francisco for a few months in 1. In late winter 1.

Spiegelman suffered a brief but intense nervous breakdown, which cut his university studies short. He has said that at the time he was taking LSD with great frequency. He spent a month in Binghamton State Mental Hospital, and shortly after he got out his mother committed suicide following the death of her only surviving brother. Underground comic (1. Some of the comix he produced during this period include The Compleat Mr. Infinity (1. 97. 0), a ten- page booklet of explicit comic strips, and The Viper Vicar of Vice, Villainy and Vickedness (1.

S. Clay Wilson. Spiegelman's work also appeared in underground magazines such as Gothic Blimp Works, Bijou Funnies, Young Lust,Real Pulp, and Bizarre Sex, and were in a variety of styles and genres as Spiegelman sought his artistic voice. He also did a number of cartoons for men's magazines such as Cavalier, The Dude, and Gent.

In 1. 97. 2, Justin Green asked Spiegelman to do a three- page strip for the first issue of Funny Aminals . He wanted to do one about racism, and at first considered a story with African- Americans as mice and cats taking on the role of the Ku Klux Klan. Instead, he turned to the Holocaust that his parents had survived. He titled the strip . The narrator related the story to a mouse named . With this story Spiegelman felt he had found his voice. Seeing Green's revealingly autobiographical Binky Brown Meets the Holy Virgin Mary while in- progress in 1.

Spiegelman to produce . Hd Quality Joy (2015) Watch on this page. Spiegelman's work thereafter went through a phase of increasing formal experimentation; the Apex Treasury of Underground Comics in 1. Maybe we'll grow up together. Co- edited with Bob Schneider, it was called Whole Grains: A Book of Quotations. In 1. 97. 4–1. 97.

San Francisco Academy of Art. By the mid- 1. 97. To give cartoonists a safe berth, Spiegelman co- edited the anthology Arcade with Bill Griffith, in 1.

Arcade was printed by The Print Mint and lasted seven issues, five of which had covers by Robert Crumb. It stood out from similar publications by having an editorial plan, in which Spiegelman and Griffith attempt to show how comics connect to the broader realms of artistic and literary culture. Spiegelman's own work in Arcade tended to be short and concerned with formal experimentation. Arcade also introduced art from ages past, as well as contemporary literary pieces by writers such as William S. Burroughs and Charles Bukowski. In 1. 97. 5, Spiegelman moved back to New York City, which put most of the editorial work for Arcade on the shoulders of Griffith and his cartoonist wife, Diane Noomin.

This, combined with distribution problems and retailer indifference, led to the magazine's 1. For a time, Spiegelman swore he would never edit another magazine. Fran. While looking for comics from which to practice reading English, she came across Arcade. Avant- garde filmmaker friend Ken Jacobs introduced Mouly and Spiegelman, when Spiegelman was visiting, but they did not immediately develop a mutual interest. Spiegelman moved back to New York later in the year. Occasionally the two ran across each other.

After she read . An eight- hour phone call led to a deepening of their relationship. Spiegelman followed her to France when she had to return to fulfill obligations in her architecture course. Spiegelman introduced Mouly to the world of comics and helped her find work as a colorist for Marvel Comics. After returning to the US in 1.

Mouly ran into visa problems, which the couple solved by getting married.