>
>
> The Screen and Media Studies Dept. of the University of Waikato is
> planning a conference for graduate and postgraduate students (that is,
> Masters and above) to be held in Hamilton in late November or early
> December. This will be in the general field of Media and
> Communications studies, and we will be inviting students to present
> papers based on their research within this, albeit wide, area of
> study. This will reflect the many different facets and approaches that
> Media and Communications studies offer; textual analysis, discourse
> analysis, audience reception, political economy, technology,
> marketing, and the list goes on. Further, we wish to include the many
> varied types of communication technology within the scope of this
> conference. In addition to the ‘traditional’ forms of screen media,
> cinema and television, we would include internet, video games, mobile
> phones, and any other form of screen communication device not listed
> here.
>
> We would like to invite you to attend this conference so that you may
> both present your own work and meet graduate students from all over
> the world. Please advise if you may be interested in attending. In
> this way, we can begin organizing this, what we think will be an
> exciting event.
>
> Please e-mail me directly with your reply at nbather(a)xtra.co.nz
>
> Neil Bather
> Doctoral Student
> Screen and Media Studies Dept
> The University of Waikato
> Hamilton, New Zealand
>
>
Sean Cubitt • Screen and Media Studies • University of Waikato •
Private Bag 3105 • Hamilton • New Zealand • T +64 (0)7 838 4543 • F +64
(0)7 4767 • seanc(a)waikato.ac.nz
Back in March, Melanie Swalwell wrote:
[http://list.waikato.ac.nz/pipermail/ada_list/2005-March/000833.html]
> I'd be keen to hear some more about the Poly. Have you had any
> responses?
No. Well, almost none. Mark Williams at the Film Archive has been
investigating, and I suspect he is secretly planning an exhibition on
the subject.
Also, a few weeks ago, I was at the National Library and I looked at
1983 editions of Bits and Bytes magazine. Volume 1, Number 1 has a
feature article on the Poly vs Apple controversy. I wrote some notes
but have since forgotten their meaning, so the following may be
inaccurate.
The Poly came out in 1981 or early 1982 and was intended for
educational use. Much was made of its facility for networking. It
seems that number of Polys could be wired together and kept in sync by
the teacher. Although this now sounds pedagogically quaint, a few
schools signed up to buy them.
In 1983 a networkable Poly cost $8090, but it appears the complete
teaching kit ran into the hundreds of thousands. In response to the
Poly, Apple reduced the price for schools of an Apple II from $4812 to
$1200. Customs decided that Apple was "dumping", which seems to have
had a precise technical meaning in those days of import regulation.
They imposed a duty of $820, bringing the price up to $2020. Apple
changed their price to $2020, rather than pay the duty (Customs could
not complain, because their duty was defined as setting the fair
price).
Money was valuable then. I recall you could get lollies valued at
fractions of a cent. $8090 would get you a largish McCahon or a few
houses in Wanaka, so even if Apple had stuck to their original price,
the Poly may not have taken off. Nevertheless, Polycorp was blaming
Apple, Customs, and the Government for their impending failure.
By way of comparison, here are prices for other computers advertised
in Bits and Bytes, vol 1, nos 1-3 (retail prices, some educational
discounts offered but not revealed):
ZX81 $199
VIC20 $899
Atari 400 $1295
Atari 800 $2695
Dick Smith 80 $1295
BBC Micro $1595
The Apple II was designed in 1976. It was inferior to the 1982 BBC
Micro in every possible regard, despite retailing at three times the
price. The IBM PC had been out for a couple of years, and the Mac was
due in January 1984. In these circumstances, $1200 actually sounds
like a reasonable price for the Apple II, but of course you don't buy
from Apple expecting value or quality.
The Poly used the 6809 processor. This was an advance on the 6502s
and z80s that everyone else used, although it was admired as much for
conceptual elegance as increased performance. Unfortunately the 6809
was a year or two late for the 8 bit era, and hence was mainly used in
idiosyncratic late machines like the Poly, the Dragon (Welsh) and the
Peach (Japanese).
Bits and Bytes mentions some system of layered video, allowing
graphics and text on the same screen. 21 colours could be used at
once, exactly 5 more than was common.
Its networking system appears to have involved an ad-hoc protocol over
a serial bus. As far as I can tell, the Poly system was technically
inferior to ethernet, which had had a decade of development, but was
was just then becoming widely available, with the first Apple II
ethernet card released in 1982. The reporter didn't seem to
understand much about networking.
It seems that what the Poly developers really cared about was
software, or rather, a particular mode of software use and development
that they imagined would suit schools. They thought that, with the
Poly, teachers could easily develop teaching software that could be
shared between schools. In 1983 only a tiny portion of the curriculum
had been Polyised, but they didn't think the rest was far off.
Polycorp's mistakes are obvious enough. They wasted effort on
irrelevant details, fighting rather than harnessing the flow of
commodification. If they had resisted the urge to reinvent hardware
and had targeted their software at (say) ethernet connected IBM PCs,
they might well have got it into a few more schools, and lasted as a
company for a few more years. There is something to be said for
waiting until the appropriate technology arrives, rather than trying
to force it.
I think this is a general and well learnt lesson of the last 25 years,
not hindsight specific to Polycorp. Now most people have a sensible,
incremental approach to changing the world with computers. For
example, Vicki Smith and Karla Ptacek have had school kids
collaborating across the world, using generic hardware, operating
systems, and network protocols, with only a little bit of specialised
(buggy) software. And now there is Skolelinux[1] which perhaps has
similar aims to Polycorp, but actually saves schools money relative to
the alternatives, by borrowing as much as possible from existing ideas
and technology.
Apart from Bits and Bytes and Mark Williams, another source of Poly
information is http://www.embassy.org.nz/computer/progeni.htm
[1]http://www.skolelinux.org/portal/about/what
douglas
On 29 Jul 2005 at 11:27, luke wrote:
>
> is this less a problem of sound being visualised within a tool as
> spatial, as after all sound is spatial, and more of how the
> spatiality is being visualised at present? i read in sue's original
> comment the suggestion of new visualisations and interactions with
> sound as it is edited. it stumped me because i couldn't think of
> what shape this would form. the closest i can imagine is 3d editing
> gadgets that use a wand like tool you wave around within an arena,
> or medical practises of dicing up a hologram before cutting into a
> real aorta. but those models are still problematic, especially given
> the outline by douglas, because they're still restricted to defined
> spatial parameters which may or may not correspond to some actual
> spatial parameters of
sound
> (a sound spectrum is a parameter after all).
>
> what i imagine 'spatial editing' to resemble would involve a method
> unfamiliar to usual gui interfaces, would probably involve gestures
> of some kind. the sound wouldn't be treated as a representation
(although
> it probably would be) ... but the manipulation would involve moving
> sound from one space to another. how we edit and the tools we use
> always imprint the work (probably more than we'd ever like to know),
> so acknowledging that it would have a parametised outcome, the
best
> you could hope for was a _new_ outcome.
>
There are quite a few tools like this which are usually used when
designing audio for computer games. An example of an interface for
creating/editing this kind of spatial/gestural representation of sound
objects is Diesel Studio (free non-commercial download) at
http://www.am3d.com
The GUIs are usually based on graphics packages (in Diesel's case it
looks like any 3D modelling software).
I can't remember the earliest example of similar software but they
have been around for some time. I do remember using FX systems
(Roland something or other) in recording studios about 20 years ago
where there was a LCD representation of a room with a small
joystick to move a blob representing the position of the sound around
that room.
Mark.
--
Computer Game Audio bibliography:
http://shiva.smst.waikato.ac.nz/wikindx3/
(mark - you don't appear to be on as sirfragalot)
On 29 Jul 2005 at 11:27, luke wrote:
>
> is this less a problem of sound being visualised within a tool as
> spatial, as after all sound is spatial, and more of how the spatiality
> is being visualised at present? i read in sue's original comment the
> suggestion of new visualisations and interactions with sound as it is
> edited. it stumped me because i couldn't think of what shape this
> would form. the closest i can imagine is 3d editing gadgets that use a
> wand like tool you wave around within an arena, or medical practises
> of dicing up a hologram before cutting into a real aorta. but those
> models are still problematic, especially given the outline by douglas,
> because they're still restricted to defined spatial parameters which
> may or may not correspond to some actual spatial parameters of
sound
> (a sound spectrum is a parameter after all).
>
> what i imagine 'spatial editing' to resemble would involve a method
> unfamiliar to usual gui interfaces, would probably involve gestures of
> some kind. the sound wouldn't be treated as a representation
(although
> it probably would be) ... but the manipulation would involve moving
> sound from one space to another. how we edit and the tools we use
> always imprint the work (probably more than we'd ever like to know),
> so acknowledging that it would have a parametised outcome, the best
> you could hope for was a _new_ outcome.
>
There are quite a few tools like this which are usually used when
designing audio for computer games. An example of an interface for
creating/editing this kind of spatial/gestural representation of sound
objects is Diesel Studio (free non-commercial download) at
http://www.am3d.com
The GUIs are usually based on graphics packages (in Diesel's case it
looks like any 3D modelling software).
I can't remember the earliest example of similar software but they have
been around for some time. I do remember using FX systems (Roland
something or other) in recording studios about 20 years ago now where
there was a LCD representation of a room with a small joystick to move
a blob representing the position of the sound around that room.
Mark.
--
Computer Game Audio bibliography:
http://shiva.smst.waikato.ac.nz/wikindx3/
>
Sean Cubitt • Screen and Media Studies • University of Waikato •
Private Bag 3105 • Hamilton • New Zealand • T +64 (0)7 838 4543 • F +64
(0)7 4767 • seanc(a)waikato.ac.nz
kia ora koutou,
I asked Julian about Ubuntu and this is his response, perhaps also of interest for you'll.
hei konei ra, sonja
> Ubuntu is a project by the company Canonical, headed by Mark
> Shuttleworth, a multi-billionaire 'philanthropist' focussed on
> disenfranchising developing countries from american software monopolists
> like Apple and M$. the slogan is "Linux for Human Beings".
>
> he does alot of work in Africa and South America in this area.
> Ubuntu is free of charge and has some of the best Linux developers
> working on the distribution.
>
> Ubuntu has alot of integrity in the Free Software community for it's
> rigid policies on using only non-patented, GPL (General Public License) code
> in it's distribution. it has a very clean desktop and is very easy to
> administer. on request he ships Ubuntu CD's without cost - he has shipped around a million so far and many times that have been downloaded freely.
>
> most importantly Ubuntu is built upon Debian Linux, it takes all the
> bleeding edge packages and makes them stable for release every six
> months. upgrades can be done frequently (if desired) and thus very
> current software can be used (from a pool of around 16000 packages).
>
> on both the level of the desktop design and it's approach to bleeding
> edge software it is quite an innovator. Ubuntu runs on PowerPC machines
> (macs), AMD64 and standard Intel machines. people used to OS9 or OSX
> will feel quite at home with the layout of the desktop.
>
> the community is huge and the documentation is free and of a high
> quality. the online community is very helpful and geared toward
> new users. realtime support can be gained quickly - especially in
> IRC.
>
> it is possible to buy HP laptops with Ubuntu already installed, however
> the install itself takes around 25 minutes and while not GUI is pretty
> accessible to new users (about 10 questions).
>
> http://ubuntulinux.org
>
> julian
>
> --
> _ _ _
> ___ ___| |___ __| |_ _ __ __ _ _ _| |__ ___
> (_-</ -_) / -_) _| _| '_ \/ _` | '_| / /(_-<
> /__/\___|_\___\__|\__| .__/\__,_|_| |_\_\/__/
> |_http://selectparks.net
>
> Artist in Residence IT University of Copenhagen
> Department of Digital Aesthetics and Communication
> Rued Langgaards Vej 7
> DK-2300 København S
> http://game.itu.dk
the move is aimed at offering a subsidised 'choice' - it would be ideal if
they subsidised technical staff - it seems so many of the smaller schools
rely heavily on interested or motivated teachers [and sometimes students]
there is a push by ministry to have schools operate electronically
especially the administration of student data - the buzz word is
interoperability and eventually web based solutions
there is some cool stuff too - especially around what they term 'the 21st
century learner', libraries and information literacy
:::::::::::::::::::::::::::::::::::::::::::::
Vicki Smith
ICT Learning Facilitator
WestNet
Email: vickismith(a)paradise.net.nz
Cell: 021 778 067
http://www.westnet.school.nzhttp://www.avatarbodycollision.orghttp://www.upstage.org.nz
::::::::::::::::::::::::::::::::::::::::::::::
sweet as
Ian M Clothier
________________________________
From: adam [mailto:adam@xs4all.nl]
Sent: Wed 20/07/2005 9:18 p.m.
To: Aotearoa Digital Arts
Subject: [SPAM] - Re: [Ada_list] SCANZ extension of deadline - Email found in subject
hey!
i am in zagreb now...is it ok to send the CV tomorrow?
adam
On Wed, 20 Jul 2005,
Clothieri wrote:
> Hi,
>
> To all those who have not yet expressed interest in SCANZ, the date for
> registrations of interest has been extended to Monday 25th July, 4pm.
>
> To register, please go to http://www.witt.ac.nz/Content/sub/100005460.aspx
> And download the registration of interest form. Complete the form and send
> it and a cv/bio/resume to scanz(a)witt.ac.nz
>
> Cheers
>
> Ian Clothier
> SCANZ Project Team
>
>
>
> This communication - including any attachments - may contain legally privileged information, and is confidential to the addressee. If you are not the intended recipient you should delete the communication and contact the sender immediately. If you have received this e-mail in error, you must not read, copy, disseminate, distribute or otherwise use or disclose any part of this communication, or any information on matters or persons to which it refers. WITT reserves the right to monitor all e-mail communications sent through its network.
>
>
> _______________________________________________
> Ada_list mailing list
> Ada_list(a)list.waikato.ac.nz
> http://list.waikato.ac.nz/mailman/listinfo/ada_list
>
>
Adam Hyde
~/.lv
r a d i o q u a l i a
http://www.radioqualia.net
Free as in 'media'
contact:
email : adam(a)xs4all.nl
_______________________________________________
Ada_list mailing list
Ada_list(a)list.waikato.ac.nz
http://list.waikato.ac.nz/mailman/listinfo/ada_list
Hi,
To all those who have not yet expressed interest in SCANZ, the date for
registrations of interest has been extended to Monday 25th July, 4pm.
To register, please go to http://www.witt.ac.nz/Content/sub/100005460.aspx
And download the registration of interest form. Complete the form and send
it and a cv/bio/resume to scanz(a)witt.ac.nz
Cheers
Ian Clothier
SCANZ Project Team
This communication - including any attachments - may contain legally privileged information, and is confidential to the addressee. If you are not the intended recipient you should delete the communication and contact the sender immediately. If you have received this e-mail in error, you must not read, copy, disseminate, distribute or otherwise use or disclose any part of this communication, or any information on matters or persons to which it refers. WITT reserves the right to monitor all e-mail communications sent through its network.
From: Heather Galbraith <heather.galbraith(a)aut.ac.nz>
Subject: Exhibition openings 19 & 21 July at St. Paul St., AUT
You are Warmly invited to two exhibition openings at st. Paul St. next
week:
Fleur Palmer / Diffusion
Gallery 2
Opening 5.30-7.00 pm Tuesday 19 July 2005
exhibition continues until 29 July
Douglas Bagnall / film-making robot
Alex Montieth / Invisible Cities
Gallery 1
Opening 5.30-7.30 pm Thursday 21 July 2005
exhibition continues until 19 August
Two gallery-based installations of digital works exploring how we
visually navigate cities (both real and imagined).
Road movies are seductive largely because they invite us journey away
from our everyday existence. But what is revealed when we are asked
train our sights closer to home? How do we see and image the city and
suburban streets where we live and work? Douglas Bagnall has made a
Film-making Robot which charts the repeated, everyday routes of inner
city buses. The 'body' of Douglas Bagnall's film-making robot sits in
the gallery. The 'eyes' of the robot are cameras attached to the front
of Stagecoach buses who, when passing near wireless internet
communication nodes in the central city upload video footage taken
around the city. These are relayed to the 'body' and from there the
robot selects and edits excerpts according to specific programmed
visual criteria. In the gallery you can see both the edited films and
the process of the robot 'dreaming'; processing the video inputs,
regarding them and reaching decisions on their merit. At the beginning
of the project the footage will be predominantly of Wellington, with
more and more Auckland footage being added.
Douglas Bagnall is based in Wellington. For more information about this
and other projects go to http://halo.gen.nz. Film-making Robot was
first seen as part of Telecom Prospect 2004 / New Art New Zealand and
was presented by City Gallery Wellington in partnership with the New
Zealand Film Archive. The Auckland presentation of Film-making Robot is
supported by Stagecoach New Zealand and Reach Wireless.
Alex Monteith's Invisible Cities emerges from a conflation of two
'found' structural sources; Italo Cavino's book 'Invisible Cities' and
the Alta Vista internet search engine. Two projections in the space
make visible a perpetual search for images - one using the nouns in
Calvino's text , the other a list of objects and materials present in
the gallery space. Calvino's 'Invisible Cities' is an extraordinary
book written in the early 1970s where Marco Polo recounts tales of his
travels to fifty-five cities to an ageing world-weary Kublai Khan. The
accounts are evocative and fantastic and the reader is left to wonder
whether the cities actually represent different aspects of a single
city, different internal experiences of place, or something else
entirely.
Invisible Cities was first seen at The Physics Room in Christchurch and
as an on-line project at Window. The searching software for Alex
Montieth's work was authored by Sean Kerr. For more information please
go to
http://www.physicsroom.org.nz/space/2004/monteith/ or
http://www.window.auckland.ac.nz/archive/0410Invisible/default.php.
Alex Monteith is an experimental film-maker based in Auckland. Her
first feature length film Chapter and Verse has just premiered at
Telecom New Zealand Film Festivals in Auckland and Wellington.
Heather Galbraith
St. Paul St.
Gallery Director
School of Art & Design
Auckland University of Technology
Level 1, 34 St. Paul Street
Central Auckland
Telephone: 64 9 9219999 extn. 8313
Facsimile: 64 9 9219916
www.stpaulst.aut.ac.nz
Postal address:
School of Art and Design, AUT
Private Bag 92006
Auckland 1020
New Zealand/Aotearoa
Galleries open 10-5 Tues-Fri, 12-4 Saturday. Closed Sunday, Monday &
public holidays.
Current exhibition:
Gallery 2
Sugar/Sue Gallager + Try Hard/Elvon Young and Davor Popadich
Until 15 July
