Difference between revisions of "Digital environments"

From Cinemachines
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* https://schweigi.github.io/assembler-simulator/ = super nice!
 
* https://schweigi.github.io/assembler-simulator/ = super nice!
 
* http://carlosrafaelgn.com.br/Asm86/ = x86 assembler
 
* http://carlosrafaelgn.com.br/Asm86/ = x86 assembler
 +
 +
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== Early digital films ==
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{| style="border-spacing:0;width:7.5403in;"
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
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| style="color:#000000;" | '''Film'''
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| style="color:#000000;" | '''Kunstner'''
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| style="color:#000000;" | '''Programmør'''
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| style="color:#000000;" | '''Software'''
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| style="color:#000000;" | '''Hardware'''
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| style="color:#000000;" | '''Anden teknik'''
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| style="color:#000000;" | '''Institution'''
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|- style="border:1pt solid #000000;padding:0.0694in;"
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| style="color:#000000;" | Homage to Rameau(1967)
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| style="color:#000000;" | John Whitney
 +
||
 +
||
 +
||
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||
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| style="color:#000000;" | IBM at UCLA[4]
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|- style="border:1pt solid #000000;padding:0.0694in;"
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| style="color:#000000;" | Permutations (1968)
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| style="color:#000000;" | John Whitney
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|| <div style="color:#000000;">Jack Citron,</div>
 +
 +
<div style="color:#000000;">Porter Rosenberry</div>
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| 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;" | IBM at UCLA[4]
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
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| style="color:#000000;" | Osaka 1-2-3 (1968)
 +
| style="color:#000000;" | John Whitney
 +
||
 +
||
 +
||
 +
||
 +
| style="color:#000000;" | IBM at UCLA[4]
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|- style="border:1pt solid #000000;padding:0.0694in;"
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| style="color:#000000;" | Matrix I
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| style="color:#000000;" | John Whitney
 +
||
 +
||
 +
||
 +
||
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| style="color:#000000;" | Cal Tech[3]
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|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Matrix II
 +
||
 +
||
 +
||
 +
||
 +
||
 +
| style="color:#000000;" | Cal Tech[3]
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Matrix III
 +
| style="color:#000000;" | John Whitney
 +
| style="color:#000000;" | Dean Anschultz
 +
| style="color:#000000;" | Information International FR 80 (?)
 +
||
 +
||
 +
| style="color:#000000;" | Triple-I [3]
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Arabesque
 +
| style="color:#000000;" | John Whitney
 +
| style="color:#000000;" | Larry Cuba
 +
||
 +
||
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| style="color:#000000;" | Optisk printer (farve)
 +
| style="color:#000000;" | Funded by NEA grant
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Moon drum
 +
| style="color:#000000;" | John Whitney
 +
| style="color:#000000;" | Jerry Reed (based on Jack Citron?)
 +
| style="color:#000000;" | Whitney-Reed RDTD (Radius-Differential Theta Differential)
 +
||
 +
||
 +
||
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|- style="border:1pt solid #000000;padding:0.0694in;"
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| style="color:#000000;" | First Fig
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| style="color:#000000;" | Larry Cuba
 +
||
 +
||
 +
||
 +
||
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| style="color:#000000;" | NASA’s Jet Propulsion Lab
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | 3/78 (Objects and Transformations)
 +
| style="color:#000000;" | Larry Cuba
 +
||
 +
| style="color:#000000;" | GRASS
 +
||
 +
||
 +
||
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|- style="border:1pt solid #000000;padding:0.0694in;"
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| style="color:#000000;" | Two Space
 +
| style="color:#000000;" | Larry Cuba
 +
||
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| style="color:#000000;" | RAP
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| style="color:#000000;" | COM + PDP-10[1]
 +
||
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| style="color:#000000;" | Los Angeles firm Information International Inc. (III)
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Star Wars: Death Star Instructions
 +
| style="color:#000000;" | Larry Cuba
 +
| style="color:#000000;" | Larry Cuba
 +
| style="color:#000000;" | GRASS
 +
| 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]
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Calculated Movements
 +
| 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;">[2]</div>
 +
| style="color:#000000;" | Cuba’s første raster graphics-film (solid - 4 farver)[2]
 +
| style="color:#000000;" | Optaget m/ Ly-onLamb system[2]
 +
||
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Pixillation
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
| style="color:#000000;" | Bell Labs(?)
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Olympiad
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | UFOs
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
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|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Enigma
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
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|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Googolplex
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
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|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Apotheosis
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
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|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Affinities
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Kinesis
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
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|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Alae
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Metamorphosis
 +
| style="color:#000000;" | Lillian Schwartz
 +
| style="color:#000000;" | Ken Knowles
 +
||
 +
||
 +
||
 +
||
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
| style="color:#000000;" | Poemfields
 +
| style="color:#000000;" | Stan van der Beek
 +
| style="color:#000000;" | Ken Knowles
 +
| style="color:#000000;" | BEFLIX (extends FORTRAN)
 +
| style="color:#000000;" | IBM 7090 (mainframe)
 +
| style="color:#000000;" | Stromberg-Carlson SC2040 microfilm recorder for output
 +
| style="color:#000000;" | Bell Labs
 +
|- style="border:1pt solid #000000;padding:0.0694in;"
 +
||
 +
||
 +
||
 +
||
 +
||
 +
||
 +
||
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|-
 +
|}
 +
 +
 +
KILDER:
 +
[1] = Larry Cuba: “Computer Animation Primer”
 +
[2] = Wayne Carlson: “Computer Graphics and Computer Animation” ([https://osu.pb.unizin.org/graphicshistory/ https://osu.pb.unizin.org/graphicshistory/])
 +
[3] = http://www.cs.cmu.edu/~ph/nyit/masson/history.htm</div>
 +
[4] = Richard Stamp: “Experiments in Motion Graphics - or, when John Whitney met Jack Citron and the IBM 2250” ([https://blog.animationstudies.org/?p=426 https://blog.animationstudies.org/?p=426] )
 +
 +
 +
PIONEERER:
 +
* John Whitney
 +
* Lillian Schwartz
 +
* Stan van der Beek
 +
* Larry Cuba
 +
* Charles Csuri(?)
 +
* Robert Abel
 +
 +
 +
 +
  
  

Revision as of 23:39, 4 December 2019

DATAMOSHING in popular culture

Intro to "Unfriended: Dark Web" (glitching "RTL releasing") - produced as screencast, ie. a computer screen film

Cellular Automata

Amazing ressource: https://www.conwaylife.com/wiki/Main_Page Gun at wiki

Programming languages

Name Header text Examples Characteristics Conversion
Machine code (source code)
(1st generation)		 Machine instruction ("opcode") directly readable by processor - as stream of raw binary data or encoded as hex, octal or decimal Front panel of PDP-8/E Machine code is fed into a processor whose instruction set defines the manipulation of registers and so on
Assembly code (symbolic machine code)
(2nd generation)		 One human-readable line pr. machine instruction - symbols for opcodes, addresses, numbers and strings.
Also: Macro (macro-instructions) of grouped instructions		 MASM (Microsoft) Describes writing instructions to specific (named) registers in computer.
No "return" and thus no concept of "function"		 Assembler converts assembly code into executable machine code
Compiler language C Operations on named variables rather than "shift position" (e.g. n as int). Compiler converts to assembly language (e.g. for a specific architecture)
High level with some low level PL/S
BLISS
BCPL, extended ALGOL (for Burroughs large systems)
C
High level (first major)
(autocodes)		 First widespread high-level machine-independent language Fortran
[BASIC??]
[also COBOL]		 nested functions
while-do
if-then-else

ASSEMBLER (SIMULATOR):


Early digital films

Film Kunstner Programmør Software Hardware Anden teknik Institution
Homage to Rameau(1967) John Whitney IBM at UCLA[4]
Permutations (1968) John Whitney
Jack Citron,
Porter Rosenberry
 "Polar Geometric Display Program" and "animated Design Program" (programmed in GRAF - on FORTRAN system)[4] IBM 360 w/ IBM 2250 vector display systems[4] Optisk printer (farve) IBM at UCLA[4]
Osaka 1-2-3 (1968) John Whitney IBM at UCLA[4]
Matrix I John Whitney Cal Tech[3]
Matrix II Cal Tech[3]
Matrix III John Whitney Dean Anschultz Information International FR 80 (?) Triple-I [3]
Arabesque John Whitney Larry Cuba Optisk printer (farve) Funded by NEA grant
Moon drum John Whitney Jerry Reed (based on Jack Citron?) Whitney-Reed RDTD (Radius-Differential Theta Differential)
First Fig Larry Cuba NASA’s Jet Propulsion Lab
3/78 (Objects and Transformations) Larry Cuba GRASS
Two Space Larry Cuba RAP COM + PDP-10[1] Los Angeles firm Information International Inc. (III)
Star Wars: Death Star Instructions Larry Cuba Larry Cuba GRASS PDP-11/45 Overført via Mitchell camera Circle Graphics Habitat at University of Illinois, Chicago[wiki]
Calculated Movements Larry Cuba Larry Cuba
2GRASS environment på Cuba’s egen PC
[2]
 Cuba’s første raster graphics-film (solid - 4 farver)[2] Optaget m/ Ly-onLamb system[2]
Pixillation Lillian Schwartz Ken Knowles Bell Labs(?)
Olympiad Lillian Schwartz Ken Knowles
UFOs Lillian Schwartz Ken Knowles
Enigma Lillian Schwartz Ken Knowles
Googolplex Lillian Schwartz Ken Knowles
Apotheosis Lillian Schwartz Ken Knowles
Affinities Lillian Schwartz Ken Knowles
Kinesis Lillian Schwartz Ken Knowles
Alae Lillian Schwartz Ken Knowles
Metamorphosis Lillian Schwartz Ken Knowles
Poemfields Stan van der Beek Ken Knowles BEFLIX (extends FORTRAN) IBM 7090 (mainframe) Stromberg-Carlson SC2040 microfilm recorder for output Bell Labs


KILDER: [1] = Larry Cuba: “Computer Animation Primer” [2] = Wayne Carlson: “Computer Graphics and Computer Animation” (https://osu.pb.unizin.org/graphicshistory/)

[3] = http://www.cs.cmu.edu/~ph/nyit/masson/history.htm

[4] = Richard Stamp: “Experiments in Motion Graphics - or, when John Whitney met Jack Citron and the IBM 2250” (https://blog.animationstudies.org/?p=426 )


PIONEERER:

  • John Whitney
  • Lillian Schwartz
  • Stan van der Beek
  • Larry Cuba
  • Charles Csuri(?)
  • Robert Abel




What is the digital?

Notes on the digital 10th of July 2019

What is:

  • computer
  • digital
  • electronic
  • interactivity (especially in the light of cinemachines)
  • animation (Manovich + virtual camera (Gravity))
  • programmability (hardware and software)
  • internet

hybrids of analog-digital cinemachines:

  • laserdisc
  • video games
  • digitally controlled synthesizers
  • raster and vector graphics

A definition based on signal, ie. encoding

  • composite and so on
  • VGA and DVI (hybrid?)
  • HDMI

After a definition based on signal, the question remains: What are the operations of the digital?

We must base these in:

  • Data as information

bytes are the encoding entity of the digital - these may be alphanumeric, images, sounds, even programs

random access memory/storage is something that is essentially digital

the digital processor defines the operations of the digital. These might be

  • logical
  • mathematical (adding, substracting, multiplying and so on of operands)
  • database (sort, find)
  • memory (read, write, goto)

and more.

These are archetypal models of the digital machines, e.g. developed in advanced mathematics, in textile weaving and more.

What does educational computers such as Geniac and Minivac teach us about computers?

How can reality be translated into "digital objects"? (Niels Ove Finnemann's speak)

How does early digital cinema (and art) help define what is "digital"?

CASES:

  • John Whitney
  • BEFLIX (somewhat similar to ASCII)
  • Stan VanDerBeek
  • Lilian Schwartz
  • Larry Cuba
  • Jeffy Schier/Vasulka
  • Steve Beck
  • Karl Sims (parallel computing)

NEW ISSUES:

  • Machine learning [wekinator]
  • Quantum computing
  • Neurale netværk
  • Deep fake (digital transplantation - Pinscreen app [stammer fra SFX])
  • Virtual reality (interactivity)


Fra arbejdspapir (20/7-2019)

ERKENDELSE:

Det er måske relativt få af disse displays, hvor der er opbygget et "system" omkring dem, så det giver mening at tale om storage, processor, source osv. (mest film-projektor, raster tv).

Tilgengæld er det meget udfoldet i optisk miljø og muligvis i digital miljø. Det kan hjælpe med at aflive myten om, at der er "mange digitale ting lige pludselig"....?


VEDR DIGITAL:

  • Mange digitale "forløbere" er hybrider med andre miljøer, fx.
    • digital kontrol af laser/lys-show (optisk miljø)
    • digital plotting på filmstrimmel (plastisk miljø) - herunder med elektrisk skrivemaskine, med linje (pantograf) og med dot/line-plotter
      + langtidseksponering af bevægelse på film (optisk-plastisk-kombination)
    • digital konvertering til CRT - herunder vektor og raster (elektronisk miljø)
  • Det egentlige digitale er et signal kendetegnet ved, at det "pakkes" (encodes og decodes), men i kodningen kan det ikke direkte manipuleres (modsat et elektronisk signal, der kan forstyrres)
  • Der findes grader af interaktive og non-interaktive teknologier i det digitale - det gør der nok også i de andre miljøer...
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