23 08/21

Comparisons: ten

Tags: , | Categories: technical media
Invention Innovation
Diffusion Adoption
Product Innovation Process Innovation
Productivity Efficiency
Incremental Innovation Disruptive Innovation
Technological System Infrastructure
Repair Replace
Operation Service

Based on Lee Vinsel https://twitter.com/STS_News/status/1429819939528101898 23 Aug 2021

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07 10/20

Comparisons: nine

Collaboration Competition
Horizontal networking Vertical hierarchy
Best practices Regulation
Stake holders Interest groups
Consensus Doctrine

Anderson, Steve F. Technologies of Vision. The MIT Press. 2017. p. 16

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03 09/19

Bruno Munari’s Manifesto del Macchinismo 1938

| Categories: art, machine, technical media

Il mondo, oggi, è delle macchine.

Noi viviamo in mezzo alle macchine, esse ci aiutano a fare ogni
cosa, a lavorare e a svagarsi. Ma cosa sappiamo noi dei loro
umori, della loro natura, dei loro difetti animali, se non attraverso
cognizioni tecniche, aride e pedanti?

Le macchine si moltiplicano più rapidamente degli uomini,
quasi come gli insetti più prolifici; già ci costringono
ad occuparci di loro, a perdere molto tempo per le loro cure,
ci hanno viziati, dobbiamo tenerle pulite, dar loro da mangiare
e da riposare, visitarle continuamente, non far loro mai mancar nulla.

Fra pochi anni saremo i loro piccoli schiavi.

Gli artisti sono i soli che possono salvare l’umanità da questo pericolo.

Gli artisti devono interessarsi delle macchine,
abbandonare i romantici pennelli, la polverosa tavolozza, la tela e il telaio;
devono cominciare a conoscere l’anatomia meccanica, il linguaggio meccanico,
capire la natura delle macchine, distrarle
facendole funzionare in modo irregolare, creare opere d’arte
con le stesse macchine, con i loro stessi mezzi.

Non più colori a olio ma fiamma ossidrica, reagenti chimici,
cromature, ruggine, colorazioni anodiche, alterazioni termiche.

Non più tela e telaio ma metalli, materie plastiche, gomme e resine sintetiche.

Forme, colori, movimenti, rumori del mondo meccanico
non più visti dal di fuori e rifatti a freddo, ma composti armonicamente.

La macchina di oggi è un mostro!
La macchina deve diventare un’opera d’arte!

Noi scopriremo l’arte delle macchine!

22 10/18

Sinusoidal function

Tags: , | Categories: art, digital media, machine

Study Nr. 01 of a sinusoidal function

Made with processing

14 12/16

Portable Moving Images: video 

Tags: , | Categories: Deutschland, portable media

Defence of the doctoral thesis Portable Moving Images by Ricardo Cedeño Montaña 
Humboldt-Universität zu Berlin | Institute for Cultural History and Theory | Interdisciplinary Laboratory Image Knowledge Gestaltung

Sophienstraße, 22a. Berlin, Germany

Portable Moving Images from ~{dRNn}~ on Vimeo.

06 12/16

Portable Moving Images: defence 

Tags: | Categories: art, digital media

Public defence of the doctoral thesis: Portable Moving Images: a Media History of Storage Formats

 Ricardo Cedeño Montaña

Throughout the 20th and 21st centuries small-gauge film formats, consumer videotape formats, and low-resolution digital video files fostered the easy generation and transmission of moving images. Each of these media have emphasised the media’s portability as the defining condition for media production. The subject matter of this dissertation is a description of the media storage formats that have constituted the material and technical basis of amateur and DIY productions of moving images. It inquires into the effects that the technical features of such formats – their form and structure – have had on the visual qualities and dissemination of amateur moving images.

07 December 2016 12 pm

Interdisciplinary Laboratory Central Laboratory. 

Sophienstr 22b. 10178, Berlin,  Germany. 

04 11/16

The technical illusion of colour: from the trichromatic theory to the encoding of electromagnetic signals

Tags: , , | Categories: colour, technical media

Next, 18th November I’ll be presenting a short paper in the conference On the Epistemic Dimension of Colors in the Sciences at the Interdisziplinäres Labor Bild Wissen Gestaltung in Berlin, Germany.
The technical illusion of colour: from the trichromatic theory to the encoding of electromagnetic signals
Encoding schemes for producing, storing, and transmitting colour information in electronic media are based on a three-colour canon that originated in the 19th-century physiological studies of vision. During the 20th century this canon was first standardised and then implemented in several technical media. Since then it has become ubiquitous for understanding and producing the illusion of colour. This paper proposes a historical account of how the additive three-colour canon was set in the laboratory and how it was transferred over to electronic technical media.
The first part will focus on the scientific origins of this canon. Building on Thomas Young’s trichromatic theory, during the 1850s, Hermann Helmholtz empirically demonstrated that the three types of sensory receptors responsible for colour vision are primarily sensitive to one range of wavelengths, with one sensitive to reds, one to greens, and one to violets. His work set the blueprint for the principle of colour mixing in technical visual media, in which the weighted combination of three different colour signals suffices to form a full colour space for the human visual system.
The second part will focus on three implementations of this principle that have dominated electronic visual media ever since. These are: (i) the characterisation of an standard observer in the Colorimetric Resolution I by the Commission Internationale de l’Eclairage (CIE) in 1931, (ii) the implementation in the NTSC analogue television of the colour system patented in 1939 by the French engineer George Valensi, and (iii) the ITU BT.601 recommendation for encoding digital video as a three-colour component signal from 1981.
Conference Color in the Sciences

08 09/16

Media Archaeology of the Digital Moving Image: Motion Prediction or the Demise of the Frame

Next week 15 September in Chicago,  I’ll be presenting a short paper at the​ Inaugural Communication & Media Studies Conference.
Media Archaeology of the Digital Moving Image: Motion Prediction or the Demise of the Frame
At the coding level, in a video codec such as H.264/AVC the otherwise basic unit of all moving images from film to video, the frame, is only an address where chunks of pixels coming from different moments in time are put together. This paper historically explores two mathematical theories from the 1940s that paved the way for the digital video compression formats during the 1990s. The first is the prediction theory by Norbert Wiener to improve anti-aircraft artillery during WWII. And the second are the crypto-analytic techniques formulated by Claude E. Shannon for the transmission of messages over noisy channels. Both theories resulted in algorithms to statistically predict missile paths and encrypt military communications. Today, they are the backbone of the video compression formats installed in discs, TV receivers, online streaming and video conferencing services, camcorders, and mobile phones. This media archaeology on the digital moving image argues that the consequence of turning each displayed picture into a rigid arrangement of pixels and its construction into the statistical prediction of the pixel’s values is dramatic. This historical analysis shows that prediction has generated an entirely new type of moving images in which the temporal coincidence of all pixels within the frame is unnecessary.
Inaugural Communication & Media Studies Conference.
University Center Chicago, Chicago, USA
15-16 September 2016
Here is the entire program:


28 07/16

The Iliad and the trichromatic theory 

Tags: , , | Categories: art, colour, technical media

​ Three glittering dragons to the gorget rise,
Whose imitated scales against the skies
Reflected various light, and arching bow’d,
Like colour’d rainbows o’er a showery cloud
(Jove’s wondrous bow, of three celestial dyes,
Placed as a sign to man amidst the skies). 

  • Homer. The Iliad of Homer. Trans Alexander Pope. XI:198. The Project Gutenberg: Sep 2006

03 05/16

Comparisons: eight

Tags: | Categories: art, diseño, technical media
Command Occurrence
Obedience Resistance
Magical Monstrous

Befehl und Einfall. Kreativ Dialog 4 Konferenz an der BWG interdisciplinary laboratory von der HU-Berlin. 28-30 April 2016.

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