Bibliography

Preliminary Development Report: The Arp Synthesizer Bibliography

Preliminary Development Report: The Arp Synthesizer. Duotone, illustrated with photo of system, approx. 75 pages in binder with generic sales cover letter, pricing of system, data sheets on each module which includes functional diagram and technical specifications. Included, unattached to binder: Sa…

Preliminary Operation and Service Manual for GPL Three Lens Turret Camera Supplement to Basic Manual for Precision Television System Model PD-150 Bibliography

Preliminary Operation and Service Manual for GPL Three Lens Turret Camera Supplement to Basic Manual for Precision Television System Model PD-150. Includes drawings and schematics.

Preliminary Report of the Committee on Film and Television Resources and Services: Mohonk Conference Bibliography

The Mohonk Conference Officially titled the Conference on Regional Development of Film Centers and Services, the Mohonk Conference was organized by the Museum of Modern Art and the Pacific Film Archives. A national conference held February 1973 at Mohonk, NY, attended by about 30 directors of region…

Preliminary SMI-7075 Videotizer for Sony Microcomputer SMC-70/70G Bibliography

Sony Corporation of America. Preliminary SMI-7075 Videotizer for Sony Microcomputer SMC-70/70G. Unit allows you to make a picture file for computer with the images whatever from any NTSC composite video source, such as Video Camera, VTR, Video Disk and so on. Features include field still, color mode…

Presence of Future Presence of Video: Thing II Bibliography

Essay deriving from seminars at the New School for Social Research and SVA in New York and field trips to the American Southwest; it argues that video has become indistinguishable from everyday reality, functioning as both panopticon and membrane and transforming representation, subjectivity, gender, sexuality and the body. The author traces technological shifts—time-code, digital encoding, format changes, fiber optics, satellites, AI, solid-state storage—and their political and ecological implications, including information flows, leakages, intellectual property dissolution, and inequality driven by capital. Urban and regional effects are illustrated via colonias, maquiladoras, and transnational programming; the essay situates autopornography and domestic microelectronics within these circulations.

Present Tense Technology Bibliography

Present Tense Technology Bibliography

Present Tense Technology Bibliography

Preservation and Restoration of Moving Images and Sound Bibliography

Preservation in the Digital World Bibliography

Preservation of Electronic Formats & Electronic Formats for Preservation Bibliography

Preservation of Moving Images and Sound Bibliography

Preserving Digital Art: The Goldsen Archives Bibliography

Contents follow: Preserving Digital Art: The Goldsen Archives by Professor Timothy Murray of Cornell, Announcing the 2004 Media Arts Fellows, News from the Program, Capturing the Elusive Verb- New Latin American Documentaries, Fellows News, and Lists of the 2004 Nominators and Penelists. All texts i…

Preserving the Immaterial: The Guggenheim Museum's Variable Media Initiative Preservation

On March 30–31, 2001 the Solomon R. Guggenheim Museum in New York hosted a conference introducing its Variable Media Initiative, led by Senior Curator John Hanhardt and Assistant Curator Jon Ippolito. The Initiative employs a detailed artist questionnaire to specify which aspects of ephemeral-media works must endure and to outline four strategies (reinterpreted, migrated, emulated, stored); sessions presented case studies by Ken Jacobs, Bruce Nauman, Nam June Paik and others. Discussions addressed tape remastering, machine obsolescence, performance fixity versus recording, and emulation for software preservation; JIM HUBBARD, author/contact.

Preserving the Moving Image Bibliography

Preserving the Rhizome ArtBase Preservation

Richard Rinehart, Director of Digital Media at the Berkeley Art Museum/Pacific Film Archive and Digital Media faculty at UC Berkeley, authored a September 2002 working paper for Rhizome on preserving the Rhizome ArtBase, an online archive of new media art. He advocates emulation—preferably hardware-level emulation—outlines artwork and technology metadata requirements, recommends tools and collection policies, and urges obtaining and archiving legal copies of software alongside a storage-migration plan using optical/read-only media and backups. He recommends Rhizome prepare metadata, storage and policy solutions and join collaborative projects to test open-source hardware emulators.

Preserving the Rhizome ArtBase Bibliography

Preserving the Rhizome ArtBase Richard Rinehart. September 2002. Discussion of preservation strategies for new media and net art. With thanks to Rhizome for permission to reproduce.

Pressure Point - conference on narrative, media, and technology Bibliography

"Interactive narrative did not begin in cyberspace. It has deep, tangled roots in an array of earlier forms. But the new electronic media provokes us to reconceptualize these two concepts--narrative and interactivity--their distinctive functions and pleasures, and their complex relations with histor…

Pressure Points: Video in the Public Sphere Bibliography

Pressure Points: Video in the Public Sphere in Art Journal: Video - The Reflexive Medium

Prime Image Operations Manual for TBC+ Digital Video Time Base Corrector + Digital Effects Bibliography

Prime Image Operations Manual for TBC+ Digital Video Time Base Corrector + Digital Effects. Includes schematics for Ampex 6802 NO-OP Generator

Principles of Electronic Image Processing - Image Processing Systems Tools

Technical overview of video synthesizers (image processors) defining them as integrated assemblages of video signal sources, processors, and controllers; examples cited include cameras, decks, character generators, oscillators, keyers, VCAs, mixers, colorizers, sequencers, SEGs and frame buffers. The text classifies three signal types (video, sync, control) and lists system elements (sync, routing, output amplifier, monitoring, control); it explains termination and genlock use, describes monitoring equipment (waveform monitor, vectorscope, color and B/W monitors) and outlines the function of colorizers.

Principles of Electronic Image Processing - Scanning Tools

Overview of CRT scanning for camera and monitor rasters, describing pixels and a 525-line frame assembled from two interlaced fields of 262.5 lines (30 frames/sec, 60 fields/sec, 15,750 Hz line frequency) with approximately 483 active lines and about 460 dots per line. The text explains retrace and timing intervals, active versus timing lines, dot-matrix organization, the Kell Factor and typical vertical resolution (~343 lines), and cites persistence of vision and phosphor retention. It also summarizes standards history: NTSC (FCC 1941; US, Canada, Japan), 625/50 Hz Western Europe, 819/50 Hz France, NTSC color (US early 1950s), PAL (late 1960s), SECAM (France; USSR/Eastern Europe), 1969 EIAJ and consumer formats VHS and Beta.

Principles of Electronic Image Processing - Signals Tools

Technical overview of electronic image processing emphasizing video as a time-dependent medium and defining signal as changes in voltage that encode image information; outlines categories of signals (video, audio, control, synchronizing) and their roles in generation, alteration and control of images. Presents electrical fundamentals including voltage, current, resistance and Ohm's Law, waveform representation and measurement (oscilloscope, waveform monitor), modulation, filtering, analog versus digital structures, and control techniques such as potentiometers and voltage control. Notes Michael Faraday (1822) and Woody Vasulka's vector technique using the Rutt/Etra Scan Processor; cites Johanna Gill, Video: State of the Art 1976.

Principles of Electronic Image Processing - Switch, Mix, Compare Tools

Overview of electronic image processing outlining imaging systems as signal generators, processors and controllers and describing switching, sequencing, mixing and comparing techniques. It defines switcher types (broadcast and distribution), timing and sync issues including internal versus external sync and vertical-interval switching; it explains sequencers, mixers, fades, wipes and keyers with clip thresholds, oscillator control signals and waveform-based patterns, and notes SEG/mixer re-entry. Switchers and mixers are identified as commercially developed prior to and during the 1950s.

Principles of Electronic Image Processing - Sync Tools

Technical overview of synchronization in electronic video, distinguishing picture information and sync information and explaining horizontal and vertical sync, blanking intervals, sync pulses, equalization and serration pulses, and the role of internal and external sync generators. Provides timing specifics: one horizontal line 63.5 microseconds (52.7 µs visible, 10.8 µs blanking with ~1.27 µs front porch and ~4.76 µs horizontal sync/back porch), vertical blanking ≈1330 µs, field = 262.5 lines, line frequency 15,750 Hz and color subcarrier ≈3.58 MHz with burst on the back porch; VIR on line 19 and VIT on lines 17–18 and captions by networks and PBS in 1980 are noted. Cites Les Levine in Gregory Battcock, New Artists Video (1978) and David Antin, Video's Frightful Parent (1975).