http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&feed=atom&action=history
Heliograph - Revision history
2024-03-28T20:28:24Z
Revision history for this page on the wiki
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http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=12636&oldid=prev
Finnb: Undo revision 12595 by Egugecuge (Talk)
2010-11-24T14:24:22Z
<p>Undo revision 12595 by <a href="/deadmedia/index.php/Special:Contributions/Egugecuge" title="Special:Contributions/Egugecuge">Egugecuge</a> (<a href="/deadmedia/index.php?title=User_talk:Egugecuge&action=edit&redlink=1" class="new" title="User talk:Egugecuge (page does not exist)">Talk</a>)</p>
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Finnb
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=12595&oldid=prev
Egugecuge at 08:33, 24 November 2010
2010-11-24T08:33:27Z
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Egugecuge
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=7954&oldid=prev
Alex at 03:55, 8 April 2010
2010-04-08T03:55:28Z
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Alex
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=7863&oldid=prev
Alex at 03:46, 8 April 2010
2010-04-08T03:46:24Z
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Alex
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=7771&oldid=prev
Alex at 20:01, 7 April 2010
2010-04-07T20:01:00Z
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Alex
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=7704&oldid=prev
Rooney.meg: /* Works Cited */
2010-03-29T17:53:48Z
<p><span dir="auto"><span class="autocomment">Works Cited</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:53, 29 March 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>“As Told by Heliograph”, The Land of Sunshine, a Magazine of California and the Southwest, Los Angeles, October, 1896: 213. Print.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>“As Told by Heliograph”, The Land of Sunshine, a Magazine of California and the Southwest, Los Angeles, October, 1896: 213. Print.  </div></td></tr>
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<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Crary, Jonathan. Techniques of the Oberver: On Vision and Modernity in the Nineteenth Century. Cambridge, Massachusetts: MIT Press, 1990. Print.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Crary, Jonathan. <ins class="diffchange diffchange-inline">''</ins>Techniques of the Oberver: On Vision and Modernity in the Nineteenth Century.<ins class="diffchange diffchange-inline">'' </ins>Cambridge, Massachusetts: MIT Press, 1990. Print.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Foucault, Michel. Discipline and Punish. New York: Vintage Books, 1995. Print.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Foucault, Michel. <ins class="diffchange diffchange-inline">''</ins>Discipline and Punish.<ins class="diffchange diffchange-inline">'' </ins>New York: Vintage Books, 1995. Print.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Gitelman, Lisa. Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era. Stanford, California: Standford University Press, 1999. Print.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Gitelman, Lisa. <ins class="diffchange diffchange-inline">''</ins>Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era.<ins class="diffchange diffchange-inline">'' </ins>Stanford, California: Standford University Press, 1999. Print.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>“Journal of the Society for the Arts.” Volume XXIII. November 20, 1871 – November 12, 1875: London, York-Street.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>“Journal of the Society for the Arts.” Volume XXIII. November 20, 1871 – November 12, 1875: London, York-Street.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Meyer, Albert J. <del class="diffchange diffchange-inline">“Manuel </del>of Signals for the Use of Signal Officers in the Field for Military School, Etc.<del class="diffchange diffchange-inline">” </del>Washington: Government Printing Office 1879. Print.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Meyer, Albert J. <ins class="diffchange diffchange-inline">''Manuel </ins>of Signals for the Use of Signal Officers in the Field for Military School, Etc.<ins class="diffchange diffchange-inline">'' </ins>Washington: Government Printing Office 1879. Print.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>“Science: A Weekly Record of Scientific Progress.” Volume 1. New York. July to December, 1880: Print.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>“Science: A Weekly Record of Scientific Progress.” Volume 1. New York. July to December, 1880: Print.</div></td></tr>
</table>
Rooney.meg
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=7703&oldid=prev
Rooney.meg: /* Gone in a Flash: The Ephemerality of the Heliographic Message */
2010-03-29T17:45:19Z
<p><span dir="auto"><span class="autocomment">Gone in a Flash: The Ephemerality of the Heliographic Message</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:45, 29 March 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Gone in a Flash: The Ephemerality of the Heliographic Message==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Gone in a Flash: The Ephemerality of the Heliographic Message==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The Heliographic flash, produced by manipulating sunlight reflecting off a small mirror creates an ephemeral visual experience. While Morse Code was a prevalent encryption system, rendering it an obvious choice, the visual pattern of short flashes seems to have been arbitrary, and in fact some advocated for the change to a constant beam interrupted by short instances of darkness instead, based on the increased visibility of the steady flash this is more logical but rarely adopted but do the necessity of standardization (<del class="diffchange diffchange-inline">Myer</del>, 251). Unlike physical writing, once the flash occurs it almost as quickly disappears, archived only in the observer.  Sharing the vulnerabilities of misinterpretation  occurring in written text, the same ephemeral quality of 'the flash as disappearing text' that protects it from enemy hands also creates conditions of unreliability and un-verifiability, a mistaken reading lurking in a momentary blink or sneeze of the observer. Conversely, Purkyně's exploration of 'after images' bring into question the potential visual durability of the flash image as well as the objective nature of the senses. “The reception of an [optical] impression is no longer the decisive factor but, instead, imagination and memory “become active themselves in the sense organs. . .senses then become 'mediators'” (Crary, 200).</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The Heliographic flash, produced by manipulating sunlight reflecting off a small mirror creates an ephemeral visual experience. While Morse Code was a prevalent encryption system, rendering it an obvious choice, the visual pattern of short flashes seems to have been arbitrary, and in fact some advocated for the change to a constant beam interrupted by short instances of darkness instead, based on the increased visibility of the steady flash this is more logical but rarely adopted but do the necessity of standardization (<ins class="diffchange diffchange-inline">Meyer</ins>, 251). Unlike physical writing, once the flash occurs it almost as quickly disappears, archived only in the observer.  Sharing the vulnerabilities of misinterpretation  occurring in written text, the same ephemeral quality of 'the flash as disappearing text' that protects it from enemy hands also creates conditions of unreliability and un-verifiability, a mistaken reading lurking in a momentary blink or sneeze of the observer. Conversely, Purkyně's exploration of 'after images' bring into question the potential visual durability of the flash image as well as the objective nature of the senses. “The reception of an [optical] impression is no longer the decisive factor but, instead, imagination and memory “become active themselves in the sense organs. . .senses then become 'mediators'” (Crary, 200).</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Heliographic Contortions: Limitation and Distortion==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Heliographic Contortions: Limitation and Distortion==</div></td></tr>
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Rooney.meg
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=7701&oldid=prev
Rooney.meg: /* Works Cited */
2010-03-29T17:39:39Z
<p><span dir="auto"><span class="autocomment">Works Cited</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:39, 29 March 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L43" >Line 43:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Works Cited==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Works Cited==</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">“As Told by Heliograph”, The Land of Sunshine, a Magazine of California and the Southwest, Los Angeles, October, 1896: 213. Print. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Crary, Jonathan. Techniques of the Oberver: On Vision and Modernity in the Nineteenth Century. Cambridge, Massachusetts: MIT Press, 1990. Print.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Foucault, Michel. Discipline and Punish. New York: Vintage Books, 1995. Print. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Gitelman, Lisa. Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era. Stanford, California: Standford University Press, 1999. Print.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">“Journal of the Society for the Arts.” Volume XXIII. November 20, 1871 – November 12, 1875: London, York-Street. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Meyer, Albert J. “Manuel of Signals for the Use of Signal Officers in the Field for Military School, Etc.” Washington: Government Printing Office 1879. Print. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">“Science: A Weekly Record of Scientific Progress.” Volume 1. New York. July to December, 1880: Print.</ins></div></td></tr>
</table>
Rooney.meg
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=7678&oldid=prev
Rooney.meg: /* Surveying the Heliographic Multi-demential System */
2010-03-29T17:18:33Z
<p><span dir="auto"><span class="autocomment">Surveying the Heliographic Multi-demential System</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:18, 29 March 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Surveying the Heliographic Multi-demential System==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Surveying the Heliographic Multi-demential System==</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">[[Image:836135_7276_625x1000.jpg|thumb|left|]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Although the Heliographic apparatus appears as a tool separate from and controlled by the operator, an exploration of the multi-dimensional system involved in the Heliographic transfer of information reveals a more complex web of relations, causation and control.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Although the Heliographic apparatus appears as a tool separate from and controlled by the operator, an exploration of the multi-dimensional system involved in the Heliographic transfer of information reveals a more complex web of relations, causation and control.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Johannes Müller's identification of the body as a “multifarious factory-like enterprise” (Crary. 88) signifies the breakdown of the organic/inorganic distinction between man and machine. Crary led us to ask “how is the body, including the observing body, becoming a component of new machines, economies, apparatuses, whether social, libidinal, or technological?” (2). The body in operation of the Heliograph can indeed be seen as engaged in this convergence, wherein the body is demanded, by the apparatus, to perform regulated mechanized movement. The US War Department Manuel (1910) stresses the need for “perfect adjustment” achieved by “constant attendance” of the operator as well as the importance of the cultivation of “mechanical movement of the mirror”(Visual Signaling, 378). In Foucauldian terms,“the soldier has become something that can be made; an inapt body, the machine required can be constructed; making [the body] pliable, ready at all times, turning silently into the automatism of habit” (Foucault, 135). This mechanization of the body complicates classification of automation, in a sense the body is striving toward becoming automatic itself, although in actuality, the automatic nature of the Heliograph is isolated to the stabilizing and reflecting automation of the physical structure.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Johannes Müller's identification of the body as a “multifarious factory-like enterprise” (Crary. 88) signifies the breakdown of the organic/inorganic distinction between man and machine. Crary led us to ask “how is the body, including the observing body, becoming a component of new machines, economies, apparatuses, whether social, libidinal, or technological?” (2). The body in operation of the Heliograph can indeed be seen as engaged in this convergence, wherein the body is demanded, by the apparatus, to perform regulated mechanized movement. The US War Department Manuel (1910) stresses the need for “perfect adjustment” achieved by “constant attendance” of the operator as well as the importance of the cultivation of “mechanical movement of the mirror”(Visual Signaling, 378). In Foucauldian terms,“the soldier has become something that can be made; an inapt body, the machine required can be constructed; making [the body] pliable, ready at all times, turning silently into the automatism of habit” (Foucault, 135). This mechanization of the body complicates classification of automation, in a sense the body is striving toward becoming automatic itself, although in actuality, the automatic nature of the Heliograph is isolated to the stabilizing and reflecting automation of the physical structure.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The body can be seen not only as subject to the apparatus itself but also to the larger system of Heliographic transfer in terms of spatial location. The establishment of two or more Heliographic stations in communication with each other, acts to create a spatial grid, literally charting territory and imposing meaning upon the spatiotemporal bodies present. Not only does the Heliograph project its message, it also relays it's spatial relation within the system. Communication occurs in the context of the spatiotemporal coordinates, implicitly commenting on relational locality of the systemic components, that is, the operational and observational bodies in relation to each other, the sun, topography and the apparatuses. The Heliotrope, a device very similar to the Heliograph, is use for land surveillance (Meyers, 256) demonstrating the close connection between heliotropic communication and the mechanized position of the body in time and space. In the remediation of the Heliographic communication into electric telegraghy, the communicative function was passed on but the locational function began to fade, an erasure culminating in the digital age of email and the virtual collapse of the spatiality of communication.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The body can be seen not only as subject to the apparatus itself but also to the larger system of Heliographic transfer in terms of spatial location. The establishment of two or more Heliographic stations in communication with each other, acts to create a spatial grid, literally charting territory and imposing meaning upon the spatiotemporal bodies present. Not only does the Heliograph project its message, it also relays it's spatial relation within the system. Communication occurs in the context of the spatiotemporal coordinates, implicitly commenting on relational locality of the systemic components, that is, the operational and observational bodies in relation to each other, the sun, topography and the apparatuses. The Heliotrope, a device very similar to the Heliograph, is use for land surveillance (Meyers, 256) demonstrating the close connection between heliotropic communication and the mechanized position of the body in time and space. In the remediation of the Heliographic communication into electric telegraghy, the communicative function was passed on but the locational function began to fade, an erasure culminating in the digital age of email and the virtual collapse of the spatiality of communication.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Works Cited==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Works Cited==</div></td></tr>
</table>
Rooney.meg
http://www.cultureandcommunication.org/deadmedia/index.php?title=Heliograph&diff=7670&oldid=prev
Rooney.meg: /* Heliographic Contortions: Limitation and Distortion */
2010-03-29T17:14:56Z
<p><span dir="auto"><span class="autocomment">Heliographic Contortions: Limitation and Distortion</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:14, 29 March 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Heliographic Contortions: Limitation and Distortion==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Heliographic Contortions: Limitation and Distortion==</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">In the analysis of the Heliograph as a medium for the transfer of information, the question of distortion is an important critical perspective. Most obviously the intended distortion lies in the codified message, though morse code is not secret, it is nevertheless a distortion through translation, limiting the message to alphanumerical representation. In contrast to the claims of precision and ease, Heliographic transfer affords various possibilities for distortion and confusion. The imperfect replication of the sun's light when reflected off the mirror, is then distorted into a flash, the intensity and direction of which is dependent upon a fallible operator who is vulnerable to human error and visual fatigue. Furthermore, in the reception of the signal, the observer creates limits based on visual ability, even a perfectly projected flash could be confused by inattention and distorted by observational eye as a lens through which information is refracted. </del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Morse1.jpg|thumb|right|]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Morse1.jpg|thumb|right|]]</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">In the analysis of the Heliograph as a medium for the transfer of information, the question of distortion is an important critical perspective. Most obviously the intended distortion lies in the codified message, though morse code is not secret, it is nevertheless a distortion through translation, limiting the message to alphanumerical representation. In contrast to the claims of precision and ease, Heliographic transfer affords various possibilities for distortion and confusion. The imperfect replication of the sun's light when reflected off the mirror, is then distorted into a flash, the intensity and direction of which is dependent upon a fallible operator who is vulnerable to human error and visual fatigue. Furthermore, in the reception of the signal, the observer creates limits based on visual ability, even a perfectly projected flash could be confused by inattention and distorted by observational eye as a lens through which information is refracted. </ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The distortional risks inherent in the perceptual experience relate to the Heliographic image in terms of the objective/subjective divide. The first view, typical of the 18th century and earlier allows the Heliographic message to stand as the objective, distorted by conditions of transmission and reception but still  accessible through the lens of reason. Distortion, here, is a possibility rather than a necessity, “It was crucial that the distorting power of a medium, whether a lens, air, or liquid be neutralized, and this could be done if the properties of that medium were mastered intellectually and thus rendered effectively transparent though the exercise of reason” (Crary,  64).   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The distortional risks inherent in the perceptual experience relate to the Heliographic image in terms of the objective/subjective divide. The first view, typical of the 18th century and earlier allows the Heliographic message to stand as the objective, distorted by conditions of transmission and reception but still  accessible through the lens of reason. Distortion, here, is a possibility rather than a necessity, “It was crucial that the distorting power of a medium, whether a lens, air, or liquid be neutralized, and this could be done if the properties of that medium were mastered intellectually and thus rendered effectively transparent though the exercise of reason” (Crary,  64).   </div></td></tr>
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Rooney.meg