Digital environments - Revision history

Kzxpr: /* Early digital films */

2020-09-02T15:07:36Z

Early digital films

Kzxpr: /* Early digital films */

2020-09-02T15:04:08Z

Early digital films

Kzxpr at 21:42, 19 April 2020

2020-04-19T21:42:56Z

Kzxpr at 14:24, 19 April 2020

2020-04-19T14:24:07Z

Kzxpr: /* Early digital films */

2020-01-12T10:43:59Z

Early digital films

Kzxpr: /* Early digital films */

2019-12-26T20:22:29Z

Early digital films

Kzxpr: /* Early digital films */

2019-12-26T20:21:12Z

Early digital films

Kzxpr: /* Digital main themes */

2019-12-23T21:54:22Z

Digital main themes

Kzxpr at 21:52, 23 December 2019

2019-12-23T21:52:03Z

Kzxpr at 21:39, 23 December 2019

2019-12-23T21:39:06Z

@@ Line 172: / Line 172: @@
 | style="color:#000000;" | Larry Cuba
 ||
-||
+| style="color:#000000;" | Film plotter
 | style="color:#000000;" | Optical printer (color)
 | style="color:#000000;" | Triple-I [10]. Funded by NEA grant
@@ Line 218: / Line 218: @@
 | style="color:#000000;" | GRASS
 | style="color:#000000;" | [[PDP-11/45]]
-| style="color:#000000;" | Overført via Mitchell camera
+| style="color:#000000;" | Transferred via Mitchell camera
 | style="color:#000000;" | Circle Graphics Habitat at University of Illinois, Chicago[wiki]
 |- style="border:1pt solid #000000;padding:0.0694in;"
@@ Line 225: / Line 225: @@
 | style="color:#000000;" | Larry Cuba
 | style="color:#000000;" | Larry Cuba
-|| <div style="color:#000000;">2GRASS environment på Cuba’s egen PC</div>
+|| <div style="color:#000000;">2GRASS environment on Cuba's own PC</div>
 <div style="color:#000000;">[2]</div>
-| style="color:#000000;" | Cuba’s første raster graphics-film (solid - 4 farver)[2]
+| style="color:#000000;" | Cuba's first raster graphics-film (solid - 4 shades)[2]
-| style="color:#000000;" | Optaget m/ Ly-onLamb system[2]
+| style="color:#000000;" | Recorded with Ly-onLamb system[2]
 ||
 |- style="border:1pt solid #000000;padding:0.0694in;"

@@ Line 128: / Line 128: @@
 | style="color:#000000;" | "Polar Geometric Display Program" and "animated Design Program" (programmed in GRAF - on FORTRAN system)[4]
 | style="color:#000000;" | IBM 360 w/ IBM 2250 vector display systems[4]
-| style="color:#000000;" | Optisk printer (farve)
+| style="color:#000000;" | Optical printer (color)
-| style="color:#000000;" | IBM at UCLA[4]
+| style="color:#000000;" | IBM at UCLA[4], Medical center at UCLA [10]
 |- style="border:1pt solid #000000;padding:0.0694in;"
 | style="color:#000000;" | Osaka 1-2-3
@@ Line 173: / Line 173: @@
 ||
 ||
-| style="color:#000000;" | Optisk printer (farve)
+| style="color:#000000;" | Optical printer (color)
-| style="color:#000000;" | Funded by NEA grant
+| style="color:#000000;" | Triple-I [10]. Funded by NEA grant
 |- style="border:1pt solid #000000;padding:0.0694in;"
 | style="color:#000000;" | Moon drum. Twelve works for videodisc
@@ Line 397: / Line 397: @@
 [9] = [http://visualmusic.org/Biography/Index.html]
 '''PIONEERS:'''

@@ Line 1: / Line 1: @@
-As mentioned, the digital environment is based on binary code (of discrete bits) and each image in a movie will be sampled in pixels here. When a computer handles these signals, it happens with programs that change the code. Although the digital signal is sent electronically, it is not "modular" in the same way as the video signal. Where, for example. can bend an analog electrical signal by adding resistance in the wires, the digital signal "on / off" bit cannot be bent to a new signal. If you tried to put Paik magnets on a computer cabinet to "scramble" the signal, or "scratch" a DVD like a vinyl record, the signal would work normally until the load became too large and playback stopped.
+As mentioned before, the digital environment is based on ''binary code'' (of discrete bits) and each image in a film will be sampled in pixels. The digital computer process these signals through software that change the code. Although the digital signal is sent electronically, it is not manipulable in the same way as the video signal. For example, while one can bend an analog electrical signal by adding resistance in the wires, the digital signal "high/low" bits cannot be bent to a new signal. And if one tried to mount Paik magnets on a computer cabinet to "scramble" the signal, or "scratch" a DVD like a vinyl record, the signal would work normally until the load became too heavy and playback stopped.
-	Finally, movie files are also temporarily compressed. Because most file formats do not have full information about all the frames of the movie, they have divided them into primary I-frames that contain information about the whole picture, and a large amount of P and B frames that the computer calculates. Gregory Zinman explains: "P-frames contain information predicting the changes in the image between the current frame and the previous one, and B-frames contain information predicting the image differences between the previous, current, and subsequent frames. Because P- and B -frames use data from previous and forward frames, they are more compressed than I-frames. " (Zinman 2015: 107). The intermediate frames are thus continuously calculated as relative differences from the latest and upcoming I-frame. Then, removing I-frames from a movie file, you suddenly start a domino effect in the video, where all the middle frames have to "grab" to find the nearest reference point.
+A large part of the programs found in the digital environment are remediates the effects and structure of the other environments. This includes non-linear editing software that mimic the clipboard and optical printer. Image editing software that mimics analog development techniques and collage. VJ apps that mimic the video synthesizer with button, cable and handle interfaces. Animation software that automates the traditional key-frame/in-between process. And so on. Reproducing these well-known forms, the digital can seem almost an anonymous environment, but as designer Anthony Dunne has noted, this familiarity is also very problematic: "Designers using existing codes and conventions to make new products more familiar often unconsciously reproduce aspects of the ideology encoded in their borrowed motifs. The easy communication and transparency striving for champions of user-friendliness simply make our seduction by machines more comfortable." (Dunne 1998: 30). On the one hand, software designers like to reassure and seduce us by showing us the things we know in new packaging, but on the other hand, these tools can easily reproduce ideological values. The "black box" of the computer is particularly suspicious here, because it so rarely reveals it's nature.<sup>Hmm... I'm very sceptical of the Dunne quote as something specifically digital. This would be a feature of design in any environment, obviously.</sup>
-This effect is called data mashing and the result is often a psychedelic color pool of digital flicker. Among other things. Takeshi Murata has used the technique in Monster Movie (2005) where he removed key frames in a clip from an old B movie horror. The work alternates between the suddenly recognizable bites and abstract color explosions of digital.

← Older revision		Revision as of 14:24, 19 April 2020
Line 1:		Line 1:
		+	As mentioned, the digital environment is based on binary code (of discrete bits) and each image in a movie will be sampled in pixels here. When a computer handles these signals, it happens with programs that change the code. Although the digital signal is sent electronically, it is not "modular" in the same way as the video signal. Where, for example. can bend an analog electrical signal by adding resistance in the wires, the digital signal "on / off" bit cannot be bent to a new signal. If you tried to put Paik magnets on a computer cabinet to "scramble" the signal, or "scratch" a DVD like a vinyl record, the signal would work normally until the load became too large and playback stopped.
		+	With its built-in noise sensitivity, the digital hardware does not bend, but only crack. The digital filmmaker must, so to speak, play the game on the terms of the environment and use software if any movie should ever come out of the computer's "black box".
		+	A large part of the programs found in the digital environment are remedies of the effects and structure of the other environments. This applies, for example. editors that mimic the clipboard and optical printer. Image editing that mimics analog development techniques and collage. VJ apps that mimic the video synthesizer with button, cable and handle interfaces. Animation software that automates the old key-frame / in-between process. Contract. With the well-known forms, the digital can almost seem like an anonymous environment, but as designer Anthony Dunne has noted, this familiarity is also very problematic: " their borrowed motifs. The easy communication and transparency striving for champions of user-friendliness simply make our seduction by machines more comfortable. " (Dunne 1998: 30). On the one hand, computers like to reassure and seduce us by showing us things we know in new packaging, but on the other hand, these tools also come easily to reproduce ideological values. The "black box" of the computer is particularly suspicious here, because it so desperately reveals its being.
		+	It is important to emphasize here that I do not see the computer itself as a film machine. First, the "computer" is not even one type of machine, for example, Whitney's first film machines were mechanical computers that could execute one kind of program and did it primarily in the environment that I have called optomechanical. But if you understand the "computer" as the digital, personal computer capable of performing many kinds of operations on everything from text files to video material, it is also not a film machine, but a platform for the digital environment, which can be seen of the practice in which it is applied.
		+	By contrast, computer programs are movie machines, for they are, for example. creates, manipulates and displays the video files. Most programs will have a graphic user interface that makes them accessible to the user of the computer, and of course they require the computer hardware to run. But essentially, a program's possible operations are defined by the software's built-in packages of functions and algorithms. Although interfaces also play an important role in the filmmakers' practice, it is the packages that determine the capabilities and limitations of the software, and these are the ones that software manufacturers patent.
		+	In the light of the digital, a number of media theorists have re-read the avant-garde film history, where they demonstrate that many of these films could easily have been programmed (see Le Grice 1996 on Eggeling and Manovich 2001 on Vertov). Among other things. artist Barbara Lattanzi took the consequence of this programmability and designed open-source software over classic "structural films" such as Hollis Frampton's Critical Mass (1971), which lays down the film's special cut pattern over any film clip (Enns 2011)
		+	Finally, there are also filmmakers who focus their practice on the playback software's filmmaker - perhaps in the absence of being able to hack the screen itself. Compression of movie files has e.g. been a theme of Nick Briz 'Black Compressed (2009), where a black screen has undergone normal video file compression. Just as the emulsion film would cope with fast movements at 24 fps, and video merges images into interlaces, digital films are compressed by merging single pixels into fields. The effect is particularly noticeable on black surfaces, and in Nick Briz's film, what was supposed to be a blank image is suddenly filled with small flakes in a slightly lighter variety.
		+
		+
		+	Finally, movie files are also temporarily compressed. Because most file formats do not have full information about all the frames of the movie, they have divided them into primary I-frames that contain information about the whole picture, and a large amount of P and B frames that the computer calculates. Gregory Zinman explains: "P-frames contain information predicting the changes in the image between the current frame and the previous one, and B-frames contain information predicting the image differences between the previous, current, and subsequent frames. Because P- and B -frames use data from previous and forward frames, they are more compressed than I-frames. " (Zinman 2015: 107). The intermediate frames are thus continuously calculated as relative differences from the latest and upcoming I-frame. Then, removing I-frames from a movie file, you suddenly start a domino effect in the video, where all the middle frames have to "grab" to find the nearest reference point.
		+	This effect is called data mashing and the result is often a psychedelic color pool of digital flicker. Among other things. Takeshi Murata has used the technique in Monster Movie (2005) where he removed key frames in a clip from an old B movie horror. The work alternates between the suddenly recognizable bites and abstract color explosions of digital.
		+
		+
	== What is the digital? ==		== What is the digital? ==
	Notes on the digital 10th of July 2019 + modified 23th of December 2019		Notes on the digital 10th of July 2019 + modified 23th of December 2019

@@ Line 198: / Line 198: @@
 | style="color:#000000;" | Larry Cuba
 | style="color:#000000;" | GRASS
-| style="color:#000000;" | PDP-11/45
+| style="color:#000000;" | [[PDP-11/45]]
 | style="color:#000000;" | Overført via Mitchell camera
 | style="color:#000000;" | Circle Graphics Habitat at University of Illinois, Chicago[wiki]

@@ Line 342: / Line 342: @@
 | style="color:#000000;" | 1989
 | style="color:#000000;" | Vibeke Sorensen
 ||
 ||
@@ Line 347: / Line 356: @@
 ||
 | style="color:#000000;" | [9]
 |-
 |}

@@ Line 338: / Line 338: @@
 ||
 | style="color:#000000;" | [7][8]
 |-
 |}
@@ Line 358: / Line 368: @@
 [8] = [https://en.wikipedia.org/wiki/Computer_animation]
 '''PIONEERS:'''

@@ Line 397: / Line 397: @@
 * Transcoding (e.g. text to video)
 * Virtual projection (shading, perspective, 3D, texture, light/shadows)
 == Cellular Automata ==

← Older revision		Revision as of 21:52, 23 December 2019
Line 390:		Line 390:
	* http://carlosrafaelgn.com.br/Asm86/ = x86 assembler		* http://carlosrafaelgn.com.br/Asm86/ = x86 assembler

		+	== Digital main themes ==
		+	* Key frame animation
		+	* Skeletal animation
		+	* Programmability
		+	* "Routing" inputs and outputs
		+	* Transcoding (e.g. text to video)
		+	* Virtual projection (shading, perspective, 3D, texture, light/shadows)

	== Cellular Automata ==		== Cellular Automata ==

@@ Line 394: / Line 394: @@
 Amazing ressource: https://www.conwaylife.com/wiki/Main_Page
 [https://en.wikipedia.org/wiki/Gun_(cellular_automaton) Gun at wiki]
 == DATAMOSHING in popular culture ==
 Intro to "Unfriended: Dark Web" (glitching "RTL releasing") - produced as screencast, ie. a [https://en.wikipedia.org/wiki/Computer_screen_film computer screen film]