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Reflexões sobre a obsolescência das mídias audiovisuais Marcelo La Carretta 1922 1888 1898 1912 . 1926 2012 . 1932 1965 1980 . 1923 . 1895 . 54 . Pathé Baby . 46 . 48 . 49 . 56 . 71 Kinetoscope . Acres Birtac 9,5mm . 63 . 60 . Pathé Kok . Pathé Rural . 61 Kodak Lomo . 17,5mm 28mm 57 17,5mm Kodak Kodak Kino Kodak 8mm Super8 Super16 Cinematógrafo 16mm 45 35mm 1975 1993 1996 1982 1985 . 1956 1965 . 1976 1978 . 1992. 1995 . 2006 1927 . 1969 . .. 123 . 134 . 106 . 97 . 102 . VCD . 101 . DVD HDDVD / . Betamax . 99. 104 Betacam/ Video8 Ampex . 104 . 82 88. 103 119 Blu-Ray 80 Quadruplex Tipo-A . VHS LD VHS-C 1990 DCT DV PhonoVision 2pol. 1pol. 1984 . 1991 1992 1997 . 89 . 1995 1998 2005 U-Matic . 119. 89 H.261 . MPEG-2/ . Tipo-B88 . 134 . 141 . 123. H.262 . 140 YouTube Tipo-C . 1pol. MPEG-1/ 128 MPEG-4 119 QuickTime. H.120 . Real 138 CD-Rom 130 Player Comercial/ Breve 1962 1983 Windows 1972 1977 133 1986 Media Video 2000 2005 1958 . 1980 . 1996 2013 . 1991 1994 . 1989 . 2001 . Cronologia das mídias . .2006. .180 .184 . 154 . 162 . 170 . 157 . 176 XBox Ps4/ . Space 159. NES . 166. .Nintendo64 Ps2 . PONG/ Atari 2600 Master . 170 . 360 . One . War! 155 . 168 . Game 1998 . Odyssey System. Gear/ PlayStation XBox176 Ps3/180 Tennis153 PC Mistery . 167 1996 1997 para 2 House . SNes . 2000 2003 Wii 181 . Game Boy/ Genecyst/ 167 . * com índice remissivo Mega Drive . Gens . .. Audiovisuais . 190. 170 . Stella . PCSX2/ . Cxbx 191 M.A.M.E./191 . Nesticle/ . Snes9x Meka/ 191 Película 8 mm - 9.5 mm - 16mm - 35mm - 70mm M.E.S.S./ PCSX Quadruplex - VERA - Type A - CV-2000 - Akai - U-matic - EIAJ-1 - Cartrivision - Philips VCR - V-Cord - VX - Betamax - IVC - Type B - Analógica Type C - VHS - VK - SVR - Video 2000 - CVC - VHS-C - M - Betacam - Video8 - MII - S-VHS - S-VHS-C - Hi8 - Ruvi 1ª APF TV Fun - Color TV Game - Coleco Telstar - Magnavox Odyssey - Pong - Video Pinball 2ª APF-M1000 - Arcadia 2001 - Atari 2600 - Atari 5200 - Bally Astrocade - ColecoVision - Fita D1 - D2 - D3 - DCT - Digital Betacam - D5 - Digital-S - Betacam SX - Digital8 - MicroMV - DV - DVCPRO - DVCAM - DVCPRO50 - DVCPRO - Fairchild Channel F - Intellivision - Odyssey² - RCA Studio II - SG-1000 - Vectrex - Super Digital HD - Sony HDVS - UniHi - W-VHS - HDCAM - D-VHS - D6 HDTV VTR - HDV - HDCAM SR Vision 8000 - VTech CreatiVision Analógico Phonovision - Ampex-HS - TeD - Laserdisc - CED - VHD - Laserfilm - CD Video 3ª Action Max - Amstrad GX4000 - Atari 7800 - Atari XE Games System - Casio PV-1000 Vídeo Commodore 64 - Nintendo Entertainment System - SG-1000 VCD - MovieCD - DVD - MiniDVD - CVD - SVCD - EVD - HVD - FVD - UMD - VMD - MUSE Hi-Vision LD - HD DVD - Blu-Ray - 4ª Philips CD-i - Commodore - Neo Geo - MegaDrive/Genesis - Super A'Can - Disco Digital HVD (Holographic Versatile Disc) - CBHD (China Blue High-definition Disc) Super Nintendo - TurboGrafx-16 6ª Dreamcast Nintendo GameCube PlayStation 2 Xbox H.120 - H.261 - H.262 - H.263 - H.264 - H.HEVC - MJPEG Motion - JPEG 2000 - MPEG-1 - MPEG-2 - MPEG-4 (Part 2/ASP Part 10/AVC ) - 7ª PlayStation 3 Wii Xbox 360 Zeebo Codecs MPEG-H - Bink - CineForm - Cinepak - Dirac - DV - Indeo - Microsoft Video 1 - OMS Video - Pixlet - Prores - RealVideo - RTVideo - Wii U SheerVideo - Smacker - Sorenson Video - Spark - Theora - WMV - XEB Gerações Videogames 8ª Game & Watch - Game Boy - Nintendo DS - Nintendo 3DS - N-Gage - Game Gear - Encapsulados 3GP - 3G2 - AMV - ASF - AVI - AU - Bink - DivX Media Format - DPX - EVO - FLV (Flash Video) - GXF - M2TS - MKV (Matroska) - MXF - Ogg - QuickTime File Format - ratDVD - RM (RealMedia) - REDCODE RAW - RIFF - Smacker - MOD and TOD - VOB - IFO - BUP - WebM Nomad - Neo Geo Pocket - PSP PlayStation Portable - PlayStation Vita - Xperia Play Portáteis Arte: Marcelo La Carretta Parte integrante da Tese Prossumidores Nostálgicos: reflexões sobre a obsolescência das mídias audiovisuais 2012 reflexões sobre a obsolescência das mídias audiovisuais Arte: Marcelo La Carretta Parte integrante da Tese Prossumidores Nostálgicos: UNIVERSIDADE FEDERAL DE MINAS GERAIS Programa de Doutorado em Artes Visuais Marcelo La Carretta Enrique López da Cunha Pereira PROSSUMIDORES NOSTÁLGICOS: Reflexões sobre a obsolescência das mídias audiovisuais Belo Horizonte 2012 Marcelo La Carretta Enrique López da Cunha Pereira PROSSUMIDORES NOSTÁLGICOS: Reflexões sobre a obsolescência das mídias audiovisuais Tese apresentada ao programa de Pós Graduação em Artes Visuais da Escola de Belas Artes – UFMG, como requisito parcial para obtenção do título de Doutor em Artes Visuais. Orientador: Prof. Dr. Luiz Nazario Belo Horizonte 2012 Marcelo La Carretta Enrique López da Cunha Pereira PROSSUMIDORES NOSTÁLGICOS: Reflexões sobre a obsolescência das mídias audiovisuais Tese apresentada ao programa de Pós Graduação em Artes Visuais da escola de Belas Artes – UFMG, como requisito parcial para obtenção do título de doutor em artes visuais. Avaliadores: Prof. Dr. Ernesto Aníbal Ruiz - Titular Universidade Federal de Santa Catarina (UFSC) Prof. Dr. Guilherme Bryan - Titular Centro Universitário Belas Artes de São Paulo e PUC Minas Prof. Dr. Rafael de Luna Freire - Titular Universidade Federal Fluminense (UFF) Profa. Dra. Ana Lúcia Menezes de Andrade - Titular EBA-UFMG Orientador Prof. Dr. Luiz Nazario EBA-UFMG Assinaturas Banca Avaliadora: Meus agradecimentos a: Minha mãe, Alda Cunha, que mesmo ainda sem entender, me apoia incondicionalmente. Adriana Ferreira, minha namorada na graduação, esposa no mestrado, mãe dos meus filhos no doutorado. Só um amor verdadeiro explica isso. Meus lindos filhos Pipe e Nina, pela obrigação da volta à realidade, e pelo significado do amor em seu estado mais puro. Meu orientador, Nazario, por não desistir nunca de mim, mesmo quando eu próprio quase havia desistido. Meus grandes amigos por terem me inspirado em momentos de nostalgia. E por fim a todos os meus alunos, por terem posto à prova essa tese o tempo inteiro, mesmo que muitos não o tenham percebido. “É possível que dentro de alguns séculos a única forma de ter notícias sobre o passado, quando todos os suportes eletrônicos tiverem sido desmagnetizados, continue sendo um belo incunábulo”. Umberto Eco, 2009. “O conceito de progresso deve ser fundamentado na idéia de catástrofe. Que ‘as coisas continuem assim’, eis a catástrofe”. Walter Benjamin, 1927. RESUMO O audiovisual logrou ao longo de sua história dar ferramentas ao amador para que ele pudesse experimentar a produção de conteúdo, seja para registrar sua vida ou realizar seu filme. Porém, a própria natureza do filme enquanto mídia de massa, a multiplicação e virtualização dos formatos e a democratização das ferramentas de produção de conteúdos propiciada pela chamada revolução digital camuflaram ainda mais os problemas da efemeridade do suporte audiovisual. Entende-se por camadas (ou estágios) a participação do indivíduo contemporâneo na relação com o meio audiovisual: o colecionador, que guarda as produções para que cheguem às gerações futuras; e o prossumidor, consumidor e produtor de conteúdo, elemento novo e adormecido do ponto de vista conceitual. O estudo acompanha a evolução histórica da mídia audiovisual de consumo doméstico e tenta entender o prossumidor como agente no processo de salvaguarda da memória audiovisual. Objeto de estudo: A importância do prossumidor na história/memória audiovisual. Palavras-chave: Cinema; Audiovisual; Vídeo; História do audiovisual; Suportes audiovisuais; nostalgia; Memória audiovisual; Preservação; Restauração; Obsolescência planejada; Mercado audiovisual doméstico; Mídia e multimídia; Novas mídias; Pocket Medias; Web 2.0; Prossumidor; Digitalização; Virtualidade. ABSTRACT The audiovisual succeeded throughout its history at giving tools to amateurs so they could experience the production of content, either to record one’s life or in the making of movies. However, the very nature of film as mass media, and the proliferation and virtualization of formats and democratization of content production tools provided by the digital revolution masked even more the problems of the frailty of audiovisual support. It is understood by layers (or stages) the participation of the modern individual with the audiovisual medium: the collector, who keeps the productions so that they can come to future generations; and the prosumor, consumer and content producer, a new and asleep element of the conceptual point of view. This study follows the history of audiovisual media for domestic consumption and tries to understand the prosumor as an agent in the process of safeguarding the audiovisual memory. Object of study: the prosumor’s importance in the audiovisual history/memory. Keywords: Cinema; Audiovisual; Video; History of audiovisual; Audiovisual supports; Nostalgia; Visual memory; Preservation; Restoration; Planned obsolescence; Audiovisual domestic market; Media and Multimedia; New Media; Pocket Medias; Web 2.0; Prosumor; Scan; Virtuality. Lista de Figuras Figura 01: Lâmpada de Livermoore ..................................37 Figura 02: Cartaz Kodak “you press the button, we do the rest” .................................42 Figura 03: Anúncio Kodak do século XX .................................43 Figura 04: Pedaço de película Cinestocope ....................,............46 Figura 05: The Corbett-Fitzsimmons fight .................................47 Figura 06: Pathé Kok .................................50 Figura 06b Pathé Kok ..................................51 Figura 07: Filme 9mm .................................55 Figura 08: Cartaz Pathe - Baby Portugal .................................56
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  • VHS and VCR (Edited from Wikipedia)

    VHS and VCR (Edited from Wikipedia)

    VHS And VCR (Edited from Wikipedia) SUMMARY A videocassette recorder, VCR, or video recorder is an electromechanical device that records analog audio and analog video from broadcast television or other source on a removable, magnetic tape videocassette, and can play back the recording. Use of a VCR to record a television program to play back at a more convenient time is commonly referred to as timeshifting. VCRs can also play back prerecorded tapes. In the 1980s and 1990s, prerecorded videotapes were widely available for purchase and rental, and blank tapes were sold to make recordings. Most domestic VCRs are equipped with a television broadcast receiver (tuner) for TV reception, and a programmable clock (timer) for unattended recording of a television channel from a start time to an end time specified by the user. These features began as simple mechanical counter-based single-event timers, but were later replaced by more flexible multiple-event digital clock timers. In later models the multiple timer events could be programmed through a menu interface displayed on the playback TV screen ("on-screen display" or OSD). This feature allowed several programs to be recorded at different times without further user intervention, and became a major selling point. The Video Home System (VHS) is a standard for consumer-level analog video recording on tape cassettes. Developed by Victor Company of Japan (JVC) in the early 1970s, it was released in Japan in late 1976 and in the United States in early 1977. From the 1950s, magnetic tape video recording became a major contributor to the television industry, via the first commercialized video tape recorders (VTRs).