He went on to Harvard, but dropped out to start Microsoft, based in Redmond, Wash. Microsoft is now moving into the communications industry--blanketing the entertainment and information sectors with new investments and alliances.
1. He was fascinated by Leonardo's Renaissance way of thinking
During a during a quick trip to Los Angeles on Tuesday, Gates good-naturedly responded to questions. He sees the world through the prism of markets. Value to him seems to do mostly with the bottom line.
Gates says he has mellowed from his early days, when he would often work three days straight and not take vacations. Two years ago, he married Melinda French, general manager of the consumer division at Microsoft, and they are building a huge showcase home complete with state-of-the-art video screens, so Gates can browse through the his recently acquired Bettmann Archive, the vast photographic collection that includes such resonant images as John F.
Kennedy Jr. Question: What is it that interests you about film entertainment and how does it fit into where you are taking Microsoft?
Answer: Our involvement with DreamWorks is in the interactive business. He came up a few weeks later. A little time went by before he ended up getting together with Steven and David. Once that happened, there was discussion of what could we do. So we decided to create a joint venture and got it going. They have a number of projects under way.
The first thing they will ship will be for Christmas, They are not specific in what which titles they are doing. It is all CD Rom-based interactive, very creative, very artistic stuff. One thing that is incredible is how involved those founders are staying in the interactive business.
Q: What are your other interests when it comes to entertainment? What are you looking at beyond DreamWorks? A: We bought a company called SoftImage that does computer graphics software. Combined with the improvements in the hardware, particularly the graphics hardware, they will be able to do something pretty good. It uses SoftImage software, a sub-set of it, to let kids grab characters--or even adults--to do neat things. A: I have a company that is not Microsoft, called Corbis. Corbis is the operation that merged with Bettman Archives.
It has nothing to do with Microsoft.
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Q: What is your interest in that personally? Is it the photos, history? What is that fascinates you?
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A: Being able to get at high-quality images. My belief is that with the Internet getting faster and faster, and screen technology getting better, that whether you are looking for an image to publish or just to browse or use it in a personal document--if we get a really great index and we have mechanism to pay royalties to people who bring images, then you could create a place that is very easy for people to go and allows high quality imagery to be used far more broadly than it is today.
I think great images are a fascinating thing. A: No, this one is the closest to a case where my own personal enthusiasm may have played a major role. Q: What about value? I understand that Microsoft Network, for example, plans to position itself as a conduit, not as a publisher subject to rules of libel and any others that fall on publishers. It also raises the questions of whether the network might include pornography. What are the rules for the new publishers?
A: Are you interested in value? But pornography rules are no different in the electronic world than they are for anyone else; libel rules are no different than anywhere else.
There is some accommodation required. Somebody can utter something libelous or pornographic. Under the current interpretations, you would be totally liable for what they said. So people are either taking the risk or hoping the rules will be set up so you can notify people as they move into different parts of cyberspace.
What are the rules? Who is the publisher who is is responsible? Are these identities of people in this area of cyberspace real identities, that have been authenticated, or arbitrary appearances and names that people have been allowed to choose. The seams were then sealed with a naturally occurring black viscous substance called bitumen , like modern asphalt. The Ishtar Gate is only one small part of the design of ancient Babylon that also included the palace, temples, an inner fortress, walls, gardens, other gates and the Processional Way.
The lavish city was decorated with over 15 million baked bricks, according to estimates. In Babylon, the rituals surrounding this holiday lasted twelve days. The Processional Way, which has been traced to a length of over half a mile, extended north from the Ishtar Gate and was designed with brick relief images of lions, the symbol of the goddess Ishtar also known as Inanna the war goddess, the dragon of Marduk, the lord of the gods, and the bull of Adad, the storm god.
Symbolized by the star and her sacred animal, the lion, she was also the goddess of war and the protector of ruling dynasties and their armies. The idea of protection of the city is further incorporated into this gateway design by the use of crenelated buttresses along both sides to this entrance into the city. Friezes with sixty ferocious lions representing Ishtar decorated each side of the Processional Way, designed with variations in the color of the fur and the manes.
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On the east side, they had a left foot forward, and on the west side, they had the right foot forward. Each lion was made of forty-six molded bricks in eleven rows. The Processional Way was paved with large stone pieces set in a bed of bitumen and was up to 66 feet wide at some points. This street ran from the Euphrates through the temple district and palaces and onto the Ishtar Gate.
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On the wall of the Ishtar Gate, the inscription is 15 meters tall by 10 meters wide and includes 60 lines of writing. The inscription was created around the same time as the gate's construction, around — BCE. Nebuchadnezzar, King of Babylon, the pious prince appointed by the will of Marduk, the highest priestly prince, beloved of Nabu, of prudent deliberation, who has learnt to embrace wisdom, who fathomed Their Marduk and Nabu godly being and pays reverence to their Majesty, the untiring Governor, who always has at heart the care of the cult of Esagila and Ezida and is constantly concerned with the well being of Babylon and Borsippa, the wise, the humble, the caretaker of Esagila and Ezida, the first born son of Nabopolassar, the King of Babylon, am I.
Both gate entrances of the city walls Imgur-Ellil and Nemetti-Ellil following the filling of the street from Babylon had become increasingly lower. Therefore, I pulled down these gates and laid their foundations at the water table with asphalt and bricks and had them made of bricks with blue stone on which wonderful bulls and dragons were depicted.
I covered their roofs by laying majestic cedars lengthwise over them. I fixed doors of cedar wood adorned with bronze at all the gate openings. I placed wild bulls and ferocious dragons in the gateways and thus adorned them with luxurious splendor so that Mankind might gaze on them in wonder. I let the temple of Esiskursiskur, the highest festival house of Marduk, the lord of the gods, a place of joy and jubilation for the major and minor deities, be built firm like a mountain in the precinct of Babylon of asphalt and fired bricks.
A reconstruction of the Ishtar Gate and Processional Way was built at the Pergamon Museum in Berlin out of material excavated by Robert Koldewey and finished in the s. Claudius James Rich, British resident of Baghdad and a self-taught historian, did personal research on Babylon because it intrigued him. Acting as a scholar and collecting field data, he was determined to discover the wonders to the ancient world.
Rich's topographical records of the ruins in Babylon were the first ever published, in It was reprinted in England no fewer than three times. Rich and most other 19th-century visitors thought a mound in Babylon was a royal palace, and that was eventually confirmed by Robert Koldewey's excavations, who found two palaces of King Nebuchadnezzar and the Ishtar Gate.
GATES OF HELL RECORDS
Koldewey's part in Babylon's excavation began in The method that the British were comfortable with was excavating tunnels and deep trenches, which was damaging the mud brick architecture of the foundation. Instead, it was suggested that the excavation team focus on tablets and other artefacts rather than pick at the crumbling buildings. Despite the destructive nature of the archaeology used, the recording of data was immensely more thorough than in previous Mesopotamian excavations. Walter Andre, one of Koldewey's many assistants, was an architect and a draftsman, the first at Babylon.
His contribution was documentation and reconstruction of Babylon.