Altec Lansing ACS 45.1

Back in 1997 I took out a personal loan from the UCLA Credit Union to acquire my first computer: a glorious Quantex Intel Pentium II with 64 MB of RAM. Playing games on Windows 95 had become part of my day job at Audio Visual Services, and when I finally left to attend grad school in New York City, I knew I needed to have my own PC. It cost over $3500 (7x the quarterly tuition at UCLA the time—or almost two years ), and I think I paid about $39 per month for five years. The future ain’t cheap, but at the time it was pretty much the best you could do spec-wise  in terms of a home computer at the time, and Quantex was know for their solid machines and amazing customer support. They eventually folded in 1999 when a key supplier supplier went under (the crazy days of the bubble).

The “legendary” Altec lansing 45.1 speakers and subwoofer

I loved that computer, I had my own little nook for it in my apartment in Kensington, Brooklyn, and the only thing left of that machine is the sound system. The computer included an Altec Lansing ACS 45.1, which consisted of two cube speakers and a subwoofer that may have been the best thing of this pretty bitchin’ machine. I always thought I had an inflated sense of how good the speakers sounded, but apparently I’m far from alone. The product reviews on ebay are even more hyperbolic than I tend to be:

5 stars: by morrisoninventions Aug 14, 2019

Small size, big accurate clean sound.

Absolutely love the sound and convenience of these speakers + amp + subwoofer. I own 3, and am planning to buy a 4th. (Unfortunately, they are obsolete I think, so I have to track ’em down on Ebay.

5 Stars: by mad_d8n Sep 27, 2022

PC Speaker.

The best computer speakers that I have ever experienced through PC game play, streaming and music.

5 stars by crafty457 Oct 27, 2015

Great sounding old speakers

These things rock!!! I just bought them to replace the ACS45 that I’ve been using for the about past 20 years. I’m a musician, so these speakers see daily use, mostly for listening and learning music. Nice clean and clear sound… subwoofer is tight sounding without any annoying boominess. I have them on a shelf at ear level just above my desk. Very musical sounding

5 stars: by itaduc Dec 28, 2016

Great Sound

Best computer speakers ever made along with Altec’s model ASC 48 that are basically the same.

In fact, when searching for them online now you often find adjectives like “legendary” or “classic” to emphasize just how amazing these speakers, were, are, and will continue to be if you are lucky enough to have them working, which I was when I started this post (more on that in a bit).

Power and Volume control buttons on Altec Lansing ACS 45.1 Speaker

The speakers and subwoofer worked just fine, but the connection between one of the speakers and the subwoofer—which also houses the circuit board and power—seemed to come lose and it effected turning the system off and changing volume. You see on this system one of the speakers is used to both turn on/off power (press both buttons simultaneously) as well as for controlling the volume levels by using each of the buttons separately.

Back of Altec Lansing ACS 45.1 subwoofer

So I figured I would just open up the subwoofer and look for any glaring issue on the circuit board, and maybe re-solder the pin connecting the speaker to the subwoofer. Best laid plans of bava and men! I opened up the subwoofer and poked around, but everything looked really clean, what’s more, the contact points for the speaker’s remote volume and power controls were further protected by another layer of plastic that made it hard to get at. I should have stopped while I was ahead, no doubt. But I proceeded to take the entire thing apart, and that’s were I went very wrong. After re-assembling the subwoofer the speakers still worked, but the subwoofer was not subwoofing. “Leave well enough alone, Jimmy!”

Removing circuit board from Altec Lansing ACS 45.1 subwoofer

So, I took it apart yet again and took off the black protective casing around the inputs for the subwoofer, and after re-assembling nothing worked, so I was 2 for 2 in the fixless department. Another example of where I need a logic probe and new a set of tools so I can actually work on these electronics rather than randomly breaking them. I have another set of the speakers  already on order from Ebay in the US, and will be doing some comparative analysis given there are very few videos about fixing this subwoofer, and I’ll also use the subwoofer card as a test for my new logic probe (assuming I can find the proper schematic).

What annoys me the most is that I didn’t even solder anything, or getting particularly invasive. I am pretty sure the fix is quite simple, but alas the limits of my knowledge are really starting to bug me, time to go search for what an affordable logic probe tool to atone for my sins of ignorance.

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bavacade Updates: Moving the fleet to bavastudio, Millipede Monitor Woes, a Rogue K4600, and Phoenix Board Weirdness

Nothing gold can stay.

Those good old days of arcade perfection are long behind me now, and that became readily apparent as I prepared another 11 games for the move over to bavastudio.

Wave two of games to be moved to bavastudio

The most concerning issue is what seems to be the death of Millipede‘s Matsushita TM-202 monitor chassis. I had read that this is considered to be the worst chassis ever made, but for a good couple of years Millipede was looking solid. That said, after moving it up from the basement to the foyer on Thursday, the game only plays blind.

Millipede Black Screen

There is power to the chassis (often apparent if the neck tube glows), and oddly the image did come back once or twice intermittently, but definitely more dead than alive. Many folks on the arcade forums just recommend throwing the chassis away, or parting it out. But I happen to have a cap kit lying around, so I may try to repair this monitor—-making it the first project for the bavastudio location. I have even read some who have said the picture quality gets even worse after a cap kit on this chassis, and all logic suggests this is a colossal waste of time. Nonetheless, hope springs eternal and my soldering skills are still basic, so if nothing else they will get some much needed practice.

Matsushita Chassis Parts List

Plus, the even scarier alternative of scrapping the chassis means I will have to refit the tube for another chassis (I have an extra G07 and K4900 hanging around), but from what I understand that process requires an entirely different level of skill. We’ll see….

On top of that, I was experimenting with doing an entire monitor swap between my Centuri Challenger and a Centuri Phoenix given the latter’s monitor is a bit dull, and I wanted that game to pop in bavastudio—it being a personal favorite. My exuberant initiative, as is often the case, led to more issues than solutions and the Challenger‘s K4600 monitor started acting up when I tested it on Phoenix (thankfully I did not do a full monitor swap before testing). I’m going to have to look at that chassis more closely, but luckily that game is not slated for the bavastudio just yet, so I have time.

Finally, I spent much of yesterday trying to figure out why my Phoenix game board is starting to occasionally throw garbage, and even when it’s working there are specific audio issues when firing at the those fierce alien birds, as well as when they destroy your ship.  The shots are too bass-like, and the explosion sound is partially interrupted. I tried to highlight the sound issues in the video below:

This post on KLOV pointed to a similar issue and recommended a possible fix on Mike’s Arcade site.* He soldered cold joints at cap 34 and resistor 67 on the game board, and then replaced chip IC 45 (a 4006) altogether, but I’m a bit confused given IC 45 seems to be a ROM chip, which is not a 4006 version? Anyway, I re-soldered the resistor and capacitor, but I did not feel comfortable replacing the ROM chip. I need to get a logic probe and up my game for tracking these issues down, because I’m pretty much shooting in the dark with these forum posts at this point. They can been helpful, but like anything as complex as these boards, you really need to begin by tracing the issue yourself, otherwise you’re flying blind.

Centuri Phoenix Logic Board

Another thing I struggled with on the Phoenix board was getting a sense of whether the issue might be related to the high score save kit I installed a while back. I had a similar throwing of garbage back then, and my hacky fix to a broken chip legs may have been coming back to haunt me.  Turns out, in the exploratory process, I broke two more legs on IC 48, so I decided to call it a day, and settled for the game working normally with some sound issues, and the high score names and numbers having stranger characters. I’m going to see if I can get a logic probe soon, and learn how to use it on this board to figure out what happened. I have a rough idea of the issues at hand, and I just need to learn how to literally trace the problems on the board, so I am going to setup a full blown arcade repair corner in the bavastudio for sure.


*I love the way he organizes all his fixes for each of his games. I have much of this buried in this blog, but a more methodical approach is most useful for others looking on the web.

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Aggressive Technologies is Overvalued

A couple of weeks ago Paul Bond and I caught up with Martha “Sinclair” Burtis to do a playful skit around the fictional company Aggressive Technologies that the students in not only created, but have also been running with. The idea was that Paul and I would be chatting about the class and some of the undergirding financials of Aggressive Technologies, calling into question their valuation, arguing they are essentially riding on the irresponsible AI hype of this bull market bubble in order to manipulate their share prices.

It is at this point the company’s very aggressive legal representative, Martha Sinclair, barges in on our chat to essentially issue the most colorful cease and desist order you may ever hear. It is so fun to do this stupid stuff, and I love that Martha and Paul are still up for the insanity. It has been a very on and off semester for me given my own issues, but this kinda fun reminds me what I am missing. #4life.

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100 Years of EdTech

I was more than a little envious of all the great folks enjoying the OER24 conference on the ground in Cork last week. It looked like an absolutely smashing event, and as I blogged last year, it’s definitely my favorite non-Reclaim event—how about that qualifier! Meredith Huffman and Maren Deepwell were doing Reclaim proud on the ground, and it seems like Alan Levine got Gasta-ed, a 5-minute baptism by fire. By all accounts both keynotes were brilliant, and I got a pretty good sense of things following along on Mastodon (this bava got federated).

But possibly the single biggest element of this year’s event was the celebration of Martin Weller’s 30 years in edtech. He’s written the books; he has blogged the posts; alongside Maren he was instrumental making the OER conference what it is today; and he’s been steering GOGN for over a decade alongside all the other penguins.

GOGN Penguins saving pedagogy during the Pandemic

In many ways this event marks the closing of a chapter in Martin’s role in edtech as he retires from the Open University, steps down as lead of the GOGN research group, discontinues his lucrative and wildly popular 25/30 years of Edtech franchise, and even let’s his blog….nope, he is not allowed to stop blogging. Martin has been a huge inspiration and influence on many folks over the last 30 years, and I come in around the 20 year mark of his journey when we both started blogging in order to link pop culture to edtech in sometimes a fairly shoe-horned manner—he has since become the king of the edtech metaphor.

Martin Weller’s Metaphors of Ed Tech

Martin’s post “Follow the Biscuits” bemoaning his less than ceremonious institutional send-off struck me as all too familiar, and his noting how damaging that is to an already fragile higher ed morale hits the nail on the head. In fact, so much of his blogging has done just that over the last twenty years, and his work has helped me understand the limits and possibilities of our field with a playful, human, and always intelligent take on the challenges we face.

When Brian Lamb and I were driving up the West coast of the United States last year, he noted just how unique a space Martin has been able to carve out in our field through his blog, books, and various other endeavors. It’s not too often you get so many volunteers lining up to read and comment on chapters of your latest book (see the 25 Years of EdTech franchise referenced above). I joke about Martin’s work, but that’s only because I am jealous of how well he has been able to both see and communicate the unique struggles facing the field of open education—he’s a believer, but he is also very practical about what that means to the wider world which makes him an amazing translator and ambassador.

Martin Weller’s The Battle for Open —documenting the MOOC years and more

I’m not sure what the next 75 years of edtech will bring, but I think that part of it will be driven by the open, playful spirit of Weller’s stand-out work. Maybe he’ll just write pulp horror novels from here on out (which is probably necessary after the work he has put in), but I do know that his commitment over the last 30 years has resulted in one of the few voices that was able to so succinctly articulate a moment. The fact that the OER24 conference ended with a standing ovation for his contributions was probably the thing I missed most; I really wanted to stand up alongside a group of fellow travelers and clap for everything he has given us over the years. Thanks Martin, you’re the metaphor maker that keeps on giving!

Posted in Instructional Technology, OER23, OER24, open education, Uncategorized | Tagged , , | 3 Comments

That Mathers Aesthetic!

The great Maren Deepwell (who Reclaim Hosting has been lucky enough to work with after her long stint as ALTs brilliant CEO) has created a visual anthology celebrating 10 years of Reclaim’s art. It’s a very cool video, and I highly recommend you partake in the celebration 🙂

I’m really proud of the brand we’ve been able to forge over the last decade. Trying to make a relatively boring product like web hosting compelling has been one of the funnest elements of the job. What’s more, getting to partner with the entire Reclaim team and the likes of Bryan Mathers to do it has been the real gold.

Gold Record plan for the newly launched Reclaim.Press

Bryan will quickly deflect any praise or compliment right back at you taking little to no credit for how much his own visual storytelling shapes our identity by capturing a raucous sense of cultural play without sacrificing a deep, company-wide commitment to an open and independent web.

Bryan Mathers early vision for the indie edtech record store with snide proprietor and all 🙂

There’s a fine line to walk between tongue and cheek references and an underlying commitment to what can be referred to as indie edtech or trailing edge technology. A belief that the new and shiny can often obfuscate the long history of edtech, but also erase any sense of its embedded cultural history that impacts ours daily lives.

The iconic, industrial visual label of Reclaim Cloud

The link between edtech and vinyl or edtech and an independent record store is not only playful, but also an argument for the production of online culture and the value of an independent space to do it. Reclaim understands itself outside the homogenizing box-store mentality of massive social media sites and hosting services, much like independent record labels such as Dischord that are anathema to the mainstream business of music. It’s about community, it’s about focus, and it’s about controlled, responsible growth. These are so many of the understated, subliminal messages in the Mathers Aesthetic that are directly linked to an ethos of indie edtech.

The ds106 album cover where Giulia Forsythe remixes Raymond Pettibon that in many ways pre-figures Bryan Mathers remixing

I don’t think it would be an overstatement to say that Bryan, however inadvertently, has become the Raymond Pettibon of indie edtech, and his aesthetic permeates far beyond the confines of Reclaim Hosting’s “album covers.” If I was being selfish I would refer to all the great work he has created for us over the years as the “Reclaim aesthetic,” but if I were to be honest it’s more appropriate to say “that Mathers aesthetic!”—and we have just been lucky enough to be early to the party. Go ahead, try and create your online identity with an AI prompt, we’ll be over here working with the artists.

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ReclaimEDU: the Infomercial

“I have fallen and I can’t get up”

I had the good fortune to do a stream last week with Pilot and Maren about ReclaimEDU, something we’ve been doing for clients for well over a year now, but have not pushed more broadly until just recently. “What is ReclaimEDU?” you ask. Well, it is high-availability WordPress hosting that ensures your site remains up. This depends upon your site being duplicated across different data centers in different regions to allow for instant fail over. What’s more, speed and security are crucial thanks to global caching, DdoS protection, and bot management. In other words, if you have a site that just can’t go down, then ReclaimEDU is for you. Also, I am using the “I have fallen and I can’t get up” GIF because Paul Bond referred to my spiel in the following video as my “infomercial” -which I take as a compliment!

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The Dr. Oblivion Bot

In the latest episode of Reclaim Today, Paul Bond and I catch up with Michael Branson Smith (MBS) in order to break down how he created the Dr. Oblivion bot running at Oblivion.University. Paul has been integrating the bot into his ds106 course quite impressively over the last several weeks by introducing students to how to build such a Frankenstein creation.

As it so happens, MBS is a repeat offender on Reclaim Today, we chatted a few years ago about his CSS-generated animated movie posters—that are amazing—and it seems his creativity has no limits. He’s not afraid of AI or CSS!

Posted in AI, digital storytelling, Oblivion University | Tagged , , , , | 1 Comment

The Old Disturbance

I cannot say how many days passed. The old disturbance had returned and in that state of blackness one can no more tell the days than a blind man notice the changes of light.

From Graham Greene’s The End of the Affair

I’ve been silent on the bava for quite some time as I’ve been struggling over the last several months with an uncharacteristically deep depression. It started in the fall, but finally consumed me for most of December and January. I’ve been fighting my way back out throughout February, and I’m definitely starting to feel better as the “old disturbance” retreats to the shadows.

One of the things I started doing once I could reclaim a bit of focus from the steely grips of anxiety and dread was read books, and I read a bunch—it felt pretty damn good. The quote above is from one of them, and it speaks directly to my situation in ways I was not ready for, but also deeply struck by. Turns out Graham Greene struggled with what is believed to be bipolar, and reading this novel was like looking into a mental mirror at various moments. Difficult, but also amazing, given how well he captures the emotional turmoil invisible to the onlooker, yet deeply anchored in the mind of anyone navigating a misaligned orbit of  tormented thought. Great narrative allows for that intimate relation with the reader, and while it was hard to manage at times, I was also strangely comforted by this frank confession from a fictional character in depressed, post-war England.

Antonella calls it bibliotherapy, and I think she got that term from Schopenhauer’s notes on aging with dignity, so I think I’m in pretty good company all around. It feels good to be back on the blog.

Posted in blogging | 28 Comments

A Guided Videodrome Review using ChatGPT

I’m in the midst of preparing for AI106, and I wanted to finally dig in a bit on ChatGPT using some of the advice proffered by Middlebury’s prompting poetry exercise “It’s Not Magic, It’s Math.” I wanted to start with a very basic review of David Cronenberg’s Videodrome (1983), and then try and ask the machine to get more topical and eventually theoretical by invoking Marshall McLuhan. The prompting is increasingly more biased by my own sense of the film (or things that I’ve read elsewhere), so the responses were not necessarily revelatory—I was in many ways asking it to give me what I wanted. That said, it is able to bring together a bunch of cogent ideas around the film quite quickly, and holds up as a basic summary review/reading, which does make you wonder if math and magic don’t overlap a little bit 🙂

GIF of Dr Oblivion as an 80s AI chatbot

My final question was more of a fact-finding mission to see if there is any evidence that Cronenberg studied with McLuhan at the University of Toronto, something I believe I heard, but may have hallucinated. Turns out McLuhan was teaching there while Cronenberg attended the university, but Cronenberg never took a course with him, which a quick Google search also confirms. I’m not sure exactly what this establishes, maybe that the machines can compile and regurgitate a lot of summary information very quickly. Or perhaps that I am obsessed with Cronenberg and Videodrome? Maybe both, but the fact that Videodrome was about a shifting sense of consciousness due to the rise of mass media and the resulting hallucinations certainly tracks on what a lot of people are talking about with AI. The idea of Dr. Oblivion as the VHS-based AI from the 1980s is fascinating to me in this regard, and gives the genius that Michael Branson Smith created with Oblivion University yet another layer of metaphorical richness. Once you give the chatbot a voice and a bit of a persona/attitude, the power of those responses enters new territory of Uncanny Valley.

Can you write a short review of David Cronenberg’s 1983 Videodrome?

Certainly! “Videodrome,” directed by David Cronenberg and released in 1983, is a mind-bending exploration of the intersection between technology, media, and the human psyche. James Woods stars as Max Renn, the CEO of a small television station searching for edgy and provocative content. His quest leads him to “Videodrome,” a mysterious and disturbing broadcast that blurs the lines between reality and hallucination.

Cronenberg’s film is a surreal journey into the dark recesses of the human mind, where the boundaries between the real and the imagined become increasingly blurred. The narrative is filled with surreal and grotesque imagery, embodying the director’s trademark body horror aesthetic. The film’s prophetic take on the dehumanizing effects of media and technology feels even more relevant in today’s hyper-connected world.

The performances, particularly James Woods and Debbie Harry, are compelling, adding a layer of authenticity to the unsettling narrative. The practical effects used to bring the bizarre and nightmarish visions to life are a testament to Cronenberg’s mastery in creating visceral and disturbing cinematic experiences.

“Videodrome” is not a film for everyone, as it delves into challenging and thought-provoking themes. It’s a cult classic that has gained a reputation for its bold and unconventional approach to storytelling, pushing the boundaries of both horror and science fiction genres. If you appreciate films that challenge conventions and explore the darker corners of the human psyche, “Videodrome” is a must-watch that continues to resonate with audiences for its daring and visionary storytelling.

Can you ay more about the use of television and VHS in this film as a kind os substance abuse?

Certainly! In “Videodrome,” David Cronenberg uses television and VHS technology as a metaphor for a kind of substance abuse, exploring the addictive and mind-altering effects of media consumption. Max Renn, the protagonist played by James Woods, becomes increasingly obsessed with the mysterious and disturbing content he discovers on Videodrome, a pirate television broadcast. The film presents a narrative where exposure to this extreme and provocative media has a transformative impact on the viewer, akin to a drug.

Much like substance abuse, the characters in the film experience a loss of control over their own perceptions and realities. Max Renn’s descent into the dark world of Videodrome is marked by hallucinations, blurring the lines between what is real and what is a product of his altered mental state. The film suggests that the constant exposure to graphic and violent imagery has a profound and deleterious effect on the human psyche, akin to the destructive consequences of substance addiction.

The use of VHS technology, a popular medium for home video consumption in the 1980s, adds another layer to this metaphor. The accessibility and ease of replicating and distributing VHS tapes parallel the idea of a dangerous and contagious influence spreading rapidly, much like a drug epidemic. The film reflects concerns about the potential harm that unregulated and extreme media content can inflict on individuals and society as a whole.

Cronenberg’s exploration of the addictive nature of media and its potential to reshape human consciousness is a central theme in “Videodrome.” The film serves as a cautionary tale about the power of mass media and the psychological toll it can take on those who immerse themselves in its most extreme and distorted forms.

Can you use Marshall Mcluhan’s theories of media to offer an analysis of Videodrome?

Certainly! Marshall McLuhan’s theories of media, particularly his famous phrase “the medium is the message,” can be applied to analyze David Cronenberg’s “Videodrome” in a thought-provoking way.

In “Videodrome,” McLuhan’s ideas about the impact of media on society are mirrored in the film’s exploration of the symbiotic relationship between technology and human consciousness. The concept that the medium itself shapes and influences the message is evident in the film’s narrative, where the Videodrome signal becomes a transformative force, altering the perceptions and realities of those exposed to it.

McLuhan also discussed the idea of media as an extension of the human senses. In the case of “Videodrome,” the television and VHS technology act as extensions of the characters’ sensory experiences, blurring the boundaries between the virtual and the real. McLuhan’s emphasis on the immersive and participatory nature of media finds resonance in the film as characters become not just passive consumers but active participants in the dark, hallucinatory world of Videodrome.

Moreover, McLuhan’s exploration of the global village, where communication technologies shrink the world into a more interconnected and immediate space, can be seen in how the Videodrome signal spreads and connects individuals on a mass scale. The film suggests that the media, in this case, has the power to create a shared, albeit disturbing, experience that transcends traditional boundaries.

Additionally, McLuhan’s ideas about the numbing and desensitizing effects of media are reflected in the film’s portrayal of the characters’ gradual acceptance and normalization of extreme and violent content. The medium of Videodrome becomes a kind of drug that desensitizes its users to the moral and ethical implications of their actions.

In conclusion, “Videodrome” serves as a cinematic exploration and critique of McLuhan’s theories, particularly regarding the transformative and participatory nature of media. The film engages with the idea that the medium itself, in this case, the Videodrome signal, is a powerful force that not only communicates a message but fundamentally shapes the consciousness and behaviors of those who engage with it.

Can you find any research to establish Cronenberg was a student of Marshall Mcluhan?

There is no credible evidence or research to suggest that David Cronenberg was a student of Marshall McLuhan. Cronenberg is a Canadian filmmaker and director known for his work in the horror and science fiction genres. While both Cronenberg and McLuhan are prominent figures in Canadian cultural history, there is no indication that Cronenberg studied under McLuhan or had a direct academic connection with him.

Marshall McLuhan was a media theorist and professor, best known for his influential work on media studies, particularly his ideas about the medium being the message and the global village. His academic career was centered around his work at the University of Toronto, where he taught from 1946 until his death in 1980.

David Cronenberg, on the other hand, attended the University of Toronto but pursued a degree in literature. He later shifted his focus to filmmaking and gained recognition for his unique approach to the horror genre, incorporating elements of body horror and psychological tension into his films.

While both Cronenberg and McLuhan have made significant contributions to Canadian culture, there is no evidence to suggest a direct mentorship or academic relationship between them. Cronenberg’s filmmaking style and thematic choices may have been influenced by cultural and intellectual currents of the time, but any connection between Cronenberg and McLuhan appears to be more indirect and contextual rather than academic.

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Demystifying AI

As Paul Bond and I try to get the bones of AI106 together for the coming semester-long ds106 course focused on AI, I’m appreciating the amazing work the good folks at Middlebury College have done to frame an engaging, hands-on introduction to Artificial Intelligence. Their Digital Detox course focused on Demystifying AI is really off to a quite impressive start. Paul and I will be borrowing heavily from their work and looping it in to the weekly roundup of resources given how well they balance explanation with focused action. I love the idea of creating a space for the broader Middlebury community (and beyond) to explore the emergent phenomenon of AI. What’s more, the site looks so beautiful!

Screenshot of Middlebury College's Demystifying AI site

Screenshot of Middlebury College’s Demystifying AI site

Posted in AI, ai106, digital storytelling | Tagged | 3 Comments