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Peregrine Nations 2.3, October 2002
VOLUME TWO, NUMBER THREE / OCTOBER 2002 In This Ish: Silent eLOCutions (Art by Trinlay Khadro & Ye Editor) Smoke & Mirrors by Alan White (Art by Alan White) State of the Art: Graphic Novel Writers -- Coda by Will Allan Hogarth Saints by E. B. Frohvet (Art by William Rotsler) The Faned Article Pool by J. G. Stinson (art by my rubber stamp collection) Will the Real Swamp Thing Please Stand Up? (editorial) (Art by Alan White) Free Book Deal Update Pub Crawl: Zine Reviews by J.G. Stinson Additional Art: Alan White / cover, masthead No page numbers again, still haven't figured out how to make Word do that without futzing the thing... peregrination, n., L., A traveling, roaming, or wandering about; a journey. (The New Webster Encyclopedic Dictionary of the English Language, Avenel Books, New York: 1980). "As Perrottet explains...the Pax Romana...in the first two centuries of the Christian era...made possible for the first time the concept of tourism...and with it all the accoutrements still known in the travel industry: peregrinatores, the tourists themselves; mystagogi...guides; periegesis, ...guidebooks..." // From "On Tour with the Ancients" by Louis Werner, Archaeology Magazine, Nov./Dec. 2002, p. 57. Well, now, ain't that a hoot. This issue of Peregrine Nations is a © 2002 J9 Press Publication edited and published by J. G. Stinson, P.O. Box 430314, Big Pine Key, FL 33043-0314 USA. Copies available for $1 or the Usual. A quarterly pubbing sked is intended. All material in this publication was contributed for one-time use only, and the copyrights belong to the contributors. -
Royal Air Force Historical Society Journal 29
ROYAL AIR FORCE HISTORICAL SOCIETY JOURNAL 29 2 The opinions expressed in this publication are those of the contributors concerned and are not necessarily those held by the Royal Air Force Historical Society. Copyright 2003: Royal Air Force Historical Society First published in the UK in 2003 by the Royal Air Force Historical Society All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system, without permission from the Publisher in writing. ISSN 1361-4231 Typeset by Creative Associates 115 Magdalen Road Oxford OX4 1RS Printed by Advance Book Printing Unit 9 Northmoor Park Church Road Northmoor OX29 5UH 3 CONTENTS BATTLE OF BRITAIN DAY. Address by Dr Alfred Price at the 5 AGM held on 12th June 2002 WHAT WAS THE IMPACT OF THE LUFTWAFFE’S ‘TIP 24 AND RUN’ BOMBING ATTACKS, MARCH 1942-JUNE 1943? A winning British Two Air Forces Award paper by Sqn Ldr Chris Goss SUMMARY OF THE MINUTES OF THE SIXTEENTH 52 ANNUAL GENERAL MEETING HELD IN THE ROYAL AIR FORCE CLUB ON 12th JUNE 2002 ON THE GROUND BUT ON THE AIR by Charles Mitchell 55 ST-OMER APPEAL UPDATE by Air Cdre Peter Dye 59 LIFE IN THE SHADOWS by Sqn Ldr Stanley Booker 62 THE MUNICIPAL LIAISON SCHEME by Wg Cdr C G Jefford 76 BOOK REVIEWS. 80 4 ROYAL AIR FORCE HISTORICAL SOCIETY President Marshal of the Royal Air Force Sir Michael Beetham GCB CBE DFC AFC Vice-President Air Marshal Sir Frederick Sowrey KCB CBE AFC Committee Chairman Air Vice-Marshal -
Northeasthistoricfilmcarlson 39
NortheastHistoricFilmCarlson 1/29 Please review the Application Guidelines for details about the information requested in this proposal. Fields marked with an asterisk are required. Eligibility To be eligible for a Digitizing Hidden Collections grant in 2016, applicant projects must meet the following requirements: Minimum allowable request for 2016: $50,000 Maximum allowable request for 2016: single-institution projects: $250,000 / collaborative projects: $500,000 Minimum allowable project term: 12 months Maximum allowable project term: single-institution projects: 24 months / collaborative projects: 36 months Projects must begin between January 1 and June 1, 2017 Single-institution projects must be completed by May 31, 2019 Collaborative projects must be completed by May 31, 2020 Is this a collaborative project? Yes/No Yes What is the size of the request? NOTE: The minimum acceptable request in this program, for all projects, is $50,000. Single-institution projects can request no more than $250,000. Collaborative projects can request no more than $500,000. Amount Requested $322,092 Provide the proposed project length in whole months, and list the project start and end dates. NOTE: All projects must begin between January 1 and June 1, 2017. The minimum project length, for all projects, is 12 months. Single-institution projects can last up to 24 months and must end by May 31, 2019. Collaborative projects can last up to 36 months and must end by May 31, 2020. Project length (months) 18 Project Start Date 01/01/2017 Project End Date 06/30/2018 NortheastHistoricFilmCarlson 2/29 A note regarding principal investigators: An individual may not be named as a principal investigator (PI) on more than one proposal, and may not serve as PI on two funded projects simultaneously. -
Fairlight News 9
NAB 1999 ISSUE THE FAIRLIGHT ESP NEWS BULLETIN Image Group Post Superdupe Recording On Track with MFX3plus Networks with MediaLink and MediaLink nderscoring the increasing shift Utowards real-time networking solutions in high-end, multiple-room audio post studios, Superdupe Recording in New York City has installed Fairlight’s MediaLink fast audio networking solution to link its six Fairlight MFX3plus digital audio workstations and one Fairlight FAME integrated digital audio production system. According to Karen Carelli, General Manager Superdupe Recording, the implementation of networking will enhance the company’s workflow. “MediaLink is the logical extension of the latest technology because it gives us the ability to link our MFX3plus workstations Superdupe Recording’s new MFX3plus workstations communicate with MediaLink - and thereby link different projects. Now (L-R) Henri Perotti, Mitch Rayboy, Glenn Navia, Bill Smith and Gary Arnold we can work in store-and-forward mode or, if it’s a major project with short Neil Karsh, Vice President of Audio Services Superdupe Recording specializes in audio deadlines, using multiple workstations in for the New York Media Group including post production for top level advertising real-time,” Carelli noted. Superdupe agrees. “Our goal is to become agencies, as well as cable and broadcast “It’s also exciting because it’s the first time an extremely integrated audio post studio television clients. Superdupe Recording is Image Group Post rides into the new millennium with Fairlight - (L-R) John Wilkinson, in quite a while that Superdupe Recording and we believe that with MediaLink and part of the New York Media Group family Audio Assistant; Frank Lanzer, Chief Audio Engineer; James Krieger, Audio Editor. -
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. -
Online Software Piracy of the Last Millennium.Sxw
Online Software Piracy of the Last Millennium By Ben Garrett aka Ipggi Ever since there has been the ability to store data on a personal computer and commercial software for sale, there has been the existence of pirating. Pirating, cracking and even pirate scenes go all the way back to the late seventies, and maybe even earlier. By the early eighties some machines (such as the BBC Macro in Europe) where so riddled with pirates that the programming companies gave up. They discontinued producing and porting software for the affected computers because there was simply no money to be made. This article has been written with only the PC scene in mind. Table of Contents 1. The IBM PC Scene Beginnings Page 1 2. Bulletin Board Systems And Couriers 2 3. The Death of the Bulletin Board System and the Rise of the Internet 4 4. Software Suppliers 5 5. Text Files 5 6. Scene Art 6 7. The Emergence of Europe 6 8. The Death of the Floppy Disk 6 9. Evolution to the ISO scene 7 10.Bibliography 8 1. The IBM PC Scene Beginnings With the large amount of 8-bit computers around during the early eighties, otherwise known as the Golden Age. And then with the subsequence scenes that followed, most people will agree that the Commodore 64 scene was the greatest at the time. But the Commodore 64 1 wasn't the first computer system to have an organised international pirate scene. It was probably the Apple II users in the very late seventies 2 that can be credited with creating the first remnant of a pirate scene that would be familiar in todays internet warez world. -
Vysok´E Uˇcení Technick´E V Brnˇe Grafick´E Intro Do
VYSOKEU´ CENˇ ´I TECHNICKE´ V BRNEˇ BRNO UNIVERSITY OF TECHNOLOGY FAKULTA INFORMACNˇ ´ICH TECHNOLOGI´I USTAV´ POCˇ ´ITACOVˇ E´ GRAFIKY A MULTIMEDI´ ´I FACULTY OF INFORMATION TECHNOLOGY DEPARTMENT OF COMPUTER GRAPHICS AND MULTIMEDIA GRAFICKE´ INTRO DO 64KB S POUZITˇ ´IM OPENGL GRAPHIC INTRO 64KB USING OPENGL DIPLOMOVA´ PRACE´ MASTER’S THESIS AUTOR PRACE´ PAVEL GUNIA AUTHOR VEDOUC´I PRACE´ Ing. ADAM HEROUT, Ph.D. SUPERVISOR BRNO 2007 Abstrakt Tato pr´acepojedn´av´ao fenom´enu grafick´eho intra, ˇcasto oznaˇcovan´emjako digit´aln´ıgraffiti. Detailnˇese rozebere t´ema grafick´ehointra s omezenou velikost´ıa pop´ıˇs´ıse techniky vhodn´e k jeho realizaci. Na konci pr´acejsou diskutov´any postˇrehy a zkuˇsenosti z´ıskan´ebˇehem tvorby, stejnˇetak i celkov´eshrut´ıa pohled do budoucna. Kl´ıˇcov´aslova poˇc´ıtaˇcov´agrafika, digit´aln´ıumˇen´ı,demo, intro, OpenGL, procedur´aln´ıgenerov´an´ı,komp- rese, parametrick´ekˇrivky, parametrick´eplochy, syntetizovan´ahudba Abstract This work deals with the phenomenon of graphic intros, a digital graffiti of the modern age. The focus is put on size restricted animation of size of the executable file lower than 64 kilobytes. It reveals the main techniques used. Finally, interesting aspects and experiences that came up are discussed, as well as the conclusion and future work proposal. Keywords computer graphics, digital art, demo, intro, OpenGL, procedural generation, compression, parametric curve, parametric surface, synthetized music Citace Pavel Gunia: Graphic intro 64kB using OpenGL, diplomov´apr´ace, Brno, FIT VUT v Brnˇe, 2007 Graphic intro 64kB using OpenGL Prohl´aˇsen´ı Prohlaˇsuji, ˇzejsem tuto diplomovou pr´aci vypracoval samostatnˇepod veden´ımpana Ing. -
Videotape and Home Movie Day
Videotape and Home Movie Day Incorporating video into a Home Movie Day event presents a host with technological and curatorial challenges. You’ll need to bring even more equipment including numerous decks, cables galore, and something to show tapes on, either a video projector or a large enough monitor. Since videotapes can go on for hours, you’ll need to set time limits in advance so no one person takes up more time than other attendees. But with a little planning you can easily be showing families’ histories recorded on tape alongside those on good ol’ small gauge film. Equipment Needs There is a daunting number of consumer-level videotape and optical video formats. But just as you can't expect to have a projector for every film format, you shouldn't expect to support every video format. In our experience, the most popular formats are VHS and Video8. DVD is also common format for people bringing in already-transferred home movies. You’ll need to balance your expectations of what video formats your particular audience will be bringing in with how much effort it will be to bring in a particular format. Other video formats to consider include, but are not limited to, Hi8, Digital8, Betamax, DV, SHS, and VHS-C. And don’t forget the difference between PAL, NTSC, and SECAM. Also, don’t forget to have enough cords and adapters to connect video decks to the monitor/projector. Depending on how many decks you are bringing to your HMD event, you might want to consider getting a video switcher. -
Demoscene Outreach Tour
together with Gargaj from Conspiracy and Steeler from DKEV/ THE MAN FROM THE AUDIENCE Breakpoint organizing, who where hosting screenings and talks I was handing out DVDs after the show when I quickly checked of their own. ›DEMOSCENE my bag and seeing that I was seriously quickly nearing the end OUTREACH TOUR: of my supply, I realized that it would be stupid of me to run out The previous year, Knos (also of Scene.org fame) and I had worked of discs on the second day of a five-day conference. I covered THE FULL STORY together to produce a DVD that we could hand out to the partici- the remaining few discs and started telling people around me pants of the screening. This DVD contained most of the nominated (PART 1)‹ that I unfortunately was out of discs. A little nasty perhaps, but I BY GLOOM OF EXCESS productions and a simple DVD menu-structure that allowed the would need them during one-on-one outreach meet-ups later on. viewer to quickly watch video-captured versions of the demos. At Suddenly a guy approached me from the back of the now thin- FMX/06, I had run out of these DVDs moments after the screening, ning crowd of people. “Do you have one for me as well?” he said. because everyone wanted a copy, so in 2007 I made sure to burn “Okay then,” I thought, and handed him a DVD. “Thanks for this” By now, most of you are probably aware of the demoscene out- twice as many copies. -
A Brief History of the Russian Spectrum Demoscene
A BRIEF HISTORY OF THE RUSSIAN Allegedly, engineers from the Ukrainian city Lvov, were the first to succeed with this challenge and built a working machine SPECTRUM DEMOSCENE in August 1985. Their own designed schematics became very BY ELFH OF INWARD AND CYBERPUNKS UNITY valuable information, so they could trade it to the researchers in other cities for knowledge on other topics. Still, this remained Relations between Soviet Russia and computers were always nents – more than 200 to be precise. This fact complicated the unknown to the wider public and only a limited amount of peo- a bit obscure, especially when it comes to foreign models that possibility for average Radio readers to build the “Micro-80”, ple actually knew about the existence of a cheap home com- were not officially imported here. But, if one wants to trace the because a lot of elements were hard to find in normal stores, puter with colourful graphics, which any Radio amateur could roots of the Russian demoscene, especially on the Spectrum, and in most cases could only be found on the black market. easily build at home. For example, in 1986 “Radio” magazine you must dig deep into the 1980’s, when the first generation of was still publishing the schematics of the Radio-86RK compu- radio amateurs built their first machines themselves. ter, which consisted of 29 parts, but had only a black and white A LOT OF ELEMENTS WERE HARD text mode display. CONTRABAND COMPUTERS TO FIND IN NORMAL STORES, ONLY The main role in this development was played by a very popu- ON THE BLACK MARKET Despite this, it first became a very popular machine in Rus- lar magazine named “Radio”, which gathered a lot of talented sia. -
Download the Pdf Here
of people who got together through Bulletin Board Systems, THE PORTUGUESE DEMOSCENE Reckless Life BBS and Infinity BBS run by the infamous Captain Hook. The scene thrived through the nineties with the uprising HISTORY of IRC and the two issues of the diskmag, Infinity, put together BY PS OF TPOLM by Garfield, VAngel and Spellcaster if my memory serves me correctly. The first documented demoscene event in Portugal The Portuguese demoscene, as most Portuguese technology, ducing cheap labour for English-owned factories of the ZX Sin- was organized in 1996 and was called the Virtual Music Con- is a fluke of chance. For many years, Portugal held last place clair Spectrum family of machines. While kids in Central and test. It was just a simple tracking competition. Groups formed among Europe’s nations in iliteracy per capita and emigration. Northern Europe were playing with their Commodores and around this time were Radioactive Design (RD) with Garfield, Certified higher education for new technologies and arts has Ataris during the late eighties, in Portugal we were consuming only been institutionalized within the last 10 years. Even large Spectrum magnetic tapes. WHILE KIDS IN CENTRAL volume capitalist markets, such as the videogame industry, AND NORTHERN EUROPE are still in their infancy in Portugal. It has only been six years, THE BIRTH OF THE PORTUGUESE at most, since serious full time jobs became available in the WERE PLAYING WITH THEIR business. In fact Portugal is a country that mostly imports and DEMOSCENE COMMODORES AND ATARIS, IN consumes technology (2.5 cellphones per person on average) The first known demo made by a Portuguese demoscener was PORTUGAL WE WERE CONSUMING instead of developing and exporting it. -
Text of the German Application of Art of Coding
This is the Text of the German application of Art of Coding (www.http://demoscene-the-art-of-coding.net) with the purpose of bringing the demoscene onto the list of UNESCO intangible cultural heritage of humanity. The application was submitted in Oct 2019 and has been written in an collaborative community effort led by Tobias Kopka supported by Andre Kudra, Stephan Maienhöfer, Gleb Albert, Christian Brandt, Andreas Lange and many more who gave their hands at Digitale Kultur und Tastatur und Maus e.V. The structure depends on the form, which is given by the German UNESCO. In spite the structure differs from forms used in other countries text modules can be used for application in other countries. The texts in square brackets are part of the German form. Also every kind of feedback is welcome, which could be taken into account for future use. Use ‘team (at) demoscene-the-art-of-coding.net’ 1. Type of Immaterial Cultural Heritage [Please tick the applicable sections and elaborate in keywords (multi-selection possible, but not mandatory)] Section A) verbally passed on traditions and expressions [keywords]: own technical vocabulary, own idiom with specialized terminology, English is lingua franca Section B) performing arts (music, theatre, dance) [keywords]: composition, performant, live, public presentation, animation Section C) social tradition, (seasonal) celebration and ritual [keywords]: demoparties, competitions, visitor voting, price ceremonies Section D) Knowledge and customs, related to nature or the universe [keywords]: digitalized living environment, cyberspace, virtual reality Section E) traditional craftsmanship [keywords]: coding, composition, animation, adoption, do-it-yourself Section F) other 2.