DOCSLIB.ORG

Ipad: a Virtual Studio in My Handbag by Angela Hayward

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ipad: a Virtual Studio in My Handbag by Angela Hayward iPad: A Virtual Studio in my Handbag By Angela Hayward Thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) In Collaboration with: University of the Arts London Arts University Bournemouth June 2018 Dedication I would like to dedicate this thesis to my sister, Debs, who always supported me and who I wish could have seen that I’d completed it. I would like to acknowledge the help and support of my supervisory team, Dr Kavita Hayton, Dr Mark Ingham, Professor Stephanie James, Research Manager Valerie Lodge and all my family and friends whose absolute confidence in me has without a doubt enabled me to keep going and finish what I started. Abstract Central to this practice-based investigation is the concept that the iPad has the potential to provide the appropriate tools and resources required to create a body of new and original artworks. I suggest that the iPad enables the artist to re-define the concept of an artist’s studio and facilitates a move away from the traditional studio towards a new virtual studio. This investigation considers the affordances of the iPad in engendering new ways of visualising intimate, private, domestic and public space, through filmmaking, photography, and digital drawing and painting. The practice-based element of this doctorate is interwoven with an investigation of relevant critical theory and is presented as a descriptive analysis of my virtual studio. The research explores the contemporary methodologies of arts-based research; autoethnography and visual and digital ethnography. My contribution to knowledge is that the iPad is a virtual studio that enables myself and other artists to create new modes of creative practice. I have examined and analysed the historical technological contexts that form the foundations for the emergence of a new means of artistic production. I have also addressed questions around machine replicability and the role of new media in shaping the cultural landscape. An autonomous case study reflects on the emergence of new ethical codes of practice in relation to new media iPad art and considers the role of digital integrity within new Fine Art digital practices. It investigates the emergence of innovative online digital artistic communities who use the iPad as the main tool for the creation of iPad art and then access social networking platforms for its dissemination. It further researches a blog of female peers to consider the duality of the iPad as a complementary toolkit to traditional media. Contents Table of Contents………………………………………………….………………………………………………………. i List of Figures………………………………………………………………………………………………………………. iv Introduction…………………………………………………………………………………………………….……………….1 Chapter I 1. Literature Review ................................................................................................................. 6 1.1 Overview............................................................................................................................. 6 1.2 What does it mean to be a Feminist Artist? ..................................................................... 8 1.2.1 The Personal is Political .............................................................................................. 8 1.2.2 Martha Rosler: A Feminist Perspective .................................................................... 11 1.2.3 Chantel Akerman: Mapping the Domestic ............................................................... 14 1.2.4 Mapping a Filmic Discourse ...................................................................................... 16 1.2.5 Nan Goldin: The Camera as Diaristic Documentary Device ..................................... 17 1.3 Is the Computer a Viable Artistic Tool? .......................................................................... 18 1.3.1 Mapping New Media ................................................................................................ 19 1.3.2 New Aesthetics of the Digitised Screen ................................................................... 21 1.3.3 The Issue of Remediation ......................................................................................... 22 1.4 How has Computing Enabled Creative and Artistic Practice? ........................................ 24 1.4.1 Cutting up the Cut-Ups ............................................................................................. 24 1.4.2 Technofeminism in a Networking Society ................................................................ 26 1.5 Does Networking Provide New Ways of Disseminating Art? ......................................... 28 1.6 What Does it Mean to be an Artist Today? ...................................................................... 29 Chapter II 2 New Creative Mobile Practitioners – Displaying, Sharing and Critiquing ....... 30 2.1 Are Other Artists Using the iPad in their Creative Practice? ............................................ 30 2.1.1 Online Galleries ........................................................................................................ 30 2.1.2 Digital Integrity ......................................................................................................... 31 2.1.3 Online Communities ................................................................................................. 32 2.1.4 iPad Artists ................................................................................................................ 32 2.1.5 The Mobile Arts Collective ....................................................................................... 33 2.1.6 Questions .................................................................................................................. 33 2.1.7 Interviews ................................................................................................................. 35 2.1.8 Individual Artists ....................................................................................................... 36 2.1.9 Women’s Artists Blog ............................................................................................... 43 i 2.1.10 Summary................................................................................................................... 49 Chapter III 3 Research Methodologies ................................................................................................. 50 3.1 Towards a Methodological Approach .............................................................................. 50 3.1.1 Approaches to Research ........................................................................................... 51 3.1.2 A Visual Ethnographic Approach .............................................................................. 52 3.1.3 The Final Research Design ........................................................................................ 54 3.2 Mapping Creative Practice ............................................................................................... 54 3.2.1 Filmmaking and Photography................................................................................... 54 3.2.2 Digital Drawing and Painting .................................................................................... 54 3.2.3 Presentation of Data ................................................................................................ 55 3.3 Analysing and Testing the Hardware and Software ......................................................... 56 3.3.1 Mapping the iPad in my Handbag ............................................................................ 56 3.3.2 Research Methods for Testing Applications ............................................................. 57 3.3.3 Filmmaking Applications .......................................................................................... 57 3.3.4 Photography Applications ........................................................................................ 58 3.3.5 Drawing and Painting Applications .......................................................................... 58 Chapter IV 4 Creative Practice in the Virtual Studio ......................................................................... 58 4.1 iPad: Film Studio ............................................................................................................... 61 4.1.1 How Can Conceptual and Theoretical Influences Be Reflected Through New Filmmaking Practice?................................................................................................................ 61 4.1.2 A Brief Personal History of Time-Lapse .................................................................... 61 4.1.3 How Does the Portability of the iPad Enable New Practices of Filmmaking? .......... 77 4.1.4 How Does the iPad Enable Editing, To Create Layering and Montages? ................. 84 4.2 iPad: Photography, Editing and Printmaking Studio ........................................................ 97 4.2.1 What are the iPad’s Photographic and Editing Affordances? .................................. 97 4.2.2 Does the iPad Offer a New Aesthetic? ................................................................... 101 4.2.3 Printmaking ............................................................................................................ 102 4.2.4 Post Production - How Does the iPad Enable Photographic Editing? .................... 109 4.3 iPad: Sketchbook ...........................................................................................................
Load more

Recommended publications
  • 40 Lessons from 40 Years of Apple Ads
    40 Lessons from 40 Years of Apple Ads Apple was founded on April fools day in 1976. It’s first office was Steve Jobs’ parents’ garage: And it’s first products were humble: Steve Jobs was obsessed with poets, and he and Woz both drew inspiration from one of the best, Bob Dylan. Any great folklorist will tell you that Apple’s origins met the primary criteria for future exaltation. They were humble, poor, and hard working. From those origins, Apple has grown to a global behemoth with over $269 billion dollars in the bank. One of the (many) things that helped Apple get to where it is today is a mastery of advertising. This article presents 40 of the best Apple ads over 40 years and draws 40 lessons from each. It spans 1977’s “Simplicity” all the way to “The Rock x Siri Dominate the Day.” 1977 — “Simplicity” (https://archive.org/details/Apple_II_-_Simplicity_is_the_ultimate_sophistication) “Apple II will change the way you think about computers.” This is an introduction to the Apple II. It displays the features of the device with a clear emphasis on personal computing. The idea of having a personal computer was very new at the time; many people didn’t think there was a use for a computer at home. The lesson: When you’re introducing something new, keep it simple. 1978 — “Bestselling” (http://www.macmothership.com/gallery/MiscAds/a2bestselling1.jpg) “Since we developed Apple II in April 1977, more people have chosen our computer than all other personal computers combined.” Apple opens the brochure with the above quote, providing social proof from buyers.
    [Show full text]
  • From 128K to Quadra: Model by Model
    Chapter 12 From 128K to Quadra: Model by Model IN THIS CHAPTER: I What the specs mean I The specs for every Mac model ever made I Secrets of the pre-PowerPC Mac models I Just how much your Mac has devalued Yes, we’ve already been told that we’re nuts to attempt the next two chapters of this book. Since 1984, Apple has created more than 140 different Mac models — including 35 different PowerBooks and 53 different Performas! Each year, Apple piles on another dozen or so new models. By the time you finish reading this page, another Performa model probably will have been born. So, writing a couple of chapters that are supposed to describe every model is an exercise in futility. But we’re going to attempt it anyway, taking the models one by one and tracking their speeds, specs, and life cycles. This chapter will cover all the Apple Macs — both desktop and portable models — from the birth of the original Macintosh 128K to the release of the PowerBook 190, the last Mac ever made that was based on Motorola’s 68000-series processor chip. When you’re finished reading this chapter, you will be one of the few people on Earth who actually knows the difference between a Performa 550, 560, 575, 577, 578, 580, and 588. 375 376 Part II: Secrets of the Machine Chapter 13 will cover every Power Mac — or, more accurately, every PowerPC-based machine (those with four-digit model numbers) — from the first ones released in 1994 to the models released just minutes before this book was printed.
    [Show full text]
  • The Macintosh II Reference Guide 1989.Pdf
    The ·· Macintosh IT Reference Guide ST. PETERSBURG JUNIOR COLLEGE LIBRARY QA76.8.M3 V45 1989 OOO ii~l~ili3 5401l ltlm~~00218874~ ~~~~~~~~, 5 The Macintosh II ,. 2 9 Refereil QA t Veljkov, QPr~C J. ~:J :J- 76 . 8 "-- .M3 The Macintosh I I V45 reference guide 1989 $21.95 DATE , , -· . ..,..~. ';\ ' - - ~t. ~etetsbutg ~!funtot ctt:olltgt C THE BAKER a TAYLOR CO, 900001·13 2 The Macintosh II Reference Guide Mark D. Veljkov j)l JdttSbUttl J uniot Qt olltgt Scott, Foresman and Company Glenview. Illinois London A list of trademark lines can be found following the Acknowledgments. Library of Congress Cataloging-in-Publication Data Veljkov, Mark D. The Macintosh II reference guide I Mark D. Veljkov. p. em. Includes index. ISBN 0-673-38227-3 I. Macintosh II (Computer) I. Title. II. Title: Macintosh 2 reference guide. III. Title: Macintosh 1\vo reference guide. QA76.8.M3V45 1989 004.165-dc19 88-29097 CIP ISBN D-673-38227-3 Copyright© 1989 Scott, Foresman and Company. All Rights Reserved. Printed in the United States of America. Notice of Liability The information in this book is distributed on an ''As Is'' basis, without warranty. Neither the author nor Scott, Foresman and Company shall have any liability to customer or any other person or entity with respect to any liability, loss, or damage caused or alleged to be caused directly or indirectly by the programs con­ tained herein. This includes, but is not limited to, interruption of service, loss of data, loss of business or anticipatory profits, or consequential damages from the use of the programs.
    [Show full text]
  • Macintosh IIII System Fact Sheet SYSTEM POWER PORTS ADB: 2 Introduced: March 1987 Max
    MacintoshMacintosh IIII System Fact Sheet SYSTEM POWER PORTS ADB: 2 Introduced: March 1987 Max. Watts: 230 Video: VGA Discontinued: January 1990 Amps: 1.90 Floppy: none Gestalt ID: 6 BTU Per Hour: 786.6 SCSI: DB-25 Form Factor: II Voltage Range: 90-270 GeoPort Connectors: none Weight (lbs.): 24 Freq'y Range (Hz): 48-62 Ethernet: none Dimensions (inches): 5.5 H x 18.7 W x 14.4 D Battery Type: n/a Microphone Port Type: none Soft Power Printer Speaker Codename: Little Big Mac, Monitor Power Outlet Headphone Oder Number: Modem KB Article #: 2884, 10197 Airport Remote Control Support Discontinued 9/1/98 1 VIDEO Built-in Display: none Maximum Color Bit-depth At: 512 640 640 640 800 832 1024 1152 1280 VRAM Speed: VRAM Needed: Video Configuration: x384 x400 x480 x8702 x600 x624 x768 x870 x1024 n/a n/a requires video card n/a n/a n/a n/a n/a n/a n/a n/a n/a 1 1-bit = Black & White; 2-bit = 4 colors; 4-bit = 16 colors; 8-bit = 256 colors; 16-bit = Thousands; 24-bit = Millions 2 The maximum color depth listed for 640x870 is 8-bit, reflecting the capabilities of the Apple 15" Portrait Display. LOGIC BOARD MEMORY Main Processor: 68020, 16 MHz Memory on Logic Board: none PMMU: opt. 68851 Minimum RAM: 1 MB FPU: 68881 Maximum RAM: 20 MB Data Path: 32-bit, 16 MHz RAM Slots: 8 30-pin L1 Cache: 0.25K Minimum RAM Speed: 120 ns L2 Cache: none RAM Sizes: 256 K, 1, 4 MB Secondary Processor: none Install in Groups of: 4 Slots: 6 NuBus 4MB or 16MB SIMMs cannot be put into Bank A, unless Macintosh II SuperDrive Upgrade is installed.
    [Show full text]
  • Apple Module Identification )
    ) Apple Module Identification ) PN: 072-8124 ) Copyright 1985-1994 by Apple Computer, Inc. June 1994 ( ( ( Module Identification Table of Contents ) Module Index by Page Number ii Cross Reference by Part Number xv CPU PCBs 1 .1 .1 Keyboards 2.1.1 Power Supplies 3.1.1 Interface Cards 4.1.1 Monitors 5.1.1 Drives 6.1.1 Data Communication 7.1.1 ) Printers 8.1.1 Input Devices 9.1.1 Miscellaneous 10.1.1 ) Module Identification Jun 94 Page i Module Index by Page Number Description Page No. CPU PCBs Macintosh Plus Logic Board 1 .1 .1 Macintosh Plus Logic Board 1.1.2 Macintosh II Logic Board 1.2.1 Macintosh II Logic Board 1.2.2 Macintosh IIx Logic Board 1.2.3 Macintosh Ilx Logic Board 1.2.4 Macintosh Ilcx Logic Board 1.2.5 Macintosh Ilcx Logic Board 1.2.6 Apple 256K SIMM, 120 ns 1.3.1 Apple 256K SIMM, DIP, 120 ns 1.3.2 Apple 256K SIMM, SOJ, SO ns 1.3.3 Apple 1 MB SIMM, 120 ns 1.3.4 Apple 1 MB SIMM, DIP, 120 ns 1.3.5 Apple 1 MB SIMM, SOJ, SO ns 1.3.6 Apple 1 MB SIMM, SOJ, SO ns 1.3.7 Apple 1 MB SIMM, SOJ, SO ns, Parity 1.3.S Apple 2 MB SIMM, SOJ, SO ns 1.3.9 Apple 512K SIMM, SOJ, SO ns 1.3.10 Apple 256K SIMM, VRAM, 100 ns 1.3.11 Apple 256K SIMM, VRAM, SO ns 1.3.12 ( Apple 512K SIMM, VRAM 1.3.13 Macintosh/Macintosh Plus ROMs 1.3.14 Macintosh SE and SE/30 ROMs 1.3.15 Macintosh II ROMs 1.3.16 Apple 4 MB SIMM, 60 ns, 72-Pin 1.3.17 Apple S MB SIMM, 60 ns, 72-Pin 1.3.1S Apple 4 MB x 9 SIMM, SO ns, Parity 1.3.19 Apple 12SK SRAM SIMM, 17 ns 1.3.20 Apple 256K SRAM SIMM, 17 ns 1.3.21 Apple 4SK Tag SRAM SIMM, 14 ns 1.3.22 Macintosh SE Logic Board 1.4.1 Macintosh SE Revised Logic Board 1.4.2 Macintosh SE SOOK Logic Board 1.4.3 Macintosh SE Apple SuperDrive Logic Board 1.4.4 Macintosh SE/30 Logic Board 1.4.5 Macintosh SE/30 Logic Board 1.4.6 Macintosh SE Analog Board 1.4.7 Macintosh SE Video Board 1.4.S ( Macintosh Classic Logic Board 1.5.1 Macintosh Classic Power Sweep Board (110 V) Rev.
    [Show full text]
  • Apple Computer, Inc. Technical Drawings
    http://oac.cdlib.org/findaid/ark:/13030/c88g8p21 No online items Apple Computer, Inc. Technical Drawings Finding aid created by History San Jose Research Library staff using RecordEXPRESS History San Jose Research Library 1650 Senter Road San Jose, California 95110 (408) 287-2290 [email protected] http://www.historysanjose.org/ 2014 Apple Computer, Inc. Technical 2003-50 1 Drawings Descriptive Summary Title: Apple Computer, Inc. Technical Drawings Dates: 1981-1989 Collection Number: 2003-50 Creator/Collector: Apple Computer, Inc. Extent: 1.17 cubic feet (12 map folders) Repository: History San Jose Research Library San Jose, California 95110 Abstract: Schematic drawings of the Apple Lisa, Macintosh, Macintosh II, Mac SE computers, "Twiggy" floppy disk drive, and LaserWriter II NT. Language of Material: English Access Collection is open to the public for research by appointment with the Curator of Library and Archives. Publication Rights The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgement, fulfillment of the order would involve violation of copyright law.
    [Show full text]
  • 176: Macintosh Memory Configurations
    Macintosh Technical Notes ® Developer Technical Support #176: Macintosh Memory Configurations Revised by: Jack Robson April 1992 Prior Revisions: Mark Baumwell, Craig Prouse, and Dennis Hescox Written by: Cameron Birse November 1987 This Technical Note describes the different possible memory configurations of all models of the Macintosh family that use Single In-line Memory Modules (SIMMs) as well as the non-SIMM memory upgrade options of the Macintosh Portable and Macintosh Classic. (Special thanks to Brian Howard for the Macintosh Plus and original SE drawings, and for the inspiration for the other drawings.) This Note also describes the obstacles to using four megabit (Mbit) DRAM SIMMs in Apple Macintosh products to date. Changes since November 1991: Corrected error on the RAM configuration chart (page 2); additional information added to Quadra 900 section (page 15). Developer Technical Support receives numerous questions about the many different possible configurations of RAM on the different Macintosh models, so we’ll attempt to answer these questions in this Technical Note, as well as to provide a showcase for some outstanding Macintosh Plus and SE artwork by Apple engineer Brian Howard. Interested readers should refer to the Guide to the Macintosh Family Hardware, Second Edition, which contains much more detail on the memory configurations and specifications for all Macintosh models released to date. For information on the newer Macintosh models not mentioned in the Guide to the Macintosh Family Hardware, please refer to the companion developer notes for those particular products. #176: Macintosh Memory Configurations 1 of 22 Developer Technical Support April 1992 RAM Configuration Chart Caveat: The upper physical RAM totals expressed here assume the use and compatibility of 4 and 16 MB SIMMs.
    [Show full text]
  • Ideas and Help for Users of Apple II and Macintosh Computers $2 February-May1988
    Ideas and help for users of Apple II and Macintosh computers $2 February-May1988 / w A publication of the Houston Area Apple Users Group Where Can You Go to Get the Job Done? When questions outnumber answers or your equipment and training isn't quite what you need, when you need it. Desktop Publishing Classes - Start to Finish You'll find everything you No matter what your level you're need to produce superior bound to find something of quality documents. On-sight interest in one of our eve- computer rental equipped with ning or weekend classes. the latest graphic and desktop Just pick up a Leisure publishing software available. Learning schedule or Choose from over 50 type fonts and ' call for information print to a 300 DPI LaserWriter. about these and other classes: ^ • Intro, to the Macintosh File Transfers • Beginning and Advanced Use your Apple // or IBM-type equip Classes in Desktop Publishing ment to input your data then simply ^ (PageMaker, Ready-Set-Go); Word transfer it to the Macintosh. That way, Processing(MS Word, Works, Write); you can make use of your own equip Databases (Filemaker Plus, MS Works, ment and take advantage of our Helix, 4th Dimension); Spreadsheet sophisticated software for putting Techniques (Excel); Graphics (Free- it all together! , hand. Illustrator, Canvas), and others! Scanning ^ Software Scan photographs and line-art at 300 DPI on Why buy expensive software you may our digital, grey-scale, flatbed scanner. not need? Try Computer DeskTop Save files in a variety of formats. before you decide to buy. Computer
    [Show full text]
  • Macintosh II - Wikipedia, the Free Encyclopedia File:///C:/Documents%20And%20Settings/Max/My%20Documents/My%
    Macintosh II - Wikipedia, the free encyclopedia file:///C:/Documents%20and%20Settings/Max/My%20Documents/My%... From Wikipedia, the free encyclopedia The Apple Macintosh II was the first personal computer Macintosh II model of the Macintosh II series in the Apple Macintosh line. (Not to be confused with the Apple II series of non-Macintosh computers.) Introduced in March, 1987 and retailing for US $5,498 [1], the Macintosh II was the first "modular" Macintosh model, so called because it came in a horizontal desktop case like many PCs of the time. All previous Macintosh computers used an all-in-one design with a built-in black-and-white CRT. The Macintosh II introduced space for an internal hard disk (originally 20 MB or 40 MB) and an optional second floppy Release date March 2, 1987 disk drive. It also was the first Macintosh computer, simultaneously with the Macintosh SE, to use the Apple Introductory 5500 Desktop Bus (ADB), introduced with the Apple IIGS, for price keyboard and mouse interface. Discontinued January 15, 1990 The primary improvement in the Mac II was Color Operating 3.3– 6.0.8, 7.0-7.5.5 or with QuickDraw in ROM, a color version of the graphics language system 68030 32-bit upgrade Mac OS which was the heart of the machine. Among the many 7.6.1 innovations in Color QuickDraw were an ability to handle CPU Motorola 68020 @ 16 MHz any display size, any color depth, and multiple monitors. The Mac II was the first personal computer which could display Memory 1 MB, expandable to 20 MB (68 true color 24-bit photorealistic images[citation needed].
    [Show full text]
  • Capital Apple Jan 2005
    Volume 22.01 January 2005 The Offi cial Journal of the 1 Meeting Details PLEASE NOTE CHANGE OF MEETING VENUE Wellington Regional Chamber of Commerce Level 9, 109 Featherston Street, Wellington When: Monday 31 January 2005 Time: 7.10 pm till 9.30pm (doors open 6.50pm) This is our fi rst meeting of 2005 and already change is in the wind. About two weeks ago we discovered that TUANZ were shifting their (e)-vision operation to new premises and combining with the Wellington Regional Chamber of Commerce. We were advisied that we could still meet at the old address for our January meet- ing, however this changed the day prior to this magazine being prepared as all the furniture had been sold and we would have no seats to sit on. The committee is investigatingall our options regarding fi nding a new meeting venue and in the meantime we have accepted the Wellington Chamber of Commerce’s offer to hold our January meeting in their premises. Whether or not this will continue is dependant on whether we can fi nd a more suitable or less expensive venue. The committee has decided to try a new format for our monthly meetings and we will present a number of topics covered in less detail than the previous single topic. This month we will be looking at an iMac G5 from Magnum- Mac, MacWorld announcements, iPod photo, Freeware/Shareware download sites. Regular Other Group Meetings Dates and venue will be advised once we can confirm meeting venue(s). Cover Photo: Members of our Kapiti Branch enjoying the Christmas Dinner at the Waikanae Golf Club at the end of last month .
    [Show full text]
  • Apple Service Technical Procedures Macintosh Family Volume One \
    ,::;:::::...~........... -' --••••• " :h­ .... _.. : : : ::::: :".~.".~.~.::-:., ' ~ •••••••••••••••....•.....••.. .••••••••••••••• •••••••••••••••••••••••••••••••• ~ .•.......... ....••••••••••••••••• •• ..•....••..............••....•..•.•••••• ••••••••••........ .................... l...'··••• m ..... - •••.. , Apple Service Technical Procedures Macintosh Family Volume One \... '-' ....J Macintosh Computers Macintosh Computers DRAM SIMMs = ~ § DRAM SIMMs ~ § for CPUs u u II for CPUs u =u ! ~ 'i 0 'i 'i ! ! Service Exchange Modules I) (f) '0 '0 Service Exchange Modules >C II II .. .. ~ i 'I ::s .!• .! w W 0 ::s ::s •::s II II W W = U) U) g U) U) g ;g 5: 0 0 ..J = ~ ~ ~ ~ ~ 0 0 5: 0 0 = ~ ~ ~ <5 <5 661-0402 256K, PlCC, 120 ns 4 661-0403 1 MB, SOJ, 120 ns 5 505 ~O ,o.,o',o',Q"O"O"O"o',o 1 59 • • • • • • • ~o P"QgQgQ,Q"Q 01 5 5 • • • • • • • 661-0402 256K, DIP, 120 ns 10 661-0410 1 MB, DIP, 120 ns ~O "",s;;2"" ",S2, ° 1C:;~:J • • • • • • • aDa •• m~ 661-0402 256K, SOJ, 120 ns 5 5 ~o ~"~,U~,~DD,,~,, 01 • • • ~o 1I1I1~1I11I1I1S2.IO II::~:: ":~:I • • • • • • • 661-0520 1 MB, SOJ, BO ns 505 ~o ,QUO.D"Q,O,O,~, 01 5 5 • • • • • • • • • • • • • fr:~,]"~:~:,:',a~,,n: I :0: • • • • • • • 661-0546 1 MB, SOJ, BO ns, Parity 661-0402 256K, SOJ, 120 ns ~o ~U~U~U~,Q~ol :0: ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ • ~ ~ """,E"E""" 01 '::'1 • • • • • • • ~O C~:: 661-054B 1 MB, SOJ, BO ns, 64-Pin 661-0494 256K, DIP, 120 ns [1] 505 ~ ~Op~~p~,P~P,o 5 5 ~O ,p',P',g"g"R,R,P',P', ° 1 a 0 a • • • • • . • 661-0719 1 MB, SOJ, 80 ns 661-0519 256K, SOJ, 80 ns 5 5 ~~IIIIIIIIIIIIO ~o 11111 11111 I::::::::J ~O "",Si2""Si2"" ° 1 C~:: :::: 1 • • • • • • • • • II II.
    [Show full text]
  • Ports and Pinouts
    K Service Source Ports and Pinouts Ports and Pinouts Cable Connectors - 1 Cable Connectors The pin numbers shown are for the connectors attached to the ends of the Macintosh peripheral cables, as viewed from the front of the connector. 152 Processor-Direct Slot, 152-Pin 77 76 HDI-30 1 HDI-20 PowerBook Video 25 14 2 30 20 16 6 1 5 1 13 1 HDI-45-pin Mini DIN-4 Apple Desktop Bus Apple AAUI 45 44 43 37 36 35 3 4 (Ethernet) 28 1 7 34 27 19 18 12 2 1 8 3 14 11 10 9 3 2 1 S-Video Mini Din-7Serial Mini Din-8 GeoPort Mini Din-9 7 7 7 4 3 6 8 8 6 IN 2 1 3 5 5 3 9 4 6 5 2 1 2 1 4 DB-15 Mini DIN-4 S-Video 1 8 3 4 2 1 9 15 DB-25 1 13 Composite Video (RCA jack) IN/OUT RF Input 14 25 Sig Gnd 1 25 BR-50 26 50 Microphone Jack Ports and Pinouts GeoPort Mini DIN-9 - 2 GeoPort Mini DIN-9 The back panel of all Power Macintosh models contain two I/O ports for serial telecommunication data. Both sockets accept 9-pin plugs, allowing either port to be independently programmed for asynchronous or synchronous communication formats up to 9600 bps. This includes AppleTalk and the full range of Apple GeoPort protocols. Pin Name Function 1 SCLK (out) Reset pod or get pod attention 2 Sync (in)/SCLK (in) Serial clock from pod (up to 920 Kbit/sec.) 3 TxD- Transmit - 4 Gnd/shield Ground 5 RxD- Receive - 6 TxD+ Transmit + 7 Wake up/TxHS Wake up CPU or do DMA handshake 8 RxD+ Receive + 9 +5V Power to pod (350 mA maximum) Ports and Pinouts Apple Desktop Bus (ADB) Connector - 3 Apple Desktop Bus (ADB) Connector Connector type: Mini DIN-4 male.
    [Show full text]