# data[].attributes.headline
109 WATCH: This 'Lost' Walt Disney Documentary About Alien Encounters Will Leave You Completely Shocked

# data[].attributes.subject
109 WATCH: This 'Lost' Walt Disney Documentary About Alien Encounters Will Leave You Completely Shocked

# data[].attributes.attachment_link.readable_text
In March of 1996, Walt Disney Television aired a shocking one-hour television special on UFOs entitled "Alien Encounters from New Tomorrowland."

The show opens up with a short segment by Disney CEO Michael Eisner, but does not even question the existence of UFOs and a major UFO cover-up. In fact, at times it has a tone of ridicule towards those who still deny the existence of UFOs. The programming is highly strange, as the intention appears to be an advertisement for the Tomorrowland theme park - yet, it is filled with incredible UFO footage, interviews with abductees/contactees, former government employees, as well as scholars of the extraterrestrial enigmas we have yet to answer.

As far as "documentaries" on this subject matter goes, this one presents a pretty solid history on the timeline of "alien presence" on planet Earth, and surprisingly ends with a "hidden gem" alluding to the mushroom being intertwined in the narrative of the evolution of human consciousness/understanding we are not alone.

The film's existence is acknowledged by the respected website of the Internet Movie Database, but you will not find it available anywhere for purchase, and those who tracked this incredible production state that it was shown only once, and with no advance notice on stations in only five US cities.

Considering the very limited showing and audience, and the highly unusual stance on UFOs taken, many suspect that this program was a probe to measure public reaction to news of the reality of visitation and interaction with various forms of non-human intelligent life on Earth.

Watch for yourself below, and be sure to share your thoughts on the Evolve and Ascend Facebook group.

"This, then, is the ultimate paradox of thought: to want to discover something that thought itself cannot think."- Soren Kierkegaard

# data[].attributes.attachment_link.title
WATCH: This 'Lost' Walt Disney Documentary About Alien Encounters Will Leave You Completely Shocked

# data[].attributes.attachment_link.description
In March of 1996, Walt Disney Television aired a shocking one-hour television special on UFOs entitled "Alien Encounters from New Tomorrowland." The show opens up with a short segment by Disney CEO Michael Eisner, but does not even question the existence of UFOs and a major UFO cover-up.

# data[].attributes.attachment_link.description
Mark Zuckerberg interview and Facebook office keg stand.

# data[].attributes.attachment_link.readable_text
Der Computer wird 75 Jahre alt. Herbert W. Franke hat als Pionier der Computerkunst mehr als sechs Jahrzehnte führend gestaltet

Es war eine Erfindung, die die Welt radikal und rasend verändern sollte: der Computer. Er wird heuer 75 Jahre alt. Am 12. Mai 1941 stellte Konrad Zuse in Berlin die programmierbare Rechenmaschine Z3, den ersten funktionsfähigen Computer der Welt, vor.

Damals war noch nicht absehbar, welche weitreichenden Folgen dieses Gerät haben würde. Ein Dreivierteljahrhundert später nimmt DER STANDARD dieses Jubiläum zum Anlass für eine Schwerpunktausgabe zum Thema "Digitale Zukunft".

Computer haben unsere Arbeit, unsere Freizeit, unsere Mobilität, unsere Kommunikation - eigentlich alle Bereiche des Lebens - verändert. Und diese Entwicklung ist nicht abgeschlossen, sie schreitet schnell voran.

Potenzial ausloten

Darum wollen wir in dieser Ausgabe das digitale Zukunftspotenzial ausloten. Wie kann oder wird die digitalisierte Zukunft aussehen? Worauf dürfen wir hoffen und uns freuen, wovor müssen wir uns vielleicht fürchten? Stichworte: intelligente Maschinen, vernetztes Zuhause, fahrerlose Autos. Welche Entwicklungen zeichnen sich bereits ab durch die Ideen in der digitalen Pipeline? Was bedeutet das alles für unsere Vorstellungen von Individualität und Privatheit? Wo eröffnet Vernetzung Freiheit, wo schafft sie Abhängigkeit und Unfreiheit? Welche gesellschaftspolitischen Visionen haben die Computercracks von heute für die Welt von morgen?

Diese und andere Fragen werden in einer - wieder künstlerisch gestalteten - Schwerpunktausgabe am 7. Mai aus verschiedenen Perspektiven journalistisch beleuchtet und analysiert.

Diesmal konnten wir auf Werke eines Pioniers der Computerkunst zurückgreifen: Herbert W. Franke, ein Grenzgänger zwischen Kunst und Wissenschaft. In der folgenden Ansichtssache können Sie einen Querschnitt durch seine Arbeit über mehr als sechs Jahrzehnte sehen. Der 1927 in Wien geborene Franke schuf aber nicht nur elektronisch immer wieder visionäre Weltentwürde, sondern er schrieb auch als Autor von Science-Fiction-Literatur Geschichte.

Für jene Leserinnen und Leser, die keine STANDARD-Printausgabe zur Hand haben, werden alle Texte zum Thema im Lauf der kommenden Woche unter derStandard.at/DigitaleZukunft nachzulesen sein. (Lisa Nimmervoll, 6.5.2016)

Links
Porträt über den Künstler und Wissenschafter Herbert W. Franke Herbert W. Franke als Science-Fiction-Autor

# data[].attributes.attachment_link.description
Es war eine Erfindung, die die Welt radikal und rasend verändern sollte: der Computer. Er wird heuer 75 Jahre alt. Am 12. Mai 1941 stellte Konrad Zuse in Berlin die programmierbare Rechenmaschine Z3, den ersten funktionsfähigen Computer der Welt, vor. Damals war noch nicht absehbar, welche weitreichenden Folgen dieses Gerät haben würde.

# data[].attributes.headline
105 Watch the History of Horror Films in This Ten Minute Supercut

# data[].attributes.subject
105 Watch the History of Horror Films in This Ten Minute Supercut

# data[].attributes.attachment_link.readable_text
Horror films occupy a long and enthralling place in cinematic history, and Diego Carrera has put together an excellent video showcasing the films that have scared us for over 120 years.

A short clip of a film represents each year, beginning in 1895, starting with The Execution of Mary, Queen of Scots, and running all the way to 2016's The Witch. The film includes the highlights: Invasion of the Body Snatchers, House on Haunted Hill, Psycho, The Birds, Night of the Living Dead, Alien, Jaws, Carrie, and others. For the horror viewers who are looking for some other classics, there's plenty to choose from there as well.

[h/t Gemma Files]

# data[].attributes.attachment_link.title
Watch the History of Horror Films in This Ten Minute Supercut

# data[].attributes.attachment_link.description
Horror films occupy a long and enthralling place in cinematic history, and Diego Carrera has put together an excellent video showcasing the films that have scared us for over 120 years. A short clip of a film represents each year, beginning in 1895, starting with The Execution of Mary, Queen of Scots, and running all the way to 2016's The Witch.

# data[].attributes.headline
104 BRAVE  NEW  WORLD - A Defence Of Paradise-Engineering

# data[].attributes.subject
104 BRAVE  NEW  WORLD - A Defence Of Paradise-Engineering

# data[].attributes.attachment_link.description
life-long bliss isn't nearly as bad as it sounds

# data[].attributes.headline
102 Chefredakteur wirft Facebook Machtmissbrauch und Zensur vor

# data[].attributes.subject
102 Chefredakteur wirft Facebook Machtmissbrauch und Zensur vor

# data[].attributes.attachment_link.readable_text
Der Chefredakteur der norwegischen Zeitung Aftenposten hat Facebook in einem offenen Brief Machtmissbrauch vorgeworfen. Er sei traurig, enttäuscht und habe sogar Angst, schrieb Espen Egil Hansen an Mark Zuckerberg. Dieser sei der mächtigste Herausgeber der Welt und missbrauche seine Macht.

Das Hamburger Facebook-Büro hatte zuvor die Zeitung aufgefordert, ein Bild zu verpixeln oder zu löschen. Dabei handelt es sich um ein historisches Foto aus dem Vietnamkrieg. Es zeigt Phan Thị Kim Phúc, wie sie als Kind nackt vor einem Napalmangriff flieht.

Bevor der Chefredakteur zu der Facebook-Forderungen habe Stellung nehmen können, sei der Post gelöscht worden. Facebook habe zudem die Diskussion um das Foto und die Löschung unterbunden, indem es zum Beispiel einen Nutzer sperrte, schreibt Hansen. "Hör zu Mark, das ist ernst. Erst entwirfst du Regeln, die nicht zwischen Kinderpornografie und bekannten Kriegsbildern unterscheiden. Dann setzt du diese Regeln durch, ohne Raum für eine gute Beurteilung zuzulassen."

Das soziale Netzwerk veröffentlichte vergangenes Jahr Gemeinschaftsstandards darüber, welche Inhalte dort veröffentlicht werden dürfen und welche nicht. Facebook verbietet unter anderem Fotos von weiblichen Brustwarzen. Zugleich wird dem Netzwerk vorgeworfen, nicht entschieden gegen Hasspostings vorzugehen.

Chefredakteur sieht Demokratie in Gefahr

Dem Aftenposten-Chefredakteur gehe es nicht einfach darum, dass Facebook einen Eintrag entfernte. Vielmehr gefährde das Netzwerk durch sein Verhalten Meinungsfreiheit und Demokratie. Medien hätten die wichtige Aufgabe, Informationen weiterzugeben, auch Bilder. Diese seien manchmal unangenehm und schwer zu ertragen für die regierende Elite und normale Bürger, aber sie seien wichtig, schreibt Hansen. Das Bild von dem Napalmangriff habe dazu beigetragen, den Vietnamkrieg zu beenden. Der Chefredakteur fragt, wie heute auf diese Weise ein Krieg gestoppt werden könnte.

Facebook bezeichne es als seine Mission, die Welt offener und vernetzter zu machen. Das Netzwerk sei zurecht die größte Plattform für den Austausch von Informationen und sozialen Kontakten weltweit. Nun aber drohe, dass Algorithmen, die in Kalifornien codiert wurden, die Rechte und Pflichten von Redakteuren untergraben. Diese wögen sehr genau ab, was sie zeigten und was nicht, und setzten Dinge in Kontext.

Hansen spricht sich in dem Zusammenhang dafür aus, dass Facebook regional unterschiedliche Regeln für Publikationen gelten lässt. Zudem sollte Facebook zwischen Redaktionen und normalen Usern unterscheiden. Redakteure könnten nicht mit einem "Master-Editor" Mark Zuckerberg leben.

Allerdings schreibt Hansen auch: "Ehrlich gesagt, mache ich mir keine Illusionen, dass du diesen Brief lesen wirst."

# data[].attributes.attachment_link.title
Mark Zuckerberg: Chefredakteur wirft Facebook Machtmissbrauch und Zensur vor

# data[].attributes.attachment_link.description
Der Chefredakteur der norwegischen Zeitung Aftenposten hat Facebook in einem offenen Brief Machtmissbrauch vorgeworfen. Er sei traurig, enttäuscht und habe sogar Angst, schrieb Espen Egil Hansen an Mark Zuckerberg. Dieser sei der mächtigste Herausgeber der Welt und missbrauche seine Macht. Das Hamburger Facebook-Büro hatte zuvor die Zeitung aufgefordert, ein Bild zu verpixeln oder zu löschen.

# data[].attributes.headline
101 Listen to the world’s first computer music recording

# data[].attributes.subject
101 Listen to the world’s first computer music recording

# data[].attributes.attachment_link.readable_text
If you love dubstep, EDM and other music featuring synthesizers and computer-generated audio, you have computing pioneer Alan Turing to thank.

Turing is believed to be behind the world's first recording of computer-generated music. The BBC had obtained a recording from Turing's lab in Manchester in northern England some 65 years ago, but the audio, preserved on a single 12-inch acetate disc, was found to be distorted.

Credit: Wikimedia Common

Professor Jack Copeland of the University of Canterbury in New Zealand and composer Jason Long (who happens to a UC alumnus) teamed up to figure out a way to clean up the sound and restore it. It's finally ready, and you can hear it by clicking on this link.

Credit: University of Canterbury

The clip features Turing's computer belting out 'God Save the King', 'Baa Baa Black Sheep' and Glenn Miller's swing tune 'In the Mood'. You can also hear presenters commenting on the machine's performance in the background.

In 1951, Turing - who is best known for his work as a cryptologist in deciphering the Enigma code used by the Nazis during World War II - wrote the Programmers' Handbook for Manchester Electronic Computer Mark II.

The manual found its way into the hands of Christopher Strachey, a schoolteacher and pianist, who was intrigued by the section on programming musical notes.

Strachey tracked Turing down at his lab in Manchester that year and got his permission to use the computer for a night. According to the UC researchers, Strachey's work was, at the time, the longest computer program ever to be attempted. By morning, he'd managed to get the machine to play the British National Anthem.

By referencing the pitches that the Mark II computer was capable of producing - detailed in Turing's manual - and noting the shift in sound in the BBC recording, the researchers learned that the record was playing at the wrong speed. They were then able to figure out how much the recording had to be sped up in order to reproduce the machine's original sound.

Had a listen? The next time you groove to a bouncy electronic track, remember to tip your hat to the marvelous Alan Turing for getting the party started.

Restoring world's first recorded computer music on University of Canterbury

Read next: Adobe and Berkeley's new smart editing tool will blow your mind

# data[].attributes.attachment_link.title
Listen to the world's first computer music recording

# data[].attributes.attachment_link.description
If you love dubstep, EDM and other music featuring synthesizers and computer-generated audio, you have computing pioneer Alan Turing to thank. Turing is believed to be behind the world's first recording of computer-generated music.

# data[].attributes.headline
100 NASA’s gold record for aliens is a fascinating insight into the worldview of 1970s America

# data[].attributes.subject
100 NASA’s gold record for aliens is a fascinating insight into the worldview of 1970s America

# data[].attributes.attachment_link.readable_text
It's been available to super intelligent aliens, NASA, and Jimmy Carter for 39 years now-and the collection of three gold records sent out to space on Voyager 1 and Voyager 2 i n 1977, could hit your doorstep in 2017.

Previously, there were only 12 copies of the set in the world, but soon the records will be available to anyone with $98 to spend via a Kickstarter campaign. As cool and mesmerizingly beautiful as they are as objects, they're also a fascinating historical document.

A quick read about the project-headed by Cornell University professor and TV scientist Carl Sagan, on NASA's website plunges you into the world of the 1970s. After recordings of 55 languages and other sounds of Earth, the aliens are given an insight into human music-which NASA describes in cringe-worthy fashion: "There is an eclectic 90-minute selection of music, including both Eastern and Western classics and a variety of ethnic music," the website reads.

We're immediately placed into the pre-globalization division between East and West, with Africa, Latin America, and elsewhere relegated uncomfortably to "ethnic music." The song list itself is a fascinating catalogue of 1970s American exceptionalism, and reflects its sense of dynamism at a point in the cold war when the USSR was stagnating under Leonid Brezhnev.

Almost every song on the record is either classical or folk music-except the three American ones (Chuck Berry's "Johnny B. Goode," Louis Armstrong's "Melancholy Blues," and Blind Willie Johnson's "Dark Was the Night"), which encompass rock, jazz, and blues. Old Europe is relegated largely to Germanic classical music, represented by Mozart, Beethoven and Bach (who, curiously, has three songs). The Soviet Union is presented as a land of folk songs with a brief hint of its classical tradition in Stravinsky's "The Rite of Spring."

Meanwhile, the compilation of so-called "ethnic music" screams of the twilight of empires. Songs from Zaire, Senegal, Java, and New Guinea, are all conspicuously listed as "recorded by," followed by a Western name, rather than "performed by" as with all the other songs.

Beyond the entanglements of the era's geopolitics, it does, however, reflect extraordinary hope, excitement, and the best of human wonder and naivete. As Sagan put it at the time, "the spacecraft will be encountered and the record played only if there are advanced spacefaring civilizations in interstellar space. But the launching of this bottle into the cosmic ocean says something very hopeful about life on this planet."

Plus, you can enjoy the the hilarious vision of aliens spending decades trying to decode these obscure instructions of how to actually play the record.

Most Popular

Read full story

# data[].attributes.attachment_link.title
NASA's gold record for aliens is a fascinating insight into the worldview of 1970s America

# data[].attributes.attachment_link.description
It's been available to super intelligent aliens, NASA, and Jimmy Carter for 39 years now-and the collection of three gold records sent out to space on Voyager 1 and Voyager 2 i n 1977, could hit your doorstep in 2017. Previously, there were only 12 copies of the set in the world, but soon the records will be available...

# data[].attributes.headline
099 How to send an 'E mail' - Database - 1984

# data[].attributes.subject
099 How to send an 'E mail' - Database - 1984

# data[].attributes.attachment_link.title
How to send an 'E mail'  | Database | Retro Computers | Early E mail | 1980s Technology | 1984

# data[].attributes.body
from Wendy Marvel 2012

# data[].attributes.attachment_link.description
This is "01 ASCENSION" by wendymarvel on Vimeo, the home for high quality videos and the people who love them.

# data[].attributes.headline
096 Skladanowsky, original Daumenkino (Flipbook), 1902

# data[].attributes.subject
096 Skladanowsky, original Daumenkino (Flipbook), 1902

# data[].attributes.attachment_link.title
Skladanowsky, original  Daumenkino (Flipbook), 1902

# data[].attributes.attachment_link.description
Daumenkino hergestellt von Max Skladanowsky. Skladanowsky ist der deutsche Erfinder des Film. 1. November 1895 erste öffentliche Vorführung eines Films für Geld im Wintergarten Varieté in Berlin. Das Programm war 15 Minuten lang. Viele seiner später entstandenen Filme hat er als Daumenkino (Taschenkinematograph, Lebende Bilder in Buchform oder Lebende Photographien) veröffentlicht.

# data[].attributes.attachment_link.title
Annabelle - Serpentine Dance (1894, silent, DVD) [Edison]

# data[].attributes.attachment_link.description
Ringkampfer - 1895 Director: Max Skladanowsky Wrestlers: Greiner - (Eugen) Sandow

# data[].attributes.headline
093 Max Skladanowsky - Glasmaler, Tüftler oder Filmpionier

# data[].attributes.subject
093 Max Skladanowsky - Glasmaler, Tüftler oder Filmpionier

# data[].attributes.attachment_link.description
404 - Das Bundesarchiv online: Ihre zentrale Anlaufstelle für historische Dokumente, digitale Sammlungen und Informationen zur deutschen Geschichte. Besuchen Sie uns!

# data[].attributes.attachment_link.description
One of the first films, first shown in Wintergaretn, Panknow, Berlin, Germany filmed by Max Skladanowsky.

# data[].attributes.headline
091 Auguste & Louis Lumière: Le Squelette joyeux (1897)

# data[].attributes.subject
091 Auguste & Louis Lumière: Le Squelette joyeux (1897)

# data[].attributes.attachment_link.description
Lumiere Film Catalog no. 831 Breve Storia del Cinema - Il cinema dei Lumière: http://www.brevestoriadelcinema.org/2-1.html The first and and the last stop-motion movie by Lumière Brothers

# data[].attributes.headline
090 The Lumiere Brothers' - First films (1895)

# data[].attributes.subject
090 The Lumiere Brothers' - First films (1895)

# data[].attributes.attachment_link.description
WATCH THE BIRTH OF CINEMA !!! THE VERY FIRST MOVIES WITH A COLLECTION OF INFORMATIONS FROM MANY DIFFERENT SOURCES FOR THE PEOPLE THAT INVOLVED IN THE BEGINING OF CINEMATOGRAPHY.

# data[].attributes.attachment_link.description
Mehr über unser Laterna Magica-Projekt finden Sie unter: www.kleynholtz.de

# data[].attributes.headline
087 Traffic Crossing Leeds Bridge (1888) - Louis Aime Augustin Le Prince

# data[].attributes.subject
087 Traffic Crossing Leeds Bridge (1888) - Louis Aime Augustin Le Prince

# data[].attributes.attachment_link.title
Traffic Crossing Leeds Bridge (1888) -  Louis Aime Augustin Le Prince

# data[].attributes.attachment_link.description
The 2nd earliest celluloid film, which was shot by Louise Le Prince using the Le Prince single-lens camera made in 1888. He recorded traffic on Leeds Bridge from an upstairs window of No 19 Bridge End, then Hicks the Ironmongers, at these coordinates: 53°47′37.70″N 1°32′29.18″W - Leeds, West Yorkshire, England, United Kingdom.

# data[].attributes.attachment_link.entities[].name
Unexplained & Bizarre Disappearances of People

# data[].attributes.attachment_link.description
This a short and concise video about one of the pioneers of cinema - Louis Le Prince. who also strangely disappeared without trace.

# data[].attributes.attachment_link.description
This was the very first film version of Lew Wallace's classic novel. It was unauthorised, so the filmmakers were sued by the writer. It stars Herman Rottger as Ben Hur and future western legend William S Hart as Messala.

# data[].attributes.headline
084 Wonderful Wizard of Oz (1910) FULL MOVIE

# data[].attributes.subject
084 Wonderful Wizard of Oz (1910) FULL MOVIE

# data[].attributes.attachment_link.title
Wonderful Wizard of Oz (1910) FULL MOVIE

# data[].attributes.attachment_link.description
The Wonderful Wizard of Oz (1910) is the earliest surviving film version of L. Frank Baum's 1900 novel, made by the Selig Polyscope Company without Baum's direct input. It was created to fulfill a contractual obligation associated with Baum's personal bankruptcy caused by The Fairylogue and Radio-Plays, from which it was once thought to have been derived.

# data[].attributes.headline
083 photograph of Edison's Black Maria, the world's first film studio - 1890

# data[].attributes.subject
083 photograph of Edison's Black Maria, the world's first film studio - 1890

# data[].attributes.headline
082 Annabelle Butterfly Dance (1894) - William K.L. Dickson | William Heise | Thomas Edison

# data[].attributes.subject
082 Annabelle Butterfly Dance (1894) - William K.L. Dickson | William Heise | Thomas Edison

# data[].attributes.attachment_link.title
Annabelle Butterfly Dance (1894) - William K.L. Dickson | William Heise | Thomas Edison

# data[].attributes.attachment_link.description
Annabelle (Whitford) Moore performs one of her popular dances. For this performance, her costume has a pair of wings attached to her back, to suggest a butterfly. As she dances, she uses her long, flowing skirts to create visual patterns. http://www.imdb.com/title/tt0229217/ CHANGE BEFORE GOING PRODUCTIONS: http://www.cbgp.com http://www.facebook.com/changebeforegoingproductions http://www.twitter.com/cbgproductions http://www.gplus.to/changebeforegoing http://www.pinterest.com/cbgproductions More classic silent films added to the channel daily.

# data[].attributes.headline
081 Newspaper ad for Edison's Projecting Kinetoscope, published ca. 1900–10

# data[].attributes.subject
081 Newspaper ad for Edison's Projecting Kinetoscope, published ca. 1900–10

# data[].attributes.headline
080 Publicity or news photograph of San Francisco Kinetoscope parlor, ca. 1894–95

# data[].attributes.subject
080 Publicity or news photograph of San Francisco Kinetoscope parlor, ca. 1894–95

# data[].attributes.headline
079 Thomas Edison Train Films 1897-1906. Historic American Steam Trains - WDTVLIVE42

# data[].attributes.subject
079 Thomas Edison Train Films 1897-1906. Historic American Steam Trains - WDTVLIVE42

# data[].attributes.attachment_link.title
Thomas Edison Train Films 1897-1906. Historic American Steam Trains - WDTVLIVE42

# data[].attributes.attachment_link.description
Towards the end of the 19th century Thomas Edison began experiments with various motion film recording techniques. He filmed a number of railway related scenes, many of which have survived the passage of time and are shown in this film.

# data[].attributes.headline
078 The Story Of Thomas Alva Edison - American Inventor Biography / Educational Documentary - Ella73TV

# data[].attributes.subject
078 The Story Of Thomas Alva Edison - American Inventor Biography / Educational Documentary - Ella73TV

# data[].attributes.attachment_link.title
The Story Of Thomas Alva Edison - American Inventor Biography / Educational Documentary - Ella73TV

# data[].attributes.attachment_link.description
Thomas Alva Edison (February 11, 1847 -- October 18, 1931) was an American inventor and businessman. He developed many devices that greatly influenced life around the world, including the phonograph, the motion picture camera, and a long-lasting, practical electric light bulb.

# data[].attributes.headline
077 The History of Thomas Edison - a Short Story

# data[].attributes.subject
077 The History of Thomas Edison - a Short Story

# data[].attributes.attachment_link.title
The History of Thomas Edison - a Short Story

# data[].attributes.headline
075 George Eastman "The Wizard of Photography" Documentary (Part 1/3)

# data[].attributes.subject
075 George Eastman "The Wizard of Photography" Documentary (Part 1/3)

# data[].attributes.attachment_link.title
George Eastman "The Wizard of Photography" Documentary (Part 1/3)

# data[].attributes.headline
074 Happy 150th Birthday, George Eastman!

# data[].attributes.subject
074 Happy 150th Birthday, George Eastman!

# data[].attributes.attachment_link.entities[].name
Graham Nash Receives George Eastman Honorary Scholar Award

# data[].attributes.attachment_link.description
Honoring the founder of Kodak and one of the University's most generous benefactors.

# data[].attributes.attachment_link.description
Étienne-Jules Marey (* 5. März 1830 in Beaune, Côte-d’Or, Frankreich; † 15. Mai 1904 in Paris) war ein französischer Physiologe, Erfinder und Fotopionier.
Aus: http://de.wikipedia.org/wiki/Étienne-Jules_Marey

# data[].attributes.headline
072 Falling Cat (1894) - World's 1st Cat Video - Etienne-Jules Marey

# data[].attributes.subject
072 Falling Cat (1894) - World's 1st Cat Video - Etienne-Jules Marey

# data[].attributes.attachment_link.title
Falling Cat (1894) - World's 1st Cat Video - Etienne-Jules Marey

# data[].attributes.headline
070 Étienne Jules Marey - L' Homme Machine

# data[].attributes.subject
070 Étienne Jules Marey - L' Homme Machine

# data[].attributes.attachment_link.entities[].name
Eadweard Muybridge Photographs of Motion

# data[].attributes.attachment_link.description
Twelve part of Marey films series. About body motion and flexibility.

# data[].attributes.attachment_link.entities[].name
Eadweard Muybridge Photographs of Motion

# data[].attributes.attachment_link.entities[].name
Étienne Jules Marey & Charles Comte Chat

# data[].attributes.attachment_link.description
Another part of the Marey´s film series. Dedicated to the animal motion, on birds

# data[].attributes.headline
071 Bewegungen in der Luft Etienne-Jules Marey (1830-1904) Fotograf der Bewegung

# data[].attributes.subject
071 Bewegungen in der Luft Etienne-Jules Marey (1830-1904) Fotograf der Bewegung

# data[].attributes.headline
067 1881 Eadward Muybridge - "The Attitudes of Animals in Motion (92-118 Athletes)"

# data[].attributes.subject
067 1881 Eadward Muybridge - "The Attitudes of Animals in Motion (92-118 Athletes)"

# data[].attributes.attachment_link.entities[].name
Eadweard Muybridge Photographs of Motion

# data[].attributes.attachment_link.title
1881 Eadward Muybridge - "The Attitudes of Animals in Motion (92-118 Athletes)"

# data[].attributes.attachment_link.description
The horses and various animals triggered the multiple cameras' shutters by running across trip wires. For men leaping, performing somersaults or fencing Muybridge needed something else. He shot most of these sequences "by means of clock-work at regulated intervals of TIME instead of DISTANCE" as a note in this book clearly states.

# data[].attributes.headline
066 Eadward Muybridge - Defining Modernities

# data[].attributes.subject
066 Eadward Muybridge - Defining Modernities

# data[].attributes.attachment_link.title
Eadweard Muybridge Collections - Muybridge : Image & Context

# data[].attributes.attachment_link.description
What Muybridge did was to borrow the animated illusion of movement from moving image toys and combine this with the capacity for projection embodied in the magic lantern. He then adapted pictures from his motion photography and created a device which for the first time could project sequences of rapid movement informed by the camera onto a screen.

# data[].attributes.attachment_link.description
Eadweard Muybridge (* 9. April 1830 in Kingston upon Thames; † 8. Mai 1904 ebenda; eigentlich Edward James Muggeridge) war ein britischer Fotograf und Pionier der Fototechnik.
Er gilt – neben Étienne-Jules Marey und Ottomar Anschütz – aufgrund seiner Reihenfotografien und Serienaufnahmen mit Studien des menschlichen und des tierischen Bewegungsablaufs als einer der bedeutendsten frühen Vertreter der Chronofotografie.
Aus: http://de.wikipedia.org/wiki/Eadweard_Muybridge

# data[].attributes.headline
064 Eadweard Muybridge Collection- Female Subjects

# data[].attributes.subject
064 Eadweard Muybridge Collection- Female Subjects

# data[].attributes.attachment_link.entities[].name
Eadweard Muybridge Photographs of Motion

# data[].attributes.attachment_link.title
Eadweard Muybridge Collection- Female Subjects

# data[].attributes.attachment_link.description
Uploaded by VintageFilmArchive on 2011-07-27.

# data[].attributes.headline
063 The Horse in Motion by Eadweard Muybridge - 1878

# data[].attributes.subject
063 The Horse in Motion by Eadweard Muybridge - 1878

# data[].attributes.headline
062 Eadweard Muybridge: Defining Modernities

# data[].attributes.subject
062 Eadweard Muybridge: Defining Modernities

# data[].attributes.attachment_link.description
Eadweard Muybridge Collection. An online research resource bringing together information on the international collections of Eadweard Muybridge's work in an historical and academic context.

# data[].attributes.headline
061 Meet the Art - Eadweard Muybridge Photographs of Motion

# data[].attributes.subject
061 Meet the Art - Eadweard Muybridge Photographs of Motion

# data[].attributes.attachment_link.title
Meet the Art - Eadweard Muybridge Photographs of Motion

# data[].attributes.attachment_link.description
An interdisciplinary and innovative approach by 3 Stanford University alumni in using digital media to engage more people with art. Bernadette Cay, an alumni who majored in Management Science & Engineering with a minor in Art History was inspired by classes in both departments to lead the effort.

# data[].attributes.attachment_link.entities[].name
Disneyland California Adventure Toy Story

# data[].attributes.headline
058 Lego Batman 3D Zoetrope with diving Penguins

# data[].attributes.subject
058 Lego Batman 3D Zoetrope with diving Penguins

# data[].attributes.attachment_link.entities[].name
Printed Zoetrope Animation Process & Walk

# data[].attributes.attachment_link.entities[].name
Disneyland California Adventure Toy Story

# data[].attributes.attachment_link.title
Lego Batman 3D Zoetrope with diving Penguins

# data[].attributes.attachment_link.description
3D Zoetrope using Lego minifigs and PlaySchool Batman Characters set to the old TV Batman theme. 3D character animation by stop motion. Designed for Maker Fair 2010. Idea came from the Disney Pixar Zoetrope at California Adventure. To see a flash version of the animation go to - http://www.v27.org/files/LegoZoetrope2010.htm

# data[].attributes.attachment_link.entities[].name
Ultimate Illusions & Science Compilation

# data[].attributes.attachment_link.entities[].name
Amazing Mirror Experiment Reveals Invisible Air Movement

# data[].attributes.attachment_link.description
brusspup t-shirts! http://brusspup.spreadshirt.com/ Like me on Facebook: http://www.facebook.com/pages/Brusspup/158773774166995 The illusion of movement with a record player. Watch as hidden animations come alive by using a specific frame rate and shutter speeds of a camera and RPM of a record player. To me this is one of the ultimate illusions.

# data[].attributes.headline
056 1833 "McLean's Optical Illusions; or, Magic Panorama" (early animations)

# data[].attributes.subject
056 1833 "McLean's Optical Illusions; or, Magic Panorama" (early animations)

# data[].attributes.attachment_link.title
1833 "McLean's Optical Illusions; or, Magic Panorama" (early animations)

# data[].attributes.attachment_link.title
Digital Media For Artists - Geschichte der Animation

# data[].attributes.attachment_link.description
Die Geschichte der Animation entwickelte sich aus der frühen Filmgeschichte. Die vor der Entwicklung der Kinematographie erzeugten Bewegtbilder werden von den sogenannten präkinematischen Apparaten erzeugt. Sie bilden die Grundlage für Animation, Film und Videotechnik. Von der mit Kerzenlicht betriebenen Laterna Magica, über technisch sehr ausgereifte präkinematische Apparate, bis hin zur Erfindung des Kinematographen, legte die Geschichte des "Bewegten Bildes" einen weiten Weg zurück.

# data[].attributes.headline
054 155 Years Before the First Animated Gif, Joseph Plateau Set Images in Motion with the Phenakistoscope

# data[].attributes.subject
054 155 Years Before the First Animated Gif, Joseph Plateau Set Images in Motion with the Phenakistoscope

# data[].attributes.attachment_link.readable_text
Nearly 155 years before CompuServe debuted the first animated gif in 1987, Belgian physicist Joseph Plateau unveiled an invention called the Phenakistoscope, a device that is largely considered to be the first mechanism for true animation. The simple gadget relied on the persistence of vision principle to display the illusion of images in motion. Via Juxtapoz:

The phenakistoscope used a spinning disc attached vertically to a handle. Arrayed around the disc's center were a series of drawings showing phases of the animation, and cut through it were a series of equally spaced radial slits. The user would spin the disc and look through the moving slits at the disc's reflection in a mirror. The scanning of the slits across the reflected images kept them from simply blurring together, so that the user would see a rapid succession of images that appeared to be a single moving picture.

Though Plateau is credited with inventing the device, there were numerous other mathematicians and physicists who were working on similar ideas around the same time, and even they were building on the works of Greek mathematician Euclid and Sir Isaac Newton who had also identified principles behind the phenakistoscope.

So what kinds of things did people want to see animated as they peered into these curious motion devices? Lions eating people. Women morphing into witches. And some other pretty wild and psychedelic imagery, not unlike animated gifs today. Included here is a random selection of some of the first animated images, several of which are courtesy The Richard Balzer Collection who has been painstakingly digitizing old phenakistoscopes over on their Tumblr. (via Juxtapoz, 2headedsnake, thanks Brian!)

# data[].attributes.attachment_link.title
155 Years Before the First Animated Gif, Joseph Plateau Set Images in Motion with the Phenakistoscope

# data[].attributes.attachment_link.description
Nearly 155 years before CompuServe debuted the first animated gif in 1987, Belgian physicist Joseph Plateau unveiled an invention called the Phenakistoscope, a device that is largely considered to be the first mechanism for true animation. The simple gadget relied on the persistence of vision princi

# data[].attributes.attachment_link.entities[].name
Marysville Middle School Animation Lab Class

# data[].attributes.attachment_link.description
This has been put together to provide some perspective on the history of animation - and how much fun it has always been! The moving images from the Victorian era are from Media Magica series by Werner Nekes who is a film historian and collector of early optical devices.

# data[].attributes.attachment_link.description
Find and save recipes, parenting hacks, style inspiration and other ideas to try.

# data[].attributes.headline
051 Meilensteine der Naturwissenschaft und Technik - Der Kinematograph

# data[].attributes.subject
051 Meilensteine der Naturwissenschaft und Technik - Der Kinematograph

# data[].attributes.attachment_link.title
026 Meilensteine der Naturwissenschaft und Technik - Der Kinematograph

# data[].attributes.attachment_link.description
Meilensteine der Naturwissenschaft und Technik, kurz: MdNuT, ist eine Sendereihe des Schulfernsehens der ARD, die seit 1990 in unregelmäßigen Abständen produziert und vornehmlich in den Dritten Programmen, auf EinsPlus und auf BR-alpha ausgestrahlt wird. Die Sendungen haben eine Laufzeit von rund 15 Minuten und stellen in informativer und unterhaltender Form herausragende Leistungen und Erfindungen aus allen Bereichen der Naturwissenschaft und Technik vor.

# data[].attributes.headline
049 Die Sammlung Kurt Tauber - Lumiere Dialux

# data[].attributes.subject
049 Die Sammlung Kurt Tauber - Lumiere Dialux

# data[].attributes.attachment_link.title
Kamera- und Fotomuseum Kurt Tauber: Lumiere Dialux

# data[].attributes.attachment_link.description
Bilder & Apparate: Virtuelles Kameramuseum und ausdrucksstarke Fotos - Photos and Cameras: Virtual Museum for Photography and Photocameras

# data[].attributes.headline
047 Heute vor 150 Jahren: George Eastman wird geboren

# data[].attributes.subject
047 Heute vor 150 Jahren: George Eastman wird geboren

# data[].attributes.attachment_link.readable_text
Heute jährt sich der Geburtstag von George Eastman zum 150. Mal. Wem der Name auf Anhieb nichts sagt: Das ist der Herr, der vor rund 120 Jahren (1888, um genau zu sein) die erste Einwegkamera auf den Markt brachte: 100 Fotos machen und dann ab damit ins Werk; zurück kamen die fertigen Bilder. Der Name der Kamera? „Kodak Camera"!
Kodak informiert: Stuttgart, 09. Jul 2004 - Am 12. Juli jährt sich der Geburtstag von George Eastman, einem der bedeutendsten Pioniere und Wegbereiter der Fotografie, zum 150. Mal. Sein Lebensziel war es, die Fotografie einfach, sicher und preiswert zu machen. Fotografie sollte für jedermann erschwinglich werden. Sein Slogan „You Press the Button - We do the Rest" ging um die Welt und wurde zum Synonym für die Erfindung der Schnappschuss-Fotografie.

Der in Waterville, N.Y. / USA [am 12. Juli 1854] geborene George Eastman wollte zunächst die Fotografie für sich selbst vereinfachen, erkannte aber schnell die Möglichkeiten der kommerziellen Nutzung. Noch vor der Entwicklung der ersten Kamera kam er auf die Idee, an Stelle des schweren Glases Papier als Unterlage für Emulsionen zu verwenden. So entstand im Jahr 1885 der erste Papier-Rollfilm, dem 1889 der transparente Rollfilm auf Zelluloidbasis folgte.
Die erste Schnappschuss-Kamera der Welt
Am 13. Juni 1888 kündigte Eastman eine einfache, handliche Kamera an, die er schlicht „The Kodak Camera" nannte und die für 25 Dollar verkauft wurde. Die Kamera enthielt einen Film mit 100 Bildern und wurde, wenn der Film voll war, komplett in die Fabrik zur Entwicklung und Ausarbeitung der Bilder zurückgeschickt - ganz nach Motto „You press the Button, we do the Rest"! Die erste Schnappschusskamera der Welt war geboren. Und mit der ersten Kodak „Brownie Camera", die im Jahre 1900 zu einem Preis von einem Dollar und einem Rollfilm für 15 Cents auf den Markt kam, war die Hobbyfotografie in die finanzielle Reichweite von jedermann gerückt.

Eastman war aber auch bei der Entwicklung des Bewegtfilms maßgeblich beteiligt. Im Jahre 1889 gelang es George Eastman erstmals eine lichtempfindliche Fotoemulsion auf eine fortlaufende transparente Filmrolle aufzutragen. Thomas Edison war einer seiner ersten Kunden. Er griff die Idee Eastmans auf und baute eine Laufbildkamera und einen Betrachter - die erste Filmkamera der Welt.

Eastmans fantastische Idee bleibt bis heute das Schlagwort für bequemes Fotografieren. Gerade im digitalen Zeitalter gewinnt diese Philosophie wieder an Bedeutung. Digitalfotografen wollen einfache Lösungen, um zu gedruckten Bildern zu kommen, so wie sie das vom Film her kennen. Mit der Digitalfotografie hat der Umgang mit dem Bild einen revolutionären Wandel erfahren. Bilder stehen heute zu jeder Zeit und an jedem Ort zur Verfügung - auf der Digitalkamera, dem Laptop oder dem Foto-Handy. Und dennoch ist das klassische Foto für den Bilderrahmen oder das Fotoalbum keineswegs passé, sondern bleibt zeitlos. Auf der photokina, vom 28. September bis 3. Oktober 2004 in Köln, zeigt Kodak die vielfältigen Möglichkeiten, die Fotografen von heute haben, mit Bildern umzugehen. George Eastman hätte daran bestimmt Gefallen gefunden...

Die meisten Quellen stimmen darin überein, dass George Eastman ein bemerkenswert großzügig wohltätiger Mensch war. Noch zu Lebzeiten spendete er mehr als 100 Millionen Dollar an wohltätige Einrichtungen. Er nahm sich am 14. März 1932 nach schwerer Krankheit das Leben.
Eine Biografie findet sich auf Kodaks englischen Webseiten; eine weitere bei PBS. Auf Deutsch gibt es weitere Informationen zu Kodaks Geschichte. (thoMas)

# data[].attributes.attachment_link.title
Heute vor 150 Jahren: George Eastman wird geboren

# data[].attributes.attachment_link.description
Heute jährt sich der Geburtstag von George Eastman zum 150. Mal. Wem der Name auf Anhieb nichts sagt: Das ist der Herr, der vor rund 120 Jahren (1888, um genau zu sein) die erste Einwegkamera auf den Markt brachte: 100 Fotos machen und dann ab damit ins Werk; zurück kamen die fertigen Bilder.

# data[].attributes.headline
046 A Brief History of the World Wide Web

# data[].attributes.subject
046 A Brief History of the World Wide Web

# data[].attributes.attachment_link.readable_text
The web is a wonderful place. It connects people from across the globe, keeps us updated with our friends and family, and creates revolutions never before seen in our lifetime. It has certainly come a long way since its humble beginnings back in the early 1980's..

World Wide Web thumbnail Dribbbled by Zachary VanDeHey and featured in Smashing Magazine's "Redesign The Web" Poster Contest

In this article I'm going to look at the journey the World Wide Web's gone through to become the powerhouse that it is today and establish what we can learn from the past.

In order to understand the history of the World Wide Web it's important to understand the differences between the World Wide Web and The Internet. Many people refer to them as the same thing, but in fact, although the end result is the common perception of most everyday users, they are very different.

The internet is a series of huge computer networks that allows many computers to connect and communicate with each other globally. Upon the internet reside a series of languages which allow information to travel between computers. These are known as protocols. For instance, some common protocols for transferring emails are IMAP, POP3 and SMTP. Just as email is a layer on the internet, the World Wide Web is another layer which uses different protocols.

The World Wide Web uses three protocols:

HTML (Hypertext markup language) - The language that we write our web pages in.

HTTP (Hypertext Transfer Protocol ) - Although other protocols can be used such as FTP, this is the most common protocol. It was developed specifically for the World Wide Web and favored for its simplicity and speed. This protocol requests the 'HTML' document from the server and serves it to the browser.

URLS (Uniform resource locator) - The last part of the puzzle required to allow the web to work is a URL. This is the address which indicates where any given document lives on the web. It can be defined as <protocol>://<node>/<location>

In the Beginning...

Ideas for the World Wide Web date back to as early as 1946 when Murray Leinster wrote a short story which described how computers (that he referred to as 'Logics') lived in every home, with each one having access to a central device where they could retrieve information. Although the story does have several differences to the way the web works today, it does capture the idea of a huge information network available to everyone in their homes.

The real vision and execution for the World Wide Web didn't come about until around 40 years later in 1980 when an English chap by the name of Tim Berners Lee was working on a project known as 'Enquire'. Enquire was a simple database of people and software who were working at the same place as Berners Lee. It was during this project that he experimented with hypertext. Hypertext is text that can be displayed on devices which utilize hyperlinks. The Berners Lee Enquire system used hyperlinks on each page of the database, each page referencing other relevant pages within the system.

Tim Berners Lee, inventor of the World Wide Web, at the London 2012 Olympic opening ceremony.

Berners Lee was a physicist and in his need to share information with other physicists around the world found out that there was no quick and easy solution for doing so. With this in mind, in 1989 he set about putting a proposal together for a centralized database which contained links to other documents. This would have been the perfect solution for Tim and his colleagues, but it turned out nobody was interested in it and nobody took any notice - except for one person. Tim's boss liked his idea and encouraged him to implement it in their next project. This new system was given a few different names such as TIM (The Information Mine) which was turned down as it abbreviated Tim's initials. After a few suggestions, there was only one name that stuck; the World Wide Web.

The First Browsers

By December 1990 Tim had joined forces with another physicist Robert Cailliau who rewrote Tim's original proposal. It was their vision to combine hypertext with the internet to create web pages, but no one at that time could appreciate how successful this idea could be.

Despite little interest, Berners Lee continued to develop three major components for the web; HTTP, HTML and the world first web browser. Funnily enough, this browser was also called "the World Wide Web" and it also doubled as an editor.

A screenshot of the world's first web browser.

On June 8th 1991, the World Wide Web project was announced to the world where the man himself described it:

The WWW project was started to allow high energy physicists to share data, news, and documentation. We are very interested in spreading the web to other areas, and having gateway servers for other data.

On August 6, 1991 the world's first web page was launched. A copy of the site is still available.

The page outlined the plans for the World Wide Web. It was also this year that HTML was born and the first publicly available description of HTML was released. Some of these tags are still in use today, such as h1-h6 tags, paragraph tags and anchor tags. If we take a look at the source code from the world's first web page, we can see some of these in use.

<HEADER>
<TITLE>The World Wide Web project</TITLE>
<NEXTID N="55">
</HEADER>
<BODY>
<H1>World Wide Web</H1>The WorldWideWeb (W3) is a wide-area<A
NAME=0 HREF="WhatIs.html">
hypermedia</A> information retrieval
initiative aiming to give universal
access to a large universe of documents.<P>
Everything there is online about
W3 is linked directly or indirectly
to this document, including an <A
NAME=24 HREF="Summary.html">executive
summary</A>

Shortly afterwards other browsers were released, each bringing differences and improvements. Let's take a look at some of these browsers.

Line Mode Browser - feb 1992. This was also brought to us by Berners Lee. It was the first browser to support multiple platforms.

Viola WWW Browser released - march 1992. This is widely suggested to be the world's first popular browser. It brought with it a stylesheet and scripting language, long before JavaScript and CSS.

Mosaic Browser released - Jan 5th 1993. Mosaic was really highly rated when it first came out. It was developed at University of Illinois.

Mosaic was a popular browser at the time of its launch in 1993.

Cello Browser released - June 8th, 1993. This was the first browser available for Windows.

Netscape Navigator 1.1 released - March 1995. This was the first browser to introduce tables to HTML.

Opera 1.0 released - April 1995. This was originally a research project for a Norwegian telephone company. The browser is still available today and is currently at version 12.

Internet Explorer 1.0 released - August 1995. Microsoft decided to get in on the act when its Windows operating system '95 was released. This was the browser that ran exclusively on that.

Hello JavaScript and CSS

When the World Wide Web first started, web pages were simply text documents. Nowadays web pages are much more than documents; they now have the ability to be full blown applications. Part of this ability is due to the additions of JavaScript and CSS. It was on August 19th 1995 that JavaScript was first announced, originally code named 'Mocha'. This addition to the World Wide Web was not fully supported by some people, including Robert Cailliau who had worked with Berners Lee on the WWW project. He described it as:

The most horrible kluge in the history of computing

This addition to the browser came along with Netscape Navigator 2 and was developed by Brendan Eich. Despite some people having reservations about it Javascript paved the way for the web to become less static and be more dynamic and interactive.

Brendan Eich (image courtesy of drewm)

JavaScript made way for websites to think, but it was CSS that introduced the style and look of the web. Stylesheets have been around in some way shape or form since the early 80's. Cascading style sheets were introduced as a way to create a consistent styling approach to the web. They allowed the separation of the document content (HTML) and the styling of it.

CSS1 was introduced in 1995 but had trouble being adopted due to the inconsistencies amongst browsers of the time. Internet Explorer 5 was released in March 2000 and was the first browser to support the almost complete CSS1 specification (it covered 99% of it). It was a year later in 1996 that CSS level one becomes an official recommendation of the W3C.

Dot Com Boom

With the World Wide Web becoming mainstream it was between the years of 1995-2000 that a group of businesses started to change their focus onto the web. Investors started throwing money at anything related to the web; in many cases, if a company was seen to be on the web, then their stock prices would shoot up. This was known as the internet boom which marked the commercial growth of the Internet since the advent of the World Wide Web.

However, as more and more money was pumped into these startups, lots of investors overlooked basic business fundamentals and instead focussed their confidence on the advancements in technology in the hope that they would one day see a return on their investments. Unfortunately this wasn't the case and the collapse of the dot com bubble between 2000-2001 was inevitable.

Although many companies were hit by this some are still around to tell the story today. Websites such as E-bay, Amazon and Google all survived the collapse of the dot com bubble.

Social Networks

The original form of anything resembling any type of social network that we know today was a bulletin board system (BBS). Its basic concept can described as:

Once logged in, a user can perform functions such as uploading and downloading software and data, reading news and bulletins, and exchanging messages with other users, either through email, public message boards, and sometimes via direct chatting. - Wikipedia

By the turn of the millennium the race was on to become the world's most popular social network.

Social networks became especially popular on the web between the years of 1995-2000. More importantly, an internet company in the States paved the way for social networks as they are known today. AOL had features that you might see on many modern social networks today, such as member profiles and forums where users could chat about any kind of subject that they chose.

It wasn't until around 2002 that the race to become the worlds most popular social network began. Sites like Friendster, LinkedIn and myspace popped up. Friendster was arguably one of the most popular original sites boasting three million users just a year after its launch. However, competitors soon overtook Friendster, Myspace launched in 2003 and was soon gaining popularity as the world's most popular social networking site.

If any social networking website has revolutionised the way that we socially interact on the web, that accolade has to go to Facebook. Facebook managed to set itself apart from its competitors by coming up with innovative features and executing smart business decisions.

The Chronicles of Facebook's Developer Platform [ Infographic]

One of those smart business moves is one that is also shared by Twitter; that is the offering of an API which allows other developers to extend the sites' functionality and create apps that support the platforms. Decisions like this allowed the social web to become a major milestone in the history of the World Wide Web.

The Web Goes Mobile

In 2007 the iPhone was released which revolutionized the mobile web as we know it today.

One of the most recent milestones in the history of the World Wide Web is accessibility via mobile devices. Until this point accessing the web had fundamentally been from computers or laptops. Now the number of users accessing the web from mobile devices is growing rapidly and is set to overtake desktop access by 2015.

Of course, people have been connecting to the web from mobile devices since the mid 90's but this was in no way similar to the access that we are used to now. It was in 2007 that the iPhone first became available, revolutionizing the way that we access the web from our phones and introducing the concept of mobile apps. The World Wide Web was now able to understand where abouts on the planet we were, it allowed us to upload a photo that we have just taken straight onto our social networking profile. The mobile web has added another layer to the already useful web.

Learning from History

We've covered some of the major milestones in the history of Tim Berners Lee's creation. Milestones which have changed the way we conduct global communication. There are many lessons that we can learn from its history.

The web is constantly changing. Whatever the latest, greatest technology that currently defines the web, it will be superseded by something even greater, faster and better. The web doesn't stand still, nothing is set in stone and that is one of the greatest things about the web. Like any science it is constantly evolving.

The web doesn't and won't stay in its current format. We were so used to receiving the web through desktops that we didn't anticipate mobile, tablets and apps each of which take the information provided from the web and display it in their own unique way and format.

The web was created as a tool for us to share information with anyone, anywhere in the world. It started with the basics of sharing a document, but has gone on to create tools that now allow us to improve and share our lives. Tim Berners Lee created the web as open source and allowed the world to access it for free. He didn't patent it (from which he could have made billions) and allowed it be extended by anyone. In a similar way Facebook and Twitter released API's that allow anyone to extend their platforms, which is proving very popular. The future of the web lies in it being open and extendable to enable it to become the most valuable source of information and revolution. Berners Lee supports this:

If we want to track what government is doing, see what companies are doing, understand the true state of the planet, find a cure for Alzheimer's disease, not to mention easily share our photos with our friends, we the public, the scientific community and the press must make sure the Web's principles remain intact-not just to preserve what we have gained but to benefit from the great advances that are still to come. - Tim Berners Lee

In essence, the web is only scratching the surface of what can really be achieved and it's our jobs as designers and developers to understand the web's fundamental aim. I hope you've enjoyed reading this article and that you can take some of what has happened in the web's past and make it relevant to your projects today. By doing this you will be extending on the webs fundamental ethos and carrying it forward to the next generation.

# data[].attributes.attachment_link.description
The web is a wonderful place. It connects people from across the globe, keeps us updated with our friends and family, and creates revolutions never before seen in our lifetime. It has certainly come a long way since its humble beginnings back in the early 1980's..

# data[].attributes.headline
044 When did the web become social? A history

# data[].attributes.subject
044 When did the web become social? A history

# data[].attributes.attachment_link.readable_text
Long before it became the commercialized mass information and entertainment juggernaut it is today, long before it was accessible to the general public, and certainly many years before Al Gore claimed he "took the initiative in creating" it, the Internet - and its predecessors - were a focal point for social interactivity. Granted, computer networking was initially envisioned in the heyday of The Beatles as a military-centric command and control scheme. But as it expanded beyond just a privileged few hubs and nodes, so too did the idea that connected computers might also make a great forum for discussing mutual topics of interest, and perhaps even meeting or renewing acquaintances with other humans. In the 1970s, that process began in earnest.
Related:
Mullets reigned supreme in the late '70s and early '80s; computers were a far rarer commodity. Machine languages were bewildering, and their potential seemingly limited. What's more, this whole sitting-in-front-of-a-keyboard thing was so... isolationistic. Put all this together and you have a medium where only the most ardent enthusiasts and techno-babbling hobbyists dared tread. It was, in effect, a breeding ground for pocket-protector-wearing societal rejects, or nerds. Boring, reclusive nerds at that.

Yet it also was during this time, and with a parade of purportedly antisocial geeks at the helm, that the very gregarious notion of social networking would take its first steps towards becoming the omnipresent cultural phenomenon we know and love in 2014.

BBS, AOL and CompuServe: The Infant Years

"Put all this together and you have a medium where only the most ardent enthusiasts and techno-babbling hobbyists dared tread."

The BBS was no joke. Though the technology of the time restricted the flexibility of these systems, and the end-user's experience, to text-only exchanges of data that crawled along at glacial speed, BBSes continued to gain popularity throughout the '80s and well into the '90s, when the Internet truly kicked into gear. Indeed, some services - such as Tom Jennings' FidoNet - linked numerous BBSes together into worldwide computer networks that managed to survive the Internet revolution.

But there were also other avenues for social interaction long before the Internet exploded onto the mainstream consciousness. One such option was CompuServe, a service that began life in the 1970s as a business-oriented mainframe computer communication solution, but expanded into the public domain in the late 1980s.

CompuServe allowed members to share files and access news and events. But it also offered something few had ever experienced - true interaction. Not only could you send a message to your friend via a newfangled technology dubbed "e-mail" (granted, the concept of e-mail wasn't exactly newfangled at the time, though widespread public access to it was). You could also join any of CompuServe's thousands of discussion forums to yap with thousands of other members on virtually any important subject of the day. Those forums proved tremendously popular and paved the way for the modern iterations we know today.

But if there is a true precursor to today's social networking sites, it was likely spawned under the AOL (America Online) umbrella. In many ways, and for many people, AOL was the Internet before the Internet, and its member-created communities (complete with searchable "Member Profiles," in which users would list pertinent details about themselves), were arguably the service's most fascinating, forward-thinking feature.

Yet there was no stopping the real Internet, and by the mid-1990s it was moving full bore. Yahoo had just set up shop, Amazon had just begun selling books, and the race to get a PC in every household was on. And, by 1995, the site that may have been the first to fulfill the modern definition of social networking was born.

The Internet Boom: Social Networking's Adolescence

Though differing from many current social networking sites in that it asks not "Who can I connect with?" but rather, "Who can I connect with that was once a schoolmate of mine?" Classmates.com proved almost immediately that the idea of a virtual reunion was a good one. Early users could not create profiles, but they could locate long-lost grade school chums, menacing school bullies and maybe even that prom date they just couldn't forget. It was a hit almost immediately, and even today the service boasts some 57 million registered accounts.

That same level of success can't be said for SixDegrees.com. Sporting a name based on the theory somehow associated with actor Kevin Bacon that no person is separated by more than six degrees from another, the site sprung up in 1997 and was one of the very first to allow its users to create profiles, invite friends, organize groups, and surf other user profiles. Its founders worked the six degrees angle hard by encouraging members to bring more people into the fold. Unfortunately, this "encouragement" ultimately became a bit too pushy for many, and the site slowly devolved into a loose association of computer users and numerous complaints of spam-filled membership drives. SixDegrees.com folded completely just after the turn of the millennium.

Other sites of the era opted solely for niche, demographic-driven markets. One was AsianAvenue.com, founded in 1997. A product of Community Connect Inc., which itself was founded just one year prior in the New York apartment of former investment banker and the future Community Connect CEO, AsianAvenue.com was followed by BlackPlanet.com in 1999 and by the Hispanic-oriented MiGente.com in 2000. All three still exist today, with BlackPlanet.com in particular still enjoying tremendous success with more than eight million visitors per month.

Friendster, LinkedIn, MySpace and Facebook: The Biz Grows Up

In 2002, social networking hit really its stride with the launch of Friendster. Friendster used a degree of separation concept similar to that of the now-defunct SixDegrees.com, refined it into a routine dubbed the "Circle of Friends," and promoted the idea that a rich online community can exist only between people who truly have common bonds. And it ensured there were plenty of ways to discover those bonds.

An interface that shared many of the same traits one would find at an online dating site certainly didn't seem to hurt. Friendster CEO Jonathan Abrams even once referred to his creation as a dating site that isn't about dating. Within a year after its launch, Friendster boasted more than three million registered users and a ton of investment interest. Unfortunately, the service has since seen more than its fair share of technical difficulties, questionable management decisions, and a resulting drop in its North American fortunes. Although briefly enjoying success in Indonesia and in the Philippines, Friendster has since abandoned social networking and now exists solely as an online gaming site.

Introduced just a year later in 2003, LinkedIn took a decidedly more serious, sober approach to the social networking phenomenon. Rather than being a mere playground for former classmates, teenagers, and cyberspace Don Juans, LinkedIn was, and still is, a networking resource for business people who want to connect with other professionals. In fact, LinkedIn contacts are referred to as "connections." Today, LinkedIn boasts more than 297 million members.

MySpace also launched in 2003. Though it no longer resides upon the social networking throne in many English-speaking countries - that honor now belongs to Facebook just about everywhere - MySpace was once the perennial favorite. It did so by tempting the key young adult demographic with music, music videos, and a funky, feature-filled environment. It looked and felt hipper than major competitor Friendster right from the start, and it conducted a campaign of sorts in the early days to show alienated Friendster users just what they were missing. Over the years however, the number of casual Myspace users declined, and today the site exists now as a social networking site targeted to bands and musicians.

As expected, the ubiquitous Facebook now leads the global social networking pack. Founded, like many social networking sites, by university students who initially peddled their product to other university students, Facebook launched in 2004 as a Harvard-only exercise and remained a campus-oriented site for two full years before finally opening to the general public in 2006. Yet, even by that time, Facebook was considered big business. So much so that, by 2009, Silicon Valley bigwigs such as Paypal co-founder and billionaire Peter Thiel invested tens of millions of dollars just to see it flourish.

The secret of Facebook's success - the site currently boasts more than 1.3 billion active users - is a subject of much debate. Some point to its ease of use, others to its multitude of easily-accessed features, and still others, to its memorable name. A highly targeted advertising model certainly doesn't hurt, either, nor did financial injections such as the $60 million from noted Hong Kong tycoon Li Ka-shing in 2007. Regardless, there's universal agreement on one thing: Facebook promotes both honesty and openness. It seems people really enjoy being themselves, and throwing that openness out there for all to see.

Pulling Ahead: How Facebook and Twitter won the Web

Facebook is king for a reason. It wasn't just through luck that founder Mark Zuckerberg's darling came to reign supreme over the social media kingdom. It was, in fact, a series of smart moves and innovative features that set the platform apart from the rest of the social media pack. First and foremost, the 2007 launch of the Facebook Platform was key to site's success. The open API made it possible for third-party developers to create applications that work within Facebook itself. Almost immediately after being released, the platform gained a massive amount of attention. At one point in time, Facebook had hundreds of thousands of apps built on the platform, so many that Facebook launched the Facebook App Store to organize and display them all. Twitter, meanwhile, created its own API and enjoyed similar success as a result.

The other key to success was Facebook's ubiquitous 'Like' button, which broke free from the bounds of the site and began appearing all over the Internet. Now you can 'like' or "tweet' just about everything even when you're not on Facebook or Twitter. Realizing the power of social networking, Google decided to launch their own social network (Google+) in 2007. It differed from Facebook and Twitter in that it wasn't necessarily a full-featured networking site, but rather a social "layer" of the overall Google experience. Initially, Google generated a lot of buzz with the service's Hangouts feature, which allowed users to enter live video chats with other online friends. At the time of launch, Facebook was scrambling to keep up by integrating a video chat feature of their own.

Within just four weeks, Google+ had garnered 25 million unique visitors, with as much as 540 million active monthly users as of June 2014. Regardless, the service definitely didn't dethrone Zuckerberg's behemoth, especially considering more than half of Google+ users have never even visited the service's official site. It still arguably showed the world that there was still room for innovation and competition in the realm of social networking, though.

The Multi-platformed Self: The Rise of Mobile

Over the course of the past two years, "Fourth screen" technology - smartphones, tablets, etc. - has changed social networking and the way we communicate with one another entirely. What used to sit on our desks now conveniently fits in the palm of our hands, allowing us to effortlessly utilize functionality once reserved for multiple devices wherever we go.

Given the abrupt rise in mobile computing, it's not surprising the most popular social media platforms of the past several years hinge on the capabilities of smartphones. Photo and video-sharing applications such as Snapchat and Instagram, the latter of which has now garnered a staggering 20 billion images since the app's initial inception in October 2010, exist almost entirely on mobile. The same goes with platforms such as Foursquare, an application in which users use their smartphones to check in to various locations around the globe, and various matchmaking services. Tinder, for instance, currently boasts more than 10 million daily users, each of which swipes for potential partners based on their approximately in relation to their smartphone.

Mobile-based platforms also approach social networking in an entirely different fashion than their Web-based counterparts. Rather than offering a comprehensive social networking experience like the now-defunct Myspace and the struggling Google+, they instead specialize in a specific kind of interaction service that involves the sharing of public images (Instagram), the private sharing of images sharing (Snapchat), augmented reality (Foursquare), and location-based matchmaking (Tinder). People essentially use the various services in conjunction with other platforms to build a comprehensive, digital identity.

"People now exist on multiple platforms, and instead of fighting against this trend, larger companies are tapping into this new environment."

Virtual Reality and Augmented Reality: The Future of Social Networking

In March 2014, Facebook acquired Oculus VR, a company on the cusp of mass producing virtual-reality headsets. Upon sealing the deal, Zuckerberg commented regarding the communication potential for the platform, highlighting the slew of potential uses for the virtual technology when it comes to academics, viewing live events, and consulting with doctors face-to-face. However, Facebook has taken a hands-off approach in its management of Oculus VR, allowing the company to continue focusing predominately on gaming applications while other parties - i.e. the Pentagon - quietly look into using virtual reality headsets for military purposes. A number of medical experts have even begun using virtual reality to treat anxiety, combat-induced P.T.S.D., and other pronounced mental illnesses. Adult entertainment, meanwhile, has invested in virtual reality for years.

To simplify my point, it appears a good deal of people have high hopes that virtual reality will become the next blockbuster computing platform. The technology already exists, and with the consumer version of the Oculus Rift VR headset slated to go on sale in late 2014 for under $300, the potential for widespread adoption of virtual reality has never been greater. At the very least, the Rift's success or failure in the market will shape Facebook's approach toward incorporating virtual reality. Note that augmented reality differs from virtual reality in that it applies digital interaction to the real world instead of creating an audio-visual experience from scratch. In terms of social networking, augmented reality offers a number of possibilities. For instance, people could share their name, interests, relationship status, and mutual friends all within a digital sphere.

Believe it or not, augmented reality already exists in apps like Yelp and Google Ingress. Smartphones are more than capable of delivering augmented reality, and as one might expect, the technology is the entire concept driving Google Glass' digital integration with the real world. Google's deliberate decision to sell Glass at an inflated price of $1,500, however, is likely meant to exclude the general public while the tech giant and a selective group of consumers - aka "explorers" work to hammer out the device's flaws. The day Google lowers the price of Glass to its estimated production cost of $150 marks the day when widespread adoption of augmented reality, including augmented reality in social networking, becomes a greater possibility. Until then, there's always Snapchat and the overuse of hashtags in just about everything we do.

The bid for originality: Facebook and Twitter bet big on video and livestreaming

Fueled by the rise of third-party apps, social media giants were forced to take note of the video format by 2012. But not before that same format, in a different guise, had laid waste to any form of originality on their respective services.

A spending spree followed. Within the span of just a couple of years, several major buyouts -and failed acquisition attempts - took place within the sector. In 2012, Twitter purchased video-looping platform, Vine. Later that same year, Facebook bought Instagram, which would eventually introduce video-sharing into its own app app to great success. Then in 2013, Facebook made its infamous bid for Snapchat, which was turned down by the makers of the ephemeral messaging app.

Meanwhile, the video-shaped void on Facebook and Twitter had been filled by new media companies that were experts in the art of viral content (i.e. BuzzFeed, 9GAG, Mashable). An earlier source had been YouTube, which had heralded the dawn of the internet celebrity with its homegrown roster of creators. Despite their popularity, however, viral videos posed more complications for social media giants than they did opportunities.

Left to operate independently, both Instagram and Vine proved to be solid investments. Their respective owners, however, were still facing the same issue. By 2015, Twitter was being labelled as "inaccessible" due to its flat growth in user numbers. Facebook, on the other hand, saw its users sharing less personal information. Instead of original posts, Facebook news feeds and Twitter timelines became bloated with viral videos, memes, GIFs, and clickbait articles - making them harder to navigate in the process. As in the past, the perceived solution came from an existing product, which ended up paying the ultimate price for its abrupt rise.

Having dominated the conversation at the 2015 SXSW Interactive festival, livestreaming app Meerkat caught the attention of Twitter. Capitalizing on what it viewed as an emerging trend, Twitter bought rival livestreaming app Periscope just a few months later. It has since integrated Periscope streams into its main platform, in an attempt to further popularize the app. Fast forward a few months to the end of 2015, and Facebook inevitably followed suit with the launch of Live Video. Overshadowed by its rivals, Meerkat quickly quickly abandoned livestreaming altogether.

It is easy to see the attraction live broadcasts hold for social networks. Like viral videos, livestreams have the unique benefit of making viewers feel like they are 'in the moment.' A popular livestream has a snowball effect and, in turn, can quickly become a trending topic. Like the immediacy offered by Snapchat, the format can transform the mundane into the unmissable. Best of all, it allows social networks to lay claim to something original, which now autoplays on its flagship platform.

The integration of the livestream on Twitter and Facebook has also made the two companies more open to striking broadcast deals with third-parties. In turn, having seen the success that BuzzFeed and its counterparts have had with video, both traditional and new media companies have been quick to embrace Periscope and Facebook Live.

Nowhere is this theory better evidenced than Twitter's recent deal to livestream NFL games. This compromise on the part of the social media giants comes in the wake of the realization that they can no longer be relegated to the second, third, or fourth screen. They have to be the main attraction by showcasing viral, trending, or popular visual media - whether original or not - in real-time, fueling interaction and reaction in the process.
This article was originally published on August 5, 2014, and updated on May 4, 2016, by Saqib Shah to reflect the widespread adoption of video-sharing platforms and livestreaming.

# data[].attributes.attachment_link.description
Long before it became the commercialized mass information and entertainment juggernaut it is today, long before it was accessible to the general public, and certainly many years before Al Gore claimed he "took the initiative in creating" it, the Internet - and its predecessors - were a focal point for social interactivity.

# data[].attributes.headline
043 Lego Matrix Trinity (super slow-mo comparison) Cool!

# data[].attributes.subject
043 Lego Matrix Trinity (super slow-mo comparison) Cool!

# data[].attributes.attachment_link.entities[].name
Lego Matrix Trinity Help Side by Side Comparison

# data[].attributes.attachment_link.title
Lego Matrix Trinity (super slow-mo comparison) Cool!

# data[].attributes.attachment_link.description
Super Slow-Motion side by side clip of the Lego Matrix Trinity Help scene check out: http://www.legomatrix.com/ They did a great job. http://www.moretora.com

# data[].attributes.attachment_link.description
Find and save recipes, parenting hacks, style inspiration and other ideas to try.

# data[].attributes.headline
041 A Visual Compendium of Cameras | Timeline infographic

# data[].attributes.subject
041 A Visual Compendium of Cameras | Timeline infographic

# data[].attributes.attachment_link.readable_text
For times immemorial, people have tried to reproduce their surroundings into pictures of their own. They have used techniques of paintings, carving and sculpturing and for years images have been projected onto surfaces. Photography is the result of combining several technical discoveries. Long before the first photographs were made, Chinese and Greek philosophers described a pinole camera. But it was until Ibn -- al -- Haytham (965 -- 1040) a Muslim scientist made significant contributions to the principles of optics and invented the camera obscura which is a prototype of today's modern camera. While this early prototype may have had modest usage in its time, it was an important step in the evolution of the invention.

Earliest Known Photograph [1825]
Earliest known, surviving heliographic engraving in existence, made by Nicéphore Niépce in 1825 by the heliography process. His illustration is of an etching printed from a metal plate that was etched following alteration of the ground by sunlight; the image is of a 17th Century Flemish engraving showing a man leading a horse.

The First Photograph Ever Taken "View from the Window at Le Gras" [Circa, 1826]
The first permanent photograph (later accidentally destroyed) was an image produced in 1822 by the French inventor Joseph Nicéphore Niépce. His photographs were produced on a polished pewter plate covered with a petroleum derivative called bitumen of Judea. View from the Window at Le Gras (La cour du domaine du Gras) was the first successful permanent photograph, created by Nicéphore Niépce in 1826 at Saint-Loup-de-Varennes. Niépce captured the photo with a camera obscura focused onto a sheet of 20 × 25 cm oil-treated bitumen. As a result of the 8-hour exposure, sunlight illuminates the buildings on both sides.

The First Photograph of a Human "Boulevard Du Temple" [Paris, 1838]
Boulevard du Temple, taken by Louis Daguerre in late 1838, was the first-ever photograph of a person. It is an image of a busy street, but because exposure time was over ten minutes, the city traffic was moving too much to appear. The exception is a man in the bottom left corner, who stood still getting his boots polished long enough to show up in the picture.

The First Light Picture and Human Potrait Ever Taken [1839]
Robert Cornelius, self-portrait, Oct. or Nov. 1839, approximate quarter plate daguerreotype which is a procedure invented in 1839 using silver on a copper plate. The back reads, "The first light picture ever taken." This self-portrait is the first photographic portrait image of a human ever produced.

The Photo of the first Photographic Studio [1893]

First Color Photograph [1861]
Although color photography was explored throughout the 19th century, initial experiments in color resulted in projected temporary images, rather than permanent color images. Moreover until the 1870s the emulsions available were not sensitive to red or green light.The first color photo, an additive projected image of a tartan ribbon, was taken in 1861 by the Scottish physicist James Clerk Maxwell.

First High Speed Photograph [1878]
In 1887, using a series of trip wires, Eadweard Muybridge created the first high speed photo series which can be run together to give the effect of motion pictures. High speed photography is the science of taking pictures of very fast phenomena. In 1948, the Society of Motion Picture and Television Engineers (SMPTE) defined high-speed photography as any set of photographs captured by a camera capable of 128 frames per second or greater, and of at least three consecutive frames.

First Motion Picture [1888]
This film is the first celluloid film created and it gives us a true look at how people looked and, more importantly, carried themselves. The film only lasts for two seconds but it is enough time to see the characters walking. It was recorded at 12 frames per second by French inventor Louis Le Prince. It was filmed at the home of Joseph and Sarah Whitley, in Roundhay, Leeds, West Yorkshire, England on October 14 and the people who appear are Adophe Le Prince (Louis's son), Sarah Whitley, Joseph Whitley, and Harriet Hartley.

First Digitally Scanned Photograph [1957]
The first image scanner ever developed was a drum scanner. It was built in 1957 at the US National Bureau of Standards by a team led by Russell Kirsch. The first image ever scanned on this machine was a 5 cm square photograph of Kirsch's then-three-month-old son, Walden. The black and white image had a resolution of 176 pixels on a side. Technically, this is the very first digital photograph -- all these years later, digital cameras are only just beginning to have the full capabilities of film cameras.

# data[].attributes.attachment_link.entities[].name
Society of Motion Picture and Television Engineers

# data[].attributes.attachment_link.entities[].name
First Photograph of a Human `` Boulevard Du Temple

# data[].attributes.attachment_link.description
For times immemorial, people have tried to reproduce their surroundings into pictures of their own. They have used techniques of paintings, carving and sculpturing and for years images have been projected onto surfaces. Photography is the result of combining several technical discoveries. Long before the first photographs were made, Chinese and Greek philosophers described a pinole camera.

# data[].attributes.headline
037 Nicéphore Niépce, Erfinder der Fotografie

# data[].attributes.subject
037 Nicéphore Niépce, Erfinder der Fotografie

# data[].attributes.attachment_link.title
musée Nicéphore Niépce - Nicéphore Niépce

# data[].attributes.attachment_link.description
Les lettres, les écrits de Nicéphore Niépce forment un espace d'où jaillissent et s'organisent les propositions. La pensée semble parfois confuse alors que tout s'unit et se transforme dans ce champ associé que Nicéphore Niépce appelle héliographie. La reconstitution des enchaînements, le mode discontinu de l'expression ne trahit pas l'incohérence du projet mais bien au contraire son enracinement dans la complexité du réel.

# data[].attributes.headline
098 Beginner - Es war einmal (official Video)

# data[].attributes.subject
098 Beginner - Es war einmal (official Video)

# data[].attributes.attachment_link.title
Beginner  - Es war einmal (official Video)

# data[].attributes.attachment_link.description
Das neue Album "Advanced Chemistry" jetzt vorbestellen Als CD Album, Limited Deluxe Box und Doppel Vinyl: Amazon http://www.umgt.de/13uTZV | Saturn http://www.umgt.de/rtDn5p Das Album „Advanced Chemistry" jetzt bei iTunes vorbestellen und die Single „Es war einmal" direkt bekommen: http://www.umgt.de/hthEx8 Exclusive Colored Vinyl Edition HHV: http://www.umgt.de/cfhquR Beginner bei Spotify streamen: http://bitly.com/BeginnerComplete Youtube Channel abonnieren: http://bit.ly/1ZcHIsd Production Company: NOYZ R UZ Films & PAUL'S BOUTIQUE Director: David Aufdembrinke Executive Producer: David Mohn Beginner Tour - 2016 & 2017 Tickets unter http://buback.de/konzerte/beginner Mehr Infos: https://www.facebook.com/diebeginner https://www.instagram.com/diebeginner/ https://twitter.com/diebeginner http://www.beginner.de http://www.universal-music.de/beginner

# data[].attributes.headline
034 OLD BUT GOLD: SO WÜRDE INSTAGRAM AUF WINDOWS 95 AUSSEHEN

# data[].attributes.subject
034 OLD BUT GOLD: SO WÜRDE INSTAGRAM AUF WINDOWS 95 AUSSEHEN

# data[].attributes.attachment_link.readable_text
Die meisten von uns hatten noch das Vergnügen mit Windows 95: dem Betriebssystem, mit dem alles angefangen hat. Doch ehe man sich versieht, jagen Jugendliche mit ihren mobilen Endgeräten irgendwelche Pokémon durch die Gegend und man schickt sich gegenseitig kurze Snaps (wahlweise mit süßen Hunde- oder heißem Truckerblick), die sofort wieder verschwinden.

Doch, dass "old still gold" ist, beweist nun der russische Motion-Designer Misha Petrick: Mit seinen Animationen lässt er das zeitlose Design von Windows 95 wiederaufleben und zeigt, wie die beliebte Foto-App Instagram auf Windows 95 aussehen würde.

Das können wir Dir auch empfehlen

# data[].attributes.attachment_link.title
Retrogram: So würde Instagram auf Windows 95 aussehen

# data[].attributes.attachment_link.description
Die meisten von uns hatten noch das Vergnügen mit Windows 95: dem Betriebssystem, mit dem alles angefangen hat. Doch ehe man sich versieht, jagen Jugendliche mit ihren mobilen Endgeräten irgendwelche Pokémon durch die Gegend und man schickt sich gegenseitig kurze Snaps (wahlweise mit süßen Hunde- oder heißem Truckerblick), die sofort wieder verschwinden.

# data[].attributes.headline
035 In 1906, one magazine warned of the loneliness of “wireless telegraphy”

# data[].attributes.subject
035 In 1906, one magazine warned of the loneliness of “wireless telegraphy”

# data[].attributes.attachment_link.readable_text
You can't blame everything on smartphones. Even more than 100 years ago, people worried that wireless technology would make us anti-social, as one cartoon from the archives of the UK's Punch Magazine shows.

This illustration, unearthed by the Public Domain Review, was originally published on December 26, 1906, and made a grim forecast of what the next year would look like: A man and a woman sitting next to each other by a tree in Hyde Park, but instead of talking to each other, they have their heads down, too focused on radio devices to notice the other's presence or to enjoy the park's scenery.

The caption reads:

IV. - DEVELOPMENT OF WIRELESS TELEGRAPHY. SCENE IN HYDE PARK.

[These two figures are not communicating with one another. The lady is receiving an amatory message and the gentleman some racing results.]

Turns out the artist's prediction of a breakdown in face-to-face interaction remains pretty accurate today, when old and young alike complain about their peers staring into cellphones instead of speaking to each other in real life.

Even more prescient, an even earlier cartoon accurately predicted the advent of video conference calls like Skype and FaceTime, with a slightly less dystopian flavor.

The illustration below by George du Maurier was first published in the Punch Almanack for 1879. Titled "Edison's Telephonoscope (Transmits light as well as sound)," it tried to imagine famed US inventor Thomas Edison's next contraption. The cartoon shows two parents speaking to their child through an imaginary device that allows both a telephone conversation and a video projection.

The caption explains with astonishing accuracy what happens regularly with families who are separated today:

(Every evening, before going to bed, Pater and Materfamilias set up an electric camera obscura over their bedroom mantel-piece, and gladden their eyes with the sight of their Children at the Antipodes, and converse gaily with them through the wire.)
Paterfamilias (in Willow Place): "Beatrice, come closer, I want to whisper."
Beatrice (from Ceylon): "Yes, Papa dear."
Paterfamilias: Who is that charming young lady playing on Charlie's side!
Beatrice: "She's just come over from England, Papa. I'll introduce you as soon as the game's over!"

The anxieties of technology taking over human connections in flesh and blood might still be a concern today, but as the ever increasing number of long-haul flights show, technology also enables people to travel further and more frequently than they ever could have imagined. While the 1.71 billion Facebook users across the globe use their social network to remain connected despite physical barriers, they're also clearly still meeting up in person.

Most Popular

Read full story

# data[].attributes.attachment_link.title
In 1906, one magazine warned of the loneliness of "wireless telegraphy"

# data[].attributes.attachment_link.description
You can't blame everything on smartphones. Even more than 100 years ago, people worried that wireless technology would make us anti-social, as one cartoon from the archives of the UK's Punch Magazine shows. This illustration, unearthed by the Public Domain Review, was originally published on December 26, 1906, and made a grim forecast of what the next year would look like:...

# data[].attributes.attachment_link.description
World's First Mobile Phone (1922). Found by a researcher in the Pathe vaults, this clip from 1922 shows that 90 years ago, mobile phone technology and music on the move was not only being thought of but being trialled. Reported in the Daily Telegraph, May 2010.

# data[].attributes.headline
033 Do You Remember Life Before The Internet?

# data[].attributes.subject
033 Do You Remember Life Before The Internet?

# data[].attributes.attachment_link.title
Do You Remember Life Before The Internet?

# data[].attributes.attachment_link.description
If you don't believe me - google it. Share on Facebook ::http://on.fb.me/16v9GTb Share on Twitter :: http://bit.ly/16v9zHa CREDITS: Music: "Information Highw...

# data[].attributes.attachment_link.readable_text
Did you know that it would take around 6 000 floppy disks to store one DVD - or 4 500 compact cassettes, with a playback time of 280 days? Here's a brief look into the history of data storage.

The oldest known form of data storage is from 1725 and was done by Basile Bouchon when he used a perforated paper loop to store patterns that were to be used on cloth.

But the first real patent for some kind of data storage is dated back in 23 Sep 1884 by Herman Hollerith (pdf) - an invention that was used for nearly 100 years until the mid 1970s.

Here's an example of how a typical punch card could look like, it's a 90 column card punched in 1972. As you can see the amount of data that could be stored on a punch card wasn't much, and their primary use wasn't to store data, it was to store settings for different machines.

90 column punch card [fourmilab.ch]

The first known use of the paper tape was back in 1846 by Alexander Bain - the inventor of the fax machine and the electric printing telegraph. Each row on the tape represents one character, but since you easily could create a fanfold you could store signigicantly more data using the punched tape compared to the punch cards.

Paper tape [Wikipedia]

In 1946 RCA started the development of the Selectron tube. It was an early form of computer memory and the largest selectron tube measured 10 inches and could store 4096 bits. As these tubes were very expensive, they were very short-lived on the market.

The RCA Selectron 1024-bit prototype [att.net]

In the 1950s magnetic tapes was first used by IBM to store data on magnetic tape. Since one roll of magnetic tape could store as much data as 10 000 punch cards it became an instant success and became the most popular way of storing computer data until the mid 1980s.

Magnetic tape [Wikipedia]

The Compact Cassette is of course one kind of magnetic tape but since so many of us have used them, it deserves a special section. The Compact Cassette was introduced by Philips in 1963 but it wasn't until the 1970s it became popular. Computers like the ZX Spectrum, the Commodore 64 and the Amstrad CPC used the cassettes to store data. A standard 90 minutes Compact cassette could store around 700kB to 1MB of data on each side of the tape. How about buying 4500 compact cassettes and create a backup of your favorite DVD - it would only take 281 days to restore the data, hehe.

The magnetic drum was a 16 inch long drum spun that did 12,500 revolutions per minute. It was used to give the IBM 650 computer about 10 000 characters of main memory.

The magnetic drum [IBM.com]

In 1969 the first floppy disk was introduced. It was a read-only 8 inch disk that could store 80kB of data. 4 years later, in 1973, the a similar floppy disk with the same size could store 256kB of data plus it was possible to write new data again and again. Since then the trend has been the same - smaller floppy disks that could store more data. In the late 1990s you could get ahold of 3 inch disks that could store 250 MB of data.

Floppy disks [wikipedia]

IBM unveiled the 305 RAMAC on September 13th, 1956. The computer was nothing but a revolution since it could store up to 4.4MB of data (5 million characters) - an enormous amount of data back then. The data was stored on fifty 24 inch magnetical disks. More than 1000 systems were built and the production ended in 1961. IBM leased the computers for $3 200 per month.

IBM 305 RAMAC [IBM.com]

The hard drive is still a product that is under constant development. The Hitachi Deskstar 7K500 that you can see on the image above is the first hard disk drive that can store 500 GB of data - or approxmiately 120 000 times more data than the world's first hard drive IBM 305 RAMAC. The trend is crystal clear; for each year we get cheaper drives that can store more data faster.

In 1958 the Laserdisc technology was invented, but it wasn't until 1972 that the first videodisc was demonstrated in public. 6 years later, in 1978, it was available on the market. It wasn't possible to store data on the discs, but they could store video and image data with a significantly higher quality than tecnniques like VHS.

The Laserdisc [wikipedia]

The compact disc originates from the laser disc, but it's much smaller (and stores less data). It was developed in a co-operation between SONY and Philips back in 1979 and the Compact Disc reached the market late in 1982. A typical CD of today can store 700 MB of data.

Compact disc [wikipedia]

A DVD (Digital Versatile Disc or Digital Video Disc) is basically a CD that uses a different kind of laser technology. The laser's wavelength uses 780nm infrared light (standard CD use 625nm to 650nm red light) which makes it possible to store more data on the same amount of space. A dual layer DVD can store 8.5GB of data.

DVD [wikipedia]

There's a lot of modern data storage media like memory cards we haven't mentioned here, but in the near future we are about to experience the launch of Blu-Ray and HD DVD - two competing formats which basically just is another version of the compact disc that can store even more data thanks to the blue-violet laser technology. It will be interesting to see which format wins, but Blu-Ray seems to be the gaining in popularity.

But it's when we start to look beyond these formats things are starting to get interesting. What would you say about having a Holographic Versatile Disc that could store 160 times more data than a Blu-Ray disc. 3.9 TB of data on one disc - or approximately 4,600 to 11,900 hours of video using MPEG4 encoding - or would you rather spend a fortune on a couple of billion punch cards?
Holographic Versatile Disc

Yeah, that's right. It would take approximately 90 million punch cards to be able to store one 8.4GB DVD, or 6 000 floppys, or 4 500 compact cassettes ( it would only take 281 days to restore the data, hehe) - or if we would turn it the other way around, it would take 0.2% of a 3.9TB Holographic disc...

# data[].attributes.attachment_link.description
Did you know that it would take around 6 000 floppy disks to store one DVD - or 4 500 compact cassettes, with a playback time of 280 days? Here's a brief look into the history of data storage.

# data[].attributes.attachment_link.description
Download Free Fonts and Free Dingbats at UrbanFonts.com.

# data[].attributes.headline
030 The History of Typography - Animated Short

# data[].attributes.subject
030 The History of Typography - Animated Short

# data[].attributes.attachment_link.title
The History of Typography - Animated Short

# data[].attributes.attachment_link.description
A paper-letter animation about the history of fonts and typography.
291 Paper Letters.
2,454 Photographs.
140 hours of work.
Created by Ben Barrett-Forrest
© Forrest Media - 2013
www.forrestmedia.org
www.facebook.com/forrestmedia
www.twitter.com/benbf
Video on Youtube: http://youtu.be/wOgIkxAfJsk
Information Sources:
Thinking in Type by Ellen Lupton
Just My Type by Simon Garfield
If this video sparks any ideas, I would love to hear about them!

# data[].attributes.attachment_link.description
Gutenberg in dem Film Geschichte der Schrift - Zeichen der Zeit. Zusammengeschnitten von mir.

# data[].attributes.headline
028 Die Geschichte der Schrift - INFOGRAFIK

# data[].attributes.subject
028 Die Geschichte der Schrift - INFOGRAFIK

# data[].attributes.attachment_link.readable_text
Passend zur Blogreihe des EÖDL über Schriftarten für legasthene Menschen habe ich diese Geschichte der Schrift bei Arte entdeckt. Die Geschichte hört zwar 1977 mit der Vermarktung erster Textverarbeitungsprogramme auf, ist aber dennoch interessant zu sehen. Damals hätte sich wohl niemand vorstellen können, dass wir eines Tages wie selbstverständlich auf gläsernen Tafeln schreiben!

Bildquelle: http://www.arte.tv/de/die-geschichte-der-schrift/7389854.html

# data[].attributes.attachment_link.description
Passend zur Blogreihe des EÖDL über Schriftarten für legasthene Menschen habe ich diese Geschichte der Schrift bei Arte entdeckt. Die Geschichte hört zwar 1977 mit der Vermarktung erster Textverarbeitungsprogramme auf, ist aber dennoch interessant zu sehen. Damals hätte sich wohl niemand vorstellen können, dass wir eines Tages wie selbstverständlich auf gläsernen Tafeln schreiben!

# data[].attributes.headline
027 Eine Maschine verändert die Welt | Teil 1 - Wie die Computer rechnen lernten

# data[].attributes.subject
027 Eine Maschine verändert die Welt | Teil 1 - Wie die Computer rechnen lernten

# data[].attributes.attachment_link.title
Eine Maschine verändert die Welt | Teil 1 - Wie die Computer rechnen lernten

# data[].attributes.attachment_link.description
Eine Doku über die Entstehungsgeschichte des Computers Deutsche Erstausstrahlung: 11.08.1991 N3

# data[].attributes.headline
026 Technology Timeline; 1920s to Present

# data[].attributes.subject
026 Technology Timeline; 1920s to Present

# data[].attributes.attachment_link.description
From The Invention of Television to the Advent of Advertising, From the First Computers to the Internet... the Convergence of Turning Television into Computers.

# data[].attributes.headline
024 an Optical Poem - produced by Oskar Fischinger 1938

# data[].attributes.subject
024 an Optical Poem - produced by Oskar Fischinger 1938

# data[].attributes.attachment_link.title
An Optical Poem - produced by Oskar Fischinger  1938

# data[].attributes.headline
025 Studie nr 8 (excerpt) by Oskar Fischinger

# data[].attributes.subject
025 Studie nr 8 (excerpt) by Oskar Fischinger

# data[].attributes.attachment_link.title
Studie nr 8 (excerpt) by Oskar Fischinger

# data[].attributes.attachment_link.description
Excerpt from Studie nr 8 (1931). The entire film is available on the new DVD, http://www.centerforvisualmusic.org/Fischinger/newdvd.htm

For more on Fischinger and his work see the Fischinger Research pages at
www.centerforvisualmusic.org/Fischinger

Please be respectful, don't hack or steal our clips, and we'll continue to put Fischinger and other historical visual music films online. Thank you!  Please support CVM and its work preserving the Fischinger legacy.

The Oskar Fischinger films are owned and managed by Center for Visual Music, please contact us for any distribution or licensing requests.

See the trailer for the DVD on CVM's vimeo channel.

# data[].attributes.headline
023 The Fischinger TrustOskar Fischinger, 1900-1967

# data[].attributes.subject
023 The Fischinger TrustOskar Fischinger, 1900-1967

# data[].attributes.attachment_link.readable_text
The Fischinger Trust

Oskar Fischinger, 1900-1967

Palm Desert California, USA
Tel (760)834-8183

This is the official website, and a clearinghouse for information and sources
for Oskar Fischinger.

This site also contains Biographies, Filmography, Bibliography, Articles, Links and Research Resources

Contact: fischingerarchive@msn.com regarding paintings or image requests

Left, original goache from the film Squares, 1934

Right, Major Movement, 1948 oil

Books

Oskar Fischinger: Experiments in Cinematic Abstraction (2013). Publisher: Eye Film Museum, 2013.

Fischinger created over 800 paintings in his lifetime. Many are in major museums and collections worldwide, including Los Angeles County Museum of Art, Smithsonian American Art Museum, Solomon Guggenheim Museum New York, Norton Simon Museum, Pasadena CA; and Yale University's Art Gallery. Contact the Fischinger Trust for matters regarding the paintings and drawings of Oskar Fischinger: fischingerarchive@msn.com

Photographs and Images

Please direct requests for image reproduction permission, and other image permission requests to fischingerarchive@msn.com - please provide full and specific details regarding the publication and requested use (print only, ebook, online, etc; circulation or print run, editor of book if applicable, publication date, etc.). If you are seeking reproduction permission for images to accompany an article, please email text of the article as well. Requests generally require 2-4 weeks processing time. Permission is required before publishing a photograph of Fischinger, a still from his films or an image of his paintings.

Movement diagram for the film Kreise (1933-34)
Papers, Research Material

The Fischinger Trust

Margaret Herrick Library - www.oscars.org/library

Some materials, including an original Lumigraph, Motion Painting panels, paintings, some animation drawings from Kreise, and papers (German language, some selections from Oskar's early business papers) are at:
www.filmarchives-online.eu in Frankfurt, Germany.

Resources

Filmography

Biography - Short and Longer

Selected (on External site, the CVM Bibliography Fischinger Research pages)

Also see William Moritz's Fischinger biography " Optical Poetry: The Life and Work of Oskar Fischinger" published in April 2004 by John Libbey & Co. Available on amazon.com worldwide.

Film descriptions in Canyon Cinema catalog

News and Announcements

2020: Sullivan Goss: An American Gallery. Santa Barbara, CA exhibition: DREWES | FISCHINGER | GORDIN THE INVENTION OF AMERICAN ABSTRACT ART OCTOBER 30 - JANUARY 4, 2021

Fall 2015: One painting and three Fischinger films are part of the exhibition Art of Music at San Diego Museum of Art (California). Through February 2016.

: New Fischinger book Oskar Fischinger (1900-1967): Experiments in Cinematic Abstraction. In distribution through Thames & Hudson. Edited by Cindy Keefer and Japp Guldemond.

2012: Fischinger films included in museum exhibitions in Venice, Italy; Mainz, Germany; Calgary, Canada; Taipei and other cities.

Raumlichtkunst restoration/recreation project by Center for Visual Music, of Fischinger's 1920s multiple projector performances, is a 3 screen HD installation in selected museums, at The Whitney Museum, New York, 2012, and The Tate Modern, London, June 2012 - March 2013. Preserved with an Avant Garde Masters Grant, funded by the Film Foundation and administered by the National Film Preservation Foundation.

screened at Optical Poetry: Oskar Fischinger Retrospective Tate Modern, London on June 1; at LA County Museum of Art, April 27, and Whitney Museum of Art, October 20, 2012. Featuring 35mm preserved prints of Fischinger's classic films, including Allegretto, Komposition in Blau, Motion Painting no. 1, Studies 5,6,7,8; Kreise, An American March, Radio Dynamics, Walking from Munich to Berlin, Spirals and more. Organized by Center for Visual Music.

William Poundstone's ARTINFO blog, on Fischinger, January

January 7, 2012 - Two part Optical Poetry: Fischinger Retrospective program screened at The National Gallery of Art, Washington DC.

October 2011 - Several Fischinger films were included in 2 exhibitions, in Lucca, Italy (on Veronesi) and in Movable Types in Mainz, Germany (Gutenberg Museum)

October 2011 - Lecture on Oskar Fischinger's Ornament Sound experiments, 1932-1950s, by Cindy Keefer at Seeing Sound 2 symposium, Bath, UK.

Summer 2011 - Fischinger's film Radio Dynamics was in the Watch Me Move! huge animation exhibition at Barbican, London; now on tour for 5 years to Calgary, Canada then Asia.

July 2011 - Large painting exhibition with dozens of Oskar's paintings, at Peyton-Wright Gallery, New Mexico.

June 2011 - unshot animation from the Ornament Sound series was on view in The Unfinished Film at Gladstone Gallery, New York.. From the CVM Collection.

May 2011 - Fischinger 2-part Retrospective screened at The Stuttgart International Animation Festival.

September 2010: Celebrating Elfriede Fischinger on her 100th Birthday: A Benefit Exhibition and Reception, in Los Angeles. Hosted by Center for Visual Music in collaboration with The Goethe-Institut Los Angeles and The Fischinger Trust. This special evening featured an Exhibition of selected photographs and artifacts about Elfriede's life, paintings by Oskar Fischinger, a reception, and a Screening of Home Movies and Videos of Elfriede. Highlights include Oskar's first Stereo Painting (1949), The Lumigraph film (1970) by Elfriede, and unshot animation drawings by Oskar.

Fischinger films screened at The Tate Modern, London as part of the Expanded Cinema symposium, 2009.

Leonardo Electronic Almanac published C. Keefer's article 'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments. Leonardo Electronic Almanac, Creative Data Special Issue. Leonardo: The International Society for the Arts, Sciences, and Technology, and MIT Press. October 2009. PDF.

In 2009, Fischinger films were included in museum exhibitions at ZKM (Karlsruhe, Germany), "See This Sound" at Lentos Kunstmuseum (Linz, Austria), in Miami, Florida and Basel, Switzerland. Fischinger films were in a regular series at The Guggenheim Museum, New York (on 35mm film!)

San Diego Museum of Art acquired a Fischinger painting.

Three Oskar Fischinger paintings (including a 1944 oil on celotex) were in the exhibition Modernism and the Wichner Collection, at The Long Beach Museum of Art, Long Beach, CA, through August, 2009.

November, 2008, Motion Painting No. 1 screened at Tate Modern, London.

Sept-Nov, 2008: Original charcoal animation drawings from Studie nr. 8 exhibited at Akademie der Künste, Berlin, in the Notation exhibition.

July, 2008. Il Cinema Ritrovato Festival, Bologna: Motion Painting No. 1 screened accompanied by the Bologna Orchestra at Piazza Maggiore in special Avant-Garde Evening event. 35mm.

May 25, 2008: Screening of Oskar Fischinger: Optical Poetry Retrospective at Australian Cinematheque at Queensland Art Gallery/Gallery of Modern Art, Brisbane, Queensland, Australia..

November 3 - San Diego Museum of Art's Animation Symposium includes Oskar Fischinger and Visual Music Animation - Exhibition and Authenticity in the Age of Digital Reproduction, a lecture with film clips presented by Cindy Keefer of CVM.

Fischinger's original Lumigraph was performed at the Deutsches Filmmuseum, Frankfurt, on February 2, 2007 by Barbara Fischinger, assisted by Cindy Keefer.

paintings were part of exhibitions: one in the spectacular 2006-08: Two Fischinger The Société Anonyme: Modernism for America (see exhibition schedule for venues); which toured 2006-2008 at the Hammer Museum Los Angeles, and venues in Washington DC, Dallas, Nashville; and in 2010, Yale University, New Haven, CT. Another painting was exhibited at The Laguna Art Museum (California).

Oskar Fischinger: Ten Films DVD receives Special Mention Award at Il Cinema Ritrovito Festival, Bologna, Italy, July 2006; and was reviewed by Leonard Maltin on his Video View syndicated radio program (June 28), by Jonathan Rosenbaum in Cinema Scope (September) and in Jerry Beck's Cartoon Research. For more press about the DVD, see DVD Press Kit

Feature article on Fischinger in the Summer (2006) issue of Tate ETC, Tate Museums, UK, Where Abstraction and Comics Collide, by Dr. Esther Leslie

Radio Dynamics, Study nr. 6 and Ornament Sound were in the ZKM exhibition Light Art from Artificial Light, Nov. 19, 2005 through August, 2006 at ZKM, Karlsruhe, Germany. English description.

screened at Oskar Fischinger Retrospective Lincoln Center, New York January 2, 2006. Featuring 35mm prints preserved by the Academy Film Archive, Center for Visual Music and Fischinger Archive, with the support of Film Foundation, Sony, Deutsches Filmmuseum and Cinematheque Quebecoise. An IB Technicolor print of An Optical Poem screened, thanks to Warner Brothers. Show included many new prints, including R-1 ein Formspiel, Composition in Blue, Motion Painting, Study no. 7. www.filmlinc.com. View the Press Release. Read the Village Voice review.

"at Oskar Fischinger: Motion Paintings" Exhibition of Fischinger's paintings Goethe-Institut, Washington DC, Sept. 8 - Oct. 26, 2005. Accompanying film screening: Oskar Fischinger Retrospective at Goethe, September 19.

Fischinger in "Visual Music" exhibition press: Artforum magazine, Washington Post, July 1, 2005, Los Angeles Times, Los Angeles Weekly, Modern Painters (UK) September 2005, Wall Street Journal.. October 2005 and also Summer issue 2005;

"Visual Music" exhibition at MOCA Los Angeles (Feb - May 2005) and The Hirshhorn Museum, Washington, DC (June 23 - September 11, 2005), included 5 Fischinger films plus animation drawings and Ornament Sound Experiments ephemera. More about the films in the exhibition (Allegretto, Radio Dynamics, Study nr. 7, Lumigraph film excerpt and Ornament Sound excerpt) can also be found at CVM's Visual Music films page. The exhibition catalog features many images and pages on Fischinger, and is available through amazon.com. Fischinger films were also screened (on film) in Center for Visual Music's film screenings accompanying the exhibition.

"Motion Paintings" Exhibition of Fischinger's paintings, March 11-May 30, 2005 at Jack Rutberg Fine Arts gallery in Hollywood, CA. Press release. Portfolio of paintings in show

Sons et Lumiere exhibition at Centre Pompidou, Paris (Sept 2004-Jan 2005), included Fischinger's Ornament Sound and Studie 8 films,plus numerous Kreise animation drawings, Ornament Sound drawn sound strips and documentation, and several of his Fantasia-era sketches. The exhibition included work by Oskar's influences and contemporaries including Kandinsky, Klee, Pfenninger, John Cage, Schoenberg, Richter and many others. The exhibition catalog features a number of pages on Fischinger.

Dr. William Moritz's biography "Optical Poetry: The Life and Work of Oskar Fischinger" was published in April 2004 by John Libbey & Co. It is distributed in the US by Indiana University Press, and available on amazon.com worldwide. In honor of the book release, events and screenings of Fischinger films were held in Los Angeles on March 14 (Filmforum) and March 17 (Cal Arts), and Pacific Film Archive, Berkeley on April 13, 2004.

Bill Moritz and Elfriede Fischinger

We are deeply saddened at the passing of our dear friend Bill Moritz, on March 12, 2004, in California. His passing leaves a great void in the film world and in our hearts.

December 2003: The Oskar Fischinger Retrospective of 35mm films screens at Goethe-Institut London, and several venues in Scotland.

Oskar's "3-D" Film tests screened at the World 3-D Film Expo at The Egyptian Theatre in Hollywood, CA, in Sept 2003. Beautiful new 35mm prints were produced for the festival, thanks to SabuCat Productions, Center for Visual Music and Triage Motion Picture Services, Hollywood.

The Fischinger Archive expresses its sincere condolences on the passing of our friend Jules Engel in September 2003. Jules and Oskar met at Disney in 1939 where they became immediate friends, sharing and supporting each other's painting. We will miss this great talent and good friend.

Request for Information

If you own a Fischinger painting, drawing, or cel, we would appreciate hearing from you. We are maintaining a catalog raisonne and documenting all of the paintings, and appreciate receiving information.

We are also interested in documents, papers, letters and information regarding Oskar Fischinger, particularly correspondence from Oskar. Contact: fischingerarchive@msn .com

Articles/Essays

Canemaker, John. July 2, 2000 Fischinger, Elfriede. -- -- -- -- The Original Laureate of an Abstract Poetry. New York Times, (update to this article: The Fischinger Archive no longer has any affiliation with Iota).
-- Writing Light, 1984 Elfriede! On the Road with Mrs. Oskar Fischinger, Funnyworld, No. 18, 1978

Fischinger, Oskar. The Problem of Color and Sound in Film. 1930 Sounding Ornaments. 1932
My Statements are in My Work. Art in Cinema catalog, San Francisco, 1947
True Creation, 1949
A Statement About Painting, 1951, for exhibition at Frank Perls Gallery, Los Angeles

Janiak, Larry and Dave Daruszka. ----"'Langlois, Philippe. -- -- ---- -- Oskar Fischinger: Leben und Werk, in -- -- "Abstract Film and Color Music," in -- "Towards a Visual Music," -- "Non-Objective Film: The Second Generation." In Film as Film: Formal Experiment in Film, 1910-1975, Hayward Gallery/Arts Council of Great Britain, 1979. -- "The Films of Oskar Fischinger," Oskar Fischinger. An Interview with Elfriede Fischinger. Zoetrope 1979."Space Light Art" - Early Abstract Cinema and Multimedia, 1900-1959 White Noise exhibition catalog, ACMI Melbourne, 2005 Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments." Leonardo Electronic Almanac, Creative Data Special Issue, Vol 16, no 6-7. MIT Press/The International Society for the Arts, Sciences and Technology, October 2009. (PDF). Oskar Fischinger Leonardo, Feb 2001
Keefer, Cindy. A Lifetime in Animation: The Glamorous Bill Moritz, Animation World Magazine, June 2003 Where Abstraction and Comics Collide, Tate ETC, Tate Museums, UK, Summer 2006.

Oskar Fischinger: Artist of the Century. Animac Magazine, 2001(Lleida, Spain) In Passing...Elfriede Fischinger Animation World The Dream of Color Music, and Machines That Made it Possible, Animation World Magazine online, Issue 2.1, 1997 Magazine, June 1999 Gasparcolor: Perfect Hues for Animation. Presentation at the Louvre, Paris, 1995
Optische Poesie, (Frankfurt: Deutsches Filmmuseum, 1993)
Leslie, Dr. Esther. The Private World of Oskar Fischinger. Liner notes, "The World of Oskar Fischinger" laserdisc, LaserDisc Corporation, Tokyo, 1988.
Moritz, Dr. William. The Spiritual in Art: Abstract Painting 1890-1985 (LACMA exhibition catalog), 1986
Cantrills Filmnotes, Sydney, August 1985

You Can't Get Then From Now, Part I: Oskar Fischinger, in Journal: Southern California Art Magazine, No. 29, 1981
Fischinger excerpt from article.
Film Culture No. 58-60, 1974

--

Morris, Gary. Tobias, James. Willis, Holly. "Oskar Fischinger's Visual Music" Bright Lights Film Journal, Sept 1998
Sync: Stylistics of Hieroglyphic Time. Temple University Press, 2010. See Chapter 3: "For Love of Music: Oskar Fischinger's Modal, Musical Diagram."
Short Form: Classic Avant-Garde 'Toons Get Reanimated on IFILM
Elfriede Fischinger, c. 1932

Assorted Links :

Oskar's John Cage Dreams of Abstract Mass Media, by Scott Sona Snibbe, July 2010
Oklahoma Gas ad on CVM's Vimeo channel, plus a clip from one of Elfriede's Wavelengths by Ed Halter, in Village Voice, New York, December 2005 Lumigraph performances Oskar Fischinger, Fast on the Draw. Review of Painting Exhibition, Washington Post, Sept. 15, 2005
Cartoon in Montreal Mirror, June 2005

Review of Moritz's book "Optical Poetry." by Robin Allan. AWN, 2004 Motion Painting No. 1 on MichaelBarrier.com
The Missing Link: Oskar Fischinger Between European Avant-Garde and New American Cinema, March 2002 by Walter Schobert, at Edinburgh, Scotland Conference "Avant-Garde"

Art in America Review , Oskar Fischinger at Jack Rutberg, June 2001 by Michael Duncan
Review of Painting Exhibition at Jack Rutberg Fine Arts, Los Angeles, 2000 by Ray Zone
Review of Painting Exhibition at Jack Rutberg Fine Arts, by Mario Cutajar
Artscene: Oskar Fischinger by Mario Cutajar
Milestones of the Animation Industry in the 20th Century, 2000, by Karl Cohen, in Animation World Magazine
Cross-Influence in Abstract German Animation of the Silent Era, 2000
Motion Painting selected for The National Film Registry, Library of Congress, 1997
Oskar Fischinger: A Retrospective Notes on his paintings by Susan Ehrlich, for Tobey Moss Gallery, 1988
audio interview on KPFA, 1987 (discusses how he met Fischinger)
AskArt Listing: contains brief bibliography of art books and art periodicals regarding Fischinger

About Us

The Fischinger Trust is also known as the Elfriede Fischinger Trust. Previously, Elfriede used the term "The Fischinger Archive" to conduct business.

The Trust and Archive thanks The Deutsche Film Institut, The City of Frankfurt Germany. The Academy Film Archive (Michael Pogorzelski - Director), The Whitney Museum, Tate Modern London, Michael Friend, Pacific Film Archive, Sony, John Canemaker, Cinémathèque québécoise, Goethe Institut Los Angeles, Leonard Maltin, Jerry Beck, Joe Kennedy, Cecile Starr, Yann Beauvais, Jean-Paul Georgen, Heike Sperling, Thomas Reynolder, Timothy Finn, Susan Bolles and many others for their support.

All images copyright The Elfriede Fischinger Trust and Oskar Fischinger, 1922-2015. Text and images in these pages are protected by copyright law (Title 17 U.S. Code). Please seek permission for reproducing any images or text.

# data[].attributes.attachment_link.description
The Fischinger Trust Oskar Fischinger, 1900-1967 Palm Desert California, USA Tel (760)834-8183 This is the official website, and a clearinghouse for information and sources for Oskar Fischinger. This site also contains Biographies, Filmography, Bibliography, Articles, Links and Research Resources Contact: fischingerarchive@msn.com regarding paintings or image requests Left, original goache from the film Squares, 1934 Right, Major Movement, 1948 oil Books Oskar Fischinger: Experiments in Cinematic Abstraction (2013).

# data[].attributes.headline
021 Post it Stop Motion "Games Klassiker"

# data[].attributes.subject
021 Post it Stop Motion "Games Klassiker"

# data[].attributes.attachment_link.entities[].name
Temasek Polytechnic Informatics & IT School Post-it Stop Motion Video

# data[].attributes.attachment_link.description
Stop Motion Animation mit Post its. Medientechnik 09, Gruppe C. Patrik Friedl (mt091025) Verena Hofbauer (mt091042) Eva Kaufmann (mt091052)

# data[].attributes.headline
020 I Don't Want To Set The World On Fire. FHmediengeschichte @ FH St. Pölten 2012

# data[].attributes.subject
020 I Don't Want To Set The World On Fire. FHmediengeschichte @ FH St. Pölten 2012

# data[].attributes.attachment_link.title
I Don't Want To Set The World On Fire. FHmediengeschichte @ FH St. Pölten 2012

# data[].attributes.attachment_link.description
Mediengeschichte Semesterprojekt Musikvideo/Videoclip Mashup Valentin Göllner Inspiration: Videospiel "Fallout" (Sowohl im Spiel als auch im Trailer wird das gesamplete Lied verwendet. Der Zusammenhang zwischen diesem Spiel, dem Song und den Atomtests der 40er - 70er Jahre hat mich auf die Idee zu dem Track und auch zu dem Musikvideo dazu gebracht.)

# data[].attributes.attachment_link.description
Was passiert, wenn es bei Elronds Rat in Bruchtal plötzlich zugeht, wie im Wohnzimmer der Familie Sackbauer aus der 70er Jahre Kultserie "Ein echter Wiener geht nicht unter"? Warum Legolas einen cholerischen Anfall hat, Boromir von allen Seiten beschimpft wird, Gimli als "Wamperter" angepöbelt wird und Frodo die Geduld reißt - dieses Video gibt Aufschluß darüber.

# data[].attributes.attachment_link.description
Semesteraufgabe für Mediengeschichte FH St. Pölten 1. Semester Stop-Motion-Animation des Lieds "I hätt' so gern..." von Alf Poier Sigrid Schmelzer - mt091095 Melanie Seiler - mt091097 Holger Hass - mt091039 Christoph Löbl - mt091067

# data[].attributes.attachment_link.description
Running Scared Trailer German. Projekt "Bilder zum Hören" für Mediengeschichte Wintersemester 2008 FH St. Pölten. Unofficial Trailer for the movie "Running Scared" by Wayne Kramer, made by students.

# data[].attributes.headline
015 Bilder zum Hören - Pokergeräusche. FHmediengeschichte @ FH St. Pölten 2012

# data[].attributes.subject
015 Bilder zum Hören - Pokergeräusche. FHmediengeschichte @ FH St. Pölten 2012

# data[].attributes.attachment_link.title
Bilder zum Hören - Pokergeräusche. FHmediengeschichte @ FH St. Pölten 2012

# data[].attributes.attachment_link.description
Piotr Jablonowski (mt111059) Fabian Orner (mt111083) Thomas Pöcksteiner (mt111015) Eine Produktion im Rahmen der Lehrveranstaltung Mediengeschichte 1. Semester Bachelorstudiengang Medientechnik, Fachhochschule St. Pölten, Studiengang Medientechnik © 2012 Feedback und Bewertung: "Einfach nur großartig" - so könnte der Kommentar dazu lauten. Die Arbeit ist präzise konzipiert und umgesetzt.

# data[].attributes.headline
014 Bilder zum Hören // FHmediengeschichte @ FH St. Pölten 2013

# data[].attributes.subject
014 Bilder zum Hören // FHmediengeschichte @ FH St. Pölten 2013

# data[].attributes.attachment_link.title
Bilder zum Hören // FHmediengeschichte @ FH St. Pölten 2013

# data[].attributes.attachment_link.description
Bilder zum Hören. Mediengeschichte Light.Painting Stadler Daniel (mt 121124) Jungmayr Lisa (mt121038) Fabi Matthias (mt121130) Eymannsberger Christoph (mt121018) BMT 12 - E Musik: Subfocus - Swamp thing // Dirtyphonics - Dirty (Metrik Remix) mixed by DJ Bonfire (CNC, Switch!) Eine Produktion im Rahmen der Lehrveranstaltung Mediengeschichte 1. Semester, Bachelorstudiengang Medientechnik, Fachhochschule St.

# data[].attributes.headline
012 What the Internet is Doing to Our Brains

# data[].attributes.subject
012 What the Internet is Doing to Our Brains

# data[].attributes.attachment_link.title
What the Internet is Doing to Our Brains