History: July 2008 Archive Page

It was intersting to see online political discourse (with a case study on the Kerry-Edwards attempt to build a blog presence in 2004) and a history of the internet filtered through a folklorist's lens. I'm saving this in case I need ever need to update some of the insights found in the older, classic, historical studies of cyberculture (such as Buckles's dissertation on Adventure, or Levy's Hackers, or Kidder's The Soul of a New Machine).

While mass-mediated communication technologies have empowered the institutional, participatory media offer powerful new channels through which the vernacular can express its alterity. However, alternate voices do not emerge from these technologies untouched by their means of production. Instead, these communications are amalgamations of institutional and vernacular expression. In this situation, any human expressive behavior that deploys communication technologies suggests a necessary complicity. Insofar as individuals hope to participate in today's electronically mediated communities, they must deploy the communication technologies that have made those communities possible. In so doing, they participate in creating a telectronic world where mass culture may dominate, but an increasing prevalence of participatory media extends into growing webs of network-based folk culture. -- Robert Glenn Howard, Journal of American Folklore 121(480): 192-218 (PDF)

A 2001 article from the Columbia Journalism Review... blogging it because one of my journalism courses this fall will focus on election coverage.

What's sure is that TV's election night practices are in for significant reupholstery well before the 2002 races. Several networks promise they'll project winners in the future only when all polls have closed in a state, not just a majority of them. ABC intends to advise viewers that projections are "informed, statistically based estimates" of the probable outcome of elections, not definitive declarations. They'll also remove television sets from the proximity of their decision desks so that analysts feel less pressured to make hasty calls.

Beyond that, legislators -- mostly in the person of congressman Billy Tauzin, Republican of Louisiana -- have been scrutinizing TV's election night performance. Tauzin says he won't sponsor any bill aimed at preventing exit polls or limiting vote projections -- legislation which, in any case, would clearly affront the First Amendment. He and a Democratic congressman, Ed Markey of Massachusetts, are introducing legislation to require the fifty states to close their polls at the same moment -- an often-proposed idea that would force drastic changes in the way TV news handles projections.

Despite the mistakes, gaffes, and embarrassments, or perhaps because of them, election night 2000 attracted the most households and viewers to TV screens since Nielsen began keeping such records with the 1960 Kennedy-Nixon cliffhanger. The late-night host Conan O'Brien joked that the networks were so thrilled with the ratings that they plan to call all elections incorrectly from now on.

The public's loss of trust in television news, however, was no laughing matter. In a CNN poll 79 percent of Americans said the networks did not act "responsibly" on election night. In future close elections, will most viewers believe what the networks tell them? How long will it take to regain their confidence? Why serve up quick-draw projections at all, since the public isn't clamoring for them? Is it really worth each network's paltry saving of $5-$10 million per election cycle to cede to a single entity so much influence and discretion? Or, contrarily, should the networks dismantle their individual decision desks and delegate a reconstituted, better funded VNS to make all projections, but in a more cautious, unhurried, less frenzied, and non-competitive mode?

The other day at the Westmoreland Museum of American Art, I attended a brown bag talk given by my Seton Hill colleague, Maureen Vissat, The Art of the 1940s: Styles and Influences. I had seen her present as part of a series of teaching demonstrations, so I knew her talk would be excellent. She wove interesting details from the lives of notable painters and gallerists to form an informative picture of how art and artists are made, and the dual role of the gallery as archive of what is already established and promoter of the new and innovative. Her slide show included several shots of the gallery spaces, not just close-ups of the paintings or portraits of the artists themselves.

Her talk was timed to coincide with an exhibit of American painters of the 1940s. Unfortunately, there doesn't appear to be a permalink for this gallery, but for the moment, and presumably unitl the exhibit closes in October, there's a description on the current exhibitions page.

[T]his exhibition reconstructs a sampling of the exhibitions of the same title organized by Carnegie Institute in Pittsburgh (now Carnegie Museum of Art) from 1943 to 1949 and includes 48 paintings, of which 42 are the actual works that were selected for exhibitions over the seven-year period. These annual exhibitions of American painting replaced the Institute's annual Carnegie International while it was suspended due to World War II.

I've included thumbnails of some of my favorite paintings below.

On a listserv of which I'm a member, Jerome McDonough points out that Tennis for Two is an analog game, so not only does it not require a computer, the medium itself -- an oscilloscope -- is an analog, so the information being represented on the screen isn't digital at all.  An even earlier game, and the first game to use digital graphics, is Noughts and Crosses (1952).

This page lists the source code for the world[']s first computer game and incidentally the world[']s first computer based version of noughts and crosses (tic tac toe).

This is the original source code written by A.S. Douglas that was loaded from a punched paper tape and run on the EDSAC machine. It is written in an assembler. even for those of us who are unfamiliar with the EDSAC instruction set and it's assembly language some parts of the code look reasonably comprehensible. The most impressive feature is it's length - this very short piece of code manages a good game of noughts and crosses.

Keen to find out more? Then download the EDSAC simulator and the documentation from www.dcs.warwick.ac.uk/~edsac/ You can then follow this algorithm or try your hand at programming the worlds first programmable computer.

Modern recreation of the 1958 video game "Tennis for Two" (Evil Mad Scientist Laboratories)

I came across this brief article in Pocket Gamer. I don't have an iPhone, so I can't check out this version of the game.  The 1977 date for the Don Woods expansion is correct, but ("[s]ources that incorrectly date Crowther's original to 1972 or 1974... are sourced thinly if at all. The new evidence establishes that Crowther wrote the game during the 1975-76 academic year and probably abandoned it in early 1976." --DHQ )

Forget motion-sensing and touchscreen malarkey. What you want from a modern-day iPhone game is a proper text adventure, where you get to type GO NORTH, HIT TROLL WITH AXE, and LKHJ VSDJD.

(Okay, we're still having the odd problem with the iPhone's pop-up keyboard).

Anyway, iPhone has its first text adventure, and it's actually the first text adventure ever made.

It's listed as Advent on the App Store, but the screenshot calls it Adventure, and the product text points out that it's also known as Colossal Cave Adventure or just Colossal Cave. Hope that's clear.

This Wired article also mentions the Canadian Roberts variation. When I was living in Canada, I remember being annoyed at having to buy special screwdrivers for furniture that I bought there.  I actually came across a set of Roberts power tool heads that someone had thrown into a gutter. True story. 

The Phillips screw and screwdriver were patented this day in 1936.
Courtesy U.S Patent and Trademark Office

1936: Henry F. Phillips receives patents for a new kind of screw and the new screwdriver needed to make it work. It changes the worlds of mass production and machine repair, not to mention your home toolbox. (Randy Alfred, Wired)

Other, screw-related blog entries:

• Unscrewed: Finding Replacement Screws for Palm Tungsten T3
• What is Uni-Screw? - Jerz's Literacy Weblog
• The standardization of screws

Great news for fans of robot history and cinema history:

Last Tuesday Paula Félix-Didier travelled on a secret mission to Berlin in order to meet with three film experts and editors from ZEITmagazin. The museum director from Buenos Aires had something special in her luggage: a copy of a long version of Fritz Lang's Metropolis, including scenes believed lost for almost 80 years. After examining the film the three experts are certain: The find from Buenos Aires is a real treasure, a worldwide sensation. Metropolis, the most important silent film in German history, can from this day on be considered to have been rediscovered. (Zeit Online)

Metropolis is truly stunning -- the architecture of the futuristic city scenes was a big influence on Blade Runner, and on pretty much every science fiction film since. Let's hope someone with deep pockets finances a thorough restoration of the movie.

From MetaFilter, which is better known as a link filter, comes this detailed story about one small but important part of the Battle of Gettysburg.

They smash into the oncoming lines and stop the Southern charge, but their success proves their undoing. As they push the center of the rebel lines back, the wings enfold them and they are soon caught in a sack. For every Minnesotan fighting, there are 6 Alabamans trying to kill him, sometimes from the distance of a handshake. The rebels are so thick around the 1st Minnesota that many Southerners are injured by friendly fire. The Minnesotans take cover behind trees and boulders as their world is reduced to smoke and screams, the ssszzz of bullets passing and the thock of bullets hitting home. Colvill is struck in the shoulder and foot. LTC Adams is hit six times. Maj. Downie is shot through both arms. Cpts. Muller and Periam, along with Lt. Farr, are all killed. Every officer is a casualty. The flag of the 1st Minnesota falls 5 times and is picked up 5 times. They fail to capture the enemy colors. They have stopped the charge, but they cannot retreat because they know that Hancock's implicit orders were to hold the rebels until he can patch the hole in the lines above them. So they stand and die.