DOCSLIB.ORG

Cartoon and the Cult of Reduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cartoon and the Cult of Reduction Forced Perspectives: Cartoon and The Cult Of Reduction MARTINE LISA COROMPT Submitted in partial fulfillment of the requirements of the degree of Doctor of Philosophy (by creative work and dissertation) August 2016 School of Art Faculty Of The Victorian College Of The Arts The University of Melbourne 2 FIG 1 Corompt, Martine Torrent – the endless storm 2015 still from the digital animation 3 4 ABSTRACT Summary Commencing with caricature and reductive imaging techniques, this research explores parallel tendencies evident within broader culture. The thesis argues this reductive predisposition became broader and more prominent during Modernism, the digital revolution of the 1990s, and is strongly manifest within various aspects of contemporary art and culture. Theorized as the ‘Cult of Reduction’ this tendency is both a cultural condition, and a studio methodology employed to create two dimensional projected animation and digital prints. Abstract Beginning with pictorial caricature as a historical predecessor to animation, the research attempted to find in caricature a meaningful methodology to provide a framework for two-dimensional animation. Incorporating digital processes with drawing and installation, reduction was understood and examined pictorially, temporally and materially. The thesis project considered caricature as a means of exploring pictorial representation as reduction, but soon recognized reduction had more broad implications, and parallel examples were discovered in areas such as economics, ecology lifestyle ideologies, as well as Fine art and design. While pictorial reduction was most obvious within Modernism, it also was resonant in less obvious ways within the digital art revolution of the 1990’s. It has been prevalent again in contemporary art as a ‘reductivist practice’ recognized by Mike Kelley’s essay ‘Foul Perfection: Thoughts on Caricature’ (1989). Kelley’s essay provided an alternative framework for considering caricature and a recognition of the continuing practice of reduction in contemporary art. More broadly, reduction may also be recognized in areas as diverse as industrial processes, economic theories, personal 5 development, and many others. I have theorized this broader tendency as ‘The Cult of Reduction.’ The main focus of the visual research was realized through animated projections, sometimes situated in gallery spaces but also, more commonly in public spaces. There is also a collaborative relationship with many of the works with the addition of sound. Broadly speaking, this research attempted to highlight the missing contribution that the role of animation plays in the history of modernist contemporary art. I agree that this genre of moving image practice, has for pragmatic and cultural reasons, remained sidelined in serious critical regard by more dominant practices such as film or video. As a result, the research for this thesis is dependent on the contributions of both popular culture (animation and the cartoon) and fine art. The thesis recognizes the parallel circumstances of both mainstream and experimental animation, though traditionally ideologically opposed, are both important in shaping contemporary animation practice. While the research project is practice-based, a significant component of the research includes the historical analysis of particular technologies and forms of entertainment that sit outside the framework of fine art discourse. The Cult of Reduction positions itself between several discourses, and identifies a linking thread between them. 6 DECLARATION This is to certify that (i) the thesis comprises only my original work towards the PhD except where indicated in the Preface, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis 44,000 words in length, exclusive of tables, maps, bibliographies and appendices Martine Lisa Corompt 7 ACKNOWLEDGEMENTS I would like to thank; Dr. Stephen Haley, Associate Professor Barbara Bolt, Lou Hubbard, Vikki McInnes, Scott Miles, Dr. David Sequeira, Camilla Hannan, Philip Brophy, Dr. Darren Tofts, Dr. Greg Creek, Professor Julian Goddard, Karra Rees and staff from the Contemporary Centre for Photography. Thanks to all my family and friends for enduring my absence over the last 6 years, my partner Dr. Ian Haig (who completed his PhD ahead of time) and especially my dearest Violet who was three when I began this seemingly endless journey. Funding support: Faculty Small Grant Scheme, City of Yarra, RMIT Staff Development, Centre for Contemporary Photography, Melbourne Festival. 8 CONTENTS Abstract .................................................................................................................. 5 Summary ........................................................................................................................... 5 Abstract ............................................................................................................................. 5 Declaration ............................................................................................................ 7 Acknowledgements ............................................................................................... 8 Contents ................................................................................................................. 9 Table of Figures ................................................................................................... 11 Introduction ......................................................................................................... 16 Chapter 1: From caricature to reduction ............................................................ 22 It began with caricature .................................................................................................. 22 Cartoon or caricature – finding a definition ................................................................... 28 On wit and humour ........................................................................................................ 34 Gloves and Tachistoscopes – a quick detour .................................................................. 35 Exploring Reduction ....................................................................................................... 41 Modernism, reduction, essence and Fine Art ................................................................. 45 Modernism, industrial reduction and mainstream animation ........................................ 49 Digital Reduction ............................................................................................................ 57 Reduction as a general social condition .......................................................................... 59 The Cult of reduction as a methodology ........................................................................ 61 Chapter 2: Dimensional reduction ...................................................................... 64 On being flat ................................................................................................................... 65 Subject 1 – Weeding ....................................................................................................... 69 Ad Reinhardt – an encounter with flatness ..................................................................... 72 The cult of projection and dimensional reduction .......................................................... 77 Subject 2 - water, wasting and saving ............................................................................. 81 Chroma-deficiency, Black White and Yellow ................................................................. 88 9 Colouring in .................................................................................................................... 99 Cartoons – figurative flatness ........................................................................................ 102 Subject 3 - Reduced to Rubble ..................................................................................... 107 Chapter 3- Temporal Reduction ....................................................................... 114 Everything takes too long .............................................................................................. 115 Animation looping – a method of efficiency ................................................................. 118 The Loop as a modular building block: ........................................................................ 118 Looping in the gallery ................................................................................................... 123 Kipple Institute – the efficiency of didactic animation ................................................. 127 Reduction and the Tachistoscopic Flash: ..................................................................... 131 Roundabout projections – reduced viewing ................................................................. 142 Chapter 4: Material Reduction .......................................................................... 145 Digital size - does size really matter? (or is size really matter?) ................................. 146 The Cubicle project - portability, and play ................................................................... 150 Toys, play and the reduction of adulthood ................................................................... 159 The Jevons Paradox, and the dilemma of efficiency ..................................................... 161 Chapter 5: The cult of reduction,
Load more

Recommended publications
  • CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
    CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection
    [Show full text]
  • Links to the Past User Research Rage 2
    ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • The Demolished Man Free
    FREE THE DEMOLISHED MAN PDF Alfred Bester | 256 pages | 08 Jul 1999 | Orion Publishing Co | 9781857988222 | English | London, United Kingdom Demolition Man (film) - Wikipedia Demolition Man is a American science fiction action film directed by Marco Brambilla in his directorial debut. Stallone is John Spartan, a risk- taking police officer, who has a reputation The Demolished Man causing destruction The Demolished Man carrying out his work. After a failed attempt to rescue hostages from evil crime lord Simon Phoenix, The Demolished Man are both sentenced to be cryogenically frozen in Phoenix is thawed for a parole hearing inbut escapes. Society has changed and all crime has seemingly been eliminated. Unable to deal with a criminal as dangerous as Phoenix, The Demolished Man authorities awaken Spartan to help capture him again. The story makes allusions to many other works including Aldous Huxley 's dystopian novel Brave New World[6] and H. Wells 's The Sleeper Awakes. The film was released in the United States on October 8, Inpsychopathic career criminal The Demolished Man Phoenix kidnaps a busload of hostages and takes refuge in an abandoned building. LAPD Sergeant John Spartan runs a thermal scan of the building; finding no trace of the hostages, he leads an The Demolished Man assault to capture Phoenix. Phoenix sets off explosives to destroy the building; the hostages' corpses are later found in the rubble, and Phoenix claims Spartan knew about them and attacked anyway. Both men are sentenced to lengthy terms in the city's new "California Cryo-Penitentiary", a prison in which The Demolished Man are cryogenically frozen and exposed to subliminal rehabilitation techniques.
    [Show full text]
  • Un Conjunto De Herramientas Para Unity Orientado Al Desarrollo De Videojuegos De Acción-Aventura Y Estilo Retro Con Gráficos Isométricos 3D
    UN CONJUNTO DE HERRAMIENTAS PARA UNITY ORIENTADO AL DESARROLLO DE VIDEOJUEGOS DE ACCIÓN-AVENTURA Y ESTILO RETRO CON GRÁFICOS ISOMÉTRICOS 3D D. Iván José Pérez Colado D. Víctor Manuel Pérez Colado GRADO EN INGENIERÍA DEL SOFTWARE FACULTAD DE INFORMÁTICA UNIVERSIDAD COMPLUTENSE DE MADRID TRABAJO DE FIN DE GRADO DE INGENIERÍA DEL SOFTWARE Madrid, 20 junio de 2014 Director: Prof. Dr. D. Federico Peinado Gil Autorización de difusión y utilización Iván José Pérez Colado y Víctor Manuel Pérez Colado autorizamos a la Universidad Complutense de Madrid a difundir y utilizar con fines académicos, no comerciales y mencionando expresamente a sus autores, tanto la propia memoria, como el código, los contenidos audiovisuales incluso si incluyen imágenes de los autores, la documentación y/o el prototipo desarrollado. Fdo. Iván José Pérez Colado Fdo. Víctor Manuel Pérez Colado Para nuestro nono Quien con su empeño e ilusión, fue un motivo en nuestras vidas para llegar hasta donde hemos llegado y no está hoy con nosotros para verlo Agradecimientos Queremos agradecer, en primer lugar, a nuestro director de proyecto Federico Peinado Gil, por darnos la oportunidad de participar en un proyecto del campo que más nos apasiona, los videojuegos, y por toda la ayuda y dedicación que nos ha prestado durante el curso para completarlo. En segundo lugar, agradecemos a nuestros amigos y familia, su opinión y continua valoración de los resultados que íbamos obteniendo durante la realización del proyecto. Por último, agradecer a la comunidad de usuarios de Unity, y a los usuarios de StackOverflow, la cesión de múltiples fragmentos de código que han servido de referencia para la realización del proyecto.
    [Show full text]
  • Stallone Fights Studio's Accounting Methods
    Business Valuations: Stallone Fights Studio’s Accounting Methods Accounting issues take center stage in a recent dispute involving Sylvester Stallone's production company, Rogue Marble, and Warner Bros. Entertainment. The lawsuit charges Warner Bros. with breach of contract, unfair business practices and accounting fraud in connection with the revenues from the 1993 movie Demolition Man. Stallone seeks "full accounting" of revenues from the film, plus interest and damages. The suit doesn't yet specify damages, because Rogue Marble isn't "presently aware of the exact amounts of damages resulting" from the studio's alleged wrongdoing. However, the Oscar-nominated actor, writer and director — who's famous for his roles as Rocky Balboa and John Rambo — has a bigger fight in mind: His lawsuit alleges that "motion picture studios are notoriously greedy." And he wants them to account in a timely and open manner for amounts owed to actors, writers and filmmakers that are contingent on a film's performance. Here are the details of this high-profile case, along with an explanation of how its lessons about contingent consideration extend beyond Hollywood. Case Facts In 1992, Warner Bros. entered into an artist loan-out agreement with Rogue Marble for the services of Sylvester Stallone in Demolition Man, a sci-fi action film that also starred Wesley Snipes and Sandra Bullock. The loan-out agreement granted Rogue Marble certain percentages of the film's total defined gross after the amount exceed certain levels. Specifically, the contract granted: 15% of the gross when it exceeded $125 million, 17.5% when it exceeded $200 million, and 20% when it exceeded $250 million.
    [Show full text]
  • Computer Algorithms As Persuasive Agents: the Rhetoricity of Algorithmic Surveillance Within the Built Ecological Network
    COMPUTER ALGORITHMS AS PERSUASIVE AGENTS: THE RHETORICITY OF ALGORITHMIC SURVEILLANCE WITHIN THE BUILT ECOLOGICAL NETWORK Estee N. Beck A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2015 Committee: Kristine Blair, Advisor Patrick Pauken, Graduate Faculty Representative Sue Carter Wood Lee Nickoson © 2015 Estee N. Beck All Rights Reserved iii ABSTRACT Kristine Blair, Advisor Each time our students and colleagues participate online, they face invisible tracking technologies that harvest metadata for web customization, targeted advertising, and even state surveillance activities. This practice may be of concern for computers and writing and digital humanities specialists, who examine the ideological forces in computer-mediated writing spaces to address power inequality, as well as the role ideology plays in shaping human consciousness. However, the materiality of technology—the non-human objects that surrounds us—is of concern to those within rhetoric and composition as well. This project shifts attention to the materiality of non-human objects, specifically computer algorithms and computer code. I argue that these technologies are powerful non-human objects that have rhetorical agency and persuasive abilities, and as a result shape the everyday practices and behaviors of writers/composers on the web as well as other non-human objects. Through rhetorical inquiry, I examine literature from rhetoric and composition, surveillance studies, media and software studies, sociology, anthropology, and philosophy. I offer a “built ecological network” theory that is the manufactured and natural rhetorical rhizomatic network full of spatial, material, social, linguistic, and dynamic energy layers that enter into reflexive and reciprocal relations to support my claim that computer algorithms have agency and persuasive abilities.
    [Show full text]
  • El Tratamiento Del Videojuego: De La Prensa Generalista a Las Revistas
    UNIVERSIDAD DE SEVILLA Facultad de Comunicación Departamento de Periodismo II Tesis Doctoral EL TRATAMIENTO DEL VIDEOJUEGO: DE LA PRENSA GENERALISTA A LAS REVISTAS ESPECIALIZADAS Análisis comparativo de las ediciones impresas y digitales de El País, El Mundo, Público y 20 Minutos Sevilla, julio de 2012 Tesis Doctoral realizada por: Isaac López Redondo Director: Dr. Antonio López Hidalgo A Ana, indudablemente, por todo el tiempo que le robé. Sin su apoyo, comprensión y cariño, este trabajo nunca habría sido una realidad. 0. Índice 1. Introducción………………………………………………………………… 8 1.1. Objetivos de la investigación………………………………………… 9 1.2. Justificación del estudio……………………………………………… 10 1.3. Acotación del objeto de estudio……………………………………… 12 1.4. Hipótesis de partida………………………………………………..… 14 1.5. Metodología de la investigación……………………………………... 15 1.5.1. Análisis de contenido……………………………………... 17 1.5.2. Entrevistas en profundidad………………………………... 24 1.6. Estructura del trabajo de investigación……………………………..... 27 2. Una primera aproximación al mundo del videojuego…………………..... 29 2.1. En busca de una definición………………………………………….. 30 2.2. Antecedentes del videojuego………………………………………… 33 2.3. La interactividad: un elemento distintivo…………………………..... 36 2.4. Las claves del éxito…………………………………………………... 38 2.5. Dentro del videojuego. Estructura y elementos que lo componen…... 40 2.6. ¿Quién juega a los videojuegos?.......................................................... 46 2.7. Géneros y tipos de videojuegos…………………………………….... 49 2.7.1. Clasificación de Diego Levis……………………………... 50 2.7.2. Clasificación de Michael Scholand……………………….. 54 2.7.3. Clasificación de Juan Alberto Estallo…………………….. 57 2.7.4. Clasificación de James Newman…………………………. 61 2.7.5. La propuesta de la prensa especializada………………….. 62 2.7.6. La dificultad de establecer una clasificación única……….
    [Show full text]
  • PINBALL NVRAM GAME LIST This List Was Created to Make It Easier for Customers to Figure out What Type of NVRAM They Need for Each Machine
    PINBALL NVRAM GAME LIST This list was created to make it easier for customers to figure out what type of NVRAM they need for each machine. Please consult the product pages at www.pinitech.com for each type of NVRAM for further information on difficulty of installation, any jumper changes necessary on your board(s), a diagram showing location of the RAM being replaced & more. *NOTE: This list is meant as quick reference only. On Williams WPC and Sega/Stern Whitestar games you should check the RAM currently in your machine since either a 6264 or 62256 may have been used from the factory. On Williams System 11 games you should check that the chip at U25 is 24-pin (6116). See additional diagrams & notes at http://www.pinitech.com/products/cat_memory.php for assistance in locating the RAM on your board(s). PLUG-AND-PLAY (NO SOLDERING) Games below already have an IC socket installed on the boards from the factory and are as easy as removing the old RAM and installing the NVRAM (then resetting scores/settings per the manual). • BALLY 6803 → 6116 NVRAM • SEGA/STERN WHITESTAR → 6264 OR 62256 NVRAM (check IC at U212, see website) • DATA EAST → 6264 NVRAM (except Laser War) • CLASSIC BALLY → 5101 NVRAM • CLASSIC STERN → 5101 NVRAM (later Stern MPU-200 games use MPU-200 NVRAM) • ZACCARIA GENERATION 1 → 5101 NVRAM **NOT** PLUG-AND-PLAY (SOLDERING REQUIRED) The games below did not have an IC socket installed on the boards. This means the existing RAM needs to be removed from the board & an IC socket installed.
    [Show full text]
  • Curriculum Vitae William C Carruth
    Curriculum Vitae William C Carruth June 10, 2013 General Information University address: College of Motion Picture Arts College of Motion Picture Arts University Center Building A3100 Florida State University Tallahassee, Florida 32306-2350 Phone: 888/644-7728 E-mail address: [email protected] Professional Preparation 1969 Master's Degree, LONG BEACH CITY COLLEGE. Major: Psychology. 1967 Bachelor's Degree, Los Angeles City College. Major: Psychology. Postdegree Education and Training 2005 Pro Tools Version 9.0 for Tiger and Version 9.4 for Tiger. 2003 Post Production Techniques, Version 6.4. 2003 Pro Tools Productions Essentials, Version 6.4. 2003 Introduction to Pro Tools, Version 6.4. 1994 Avid Medial Composer 101. Professional Experience 2012–present Laboratory Assistant, College of Motion Picture Arts, Florida State University. 2009–2012 Assistant In (OPS), College of Motion Picture Arts, Florida State University. Vita for William C Carruth 2010–2011 Assistant In, College of Motion Picture Arts, Florida State University. 2005–2008 Assistant In, College of Motion Picture Arts, Florida State University. Teaching Courses Taught MFA Qualifying Project (FIL5962) Thesis Film Support (FIL3971) Advanced Workshop in Area of Specialization (FIL5636-L) Thesis Film (FIL4973) Preproduction and Production Planning (FIL5408) Film Editing (FIL5555-L) Production: Advanced Editing (FIL4567) MFA Thesis Production (FIL5977) Advanced Editing (FIL5568-L) Film Editing (FIL2552) Special Topics (FIL3932) Documentary Filmmaking (FIL3363) Documentary Filmmaking (FIL3231) Film Editing (FIL5257-L) Production: Advanced Editing (FIL4213) Research and Original Creative Work Original Creative Works Films Carruth, W. C. (Sound Editor). (2005). Into The West [TV Movie]. DreamWorks Television. Carruth, W. C. (Sound Editor). (2005). Suzanne's Dairy for Nicholas [TV Movie].
    [Show full text]
  • Manual Judge Dredd Pinball
    Manual Judge Dredd Pinball Bally JUDGE DREDD pinball Planet motor assembly. Reference: 14-7985. Weight: 2 lb. $349.00. Quantity: Please enter a valid quantity. Please enter a valid. Home :: Pinball Machine Manuals :: Bally :: Bally Judge Dredd Manual. Printable version Bally Judge Dredd Manual Instant Download Version. $9.95 (€ 7.46). Shop for pinball parts, spare parts for pinball machines. Judge Dredd Operators Handbook, Bally - original Judge Dredd manual, Bally - original. €29.90 *. Visual Pinball is an amazing pinball emulator using PinMAME. The VPinball DLL This “.psrec” file is simply a recording of sounds instructions. The “.psrec” file. EPROM - new software for your game, U6, L7 Judge Dredd. EPROM Instruction card, Judge Dredd Judge Dredd Reproduction manual. Pinball parts and supplies. Glass · Greg Freres Classic Bally Framed Artwork · Hardware · Homebrew Pinball » · Cabinet Assemblies · Displays · Playfield. Manual Judge Dredd Pinball Read/Download In the manual on page 2-43 it says hswitch 67 is the left ramp entry. The photo pinside.com/pinball/forum/topic/judge-dredd-stays-on-free-play. See. Hd Judge Dredd Pinball Wallpaper Downloads Free/ Judge, Dredd, Pinball, judge judge dredd pinball right flippers won t work, judge dredd pinball manual. 4 piece set of ribbon cables for Bally JUDGE DREDD pinball machine. The PinSound board is compatible with the listed pinball machines. Indiana Jones: The Pinball Adventure. Information about PinSound with Judge Dredd. (1) · Judge Dredd (1) · Jungle Lord (2) · Jurassic Park (1) · Kings of Steel (1) · Lady Luck (1) · Laser War (1) · Last Action Hero (1) · Lethal Weapon 3 (1) · Lights. You will never find more PDF Pinball machines service manuals for this low price! With these service Bally-Midway Judge Dredd Operations & service manual.
    [Show full text]