http://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&feed=atom&action=historyOptical Disc (First Generation) - Revision history2024-03-28T08:23:41ZRevision history for this page on the wikiMediaWiki 1.25.2http://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=12678&oldid=prevFinnb: Undo revision 12549 by Egugecuge (Talk)2010-11-24T14:44:24Z<p>Undo revision 12549 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>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=12678&oldid=12549">Show changes</a>Finnbhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=12549&oldid=prevEgugecuge at 05:30, 24 November 20102010-11-24T05:30:16Z<p></p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=12549&oldid=11304">Show changes</a>Egugecugehttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=11304&oldid=prevJRLariv: /* Discretization */2010-10-27T17:57:10Z<p><span dir="auto"><span class="autocomment">Discretization</span></span></p>
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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>[[File:Cd-surface.jpg|400px|thumb|right|The materialization of discretization]]</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>[[File:Cd-surface.jpg|400px|thumb|right|The materialization of discretization]]</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>The laserdisc stands on the threshold of the analog/digital divide—it uses analog video stored in a composite domain, but also has the capacity to store digital audio; while at its most fundamental level, sharing the same form of inscription—pits and lands—as a purely digital medium like the music CD. This sense of the hybrid nature of the laserdisc, its bridging of two distinct types of inscription, is <del class="diffchange diffchange-inline">capture </del>by Bernard Stiegler’s formulation, “analogico-digital” (Stiegler 2002). Stiegler, though he doesn’t speak to the videodisc format directly, could very well be describing the discrete writing of video (=visual) images in the analogical grove of a laserdisc when he writes, “In fact, the analogico-digital image is the beginning of a ''systematic discretization of movement''—that is to say, of a vast process of the ''grammaticalization of the visible''” (Stiegler 2002, 148-49; emphasis in original). For Stiegler, the analogico-digital image “''implies'' the generalization of this discretization in the domain of animated images” (149). Indeed, it is with the advant of the laserdisc that animated images would henceforth be made discrete. It is this inherently discrete nature of the laserdisc that lends it its unique (at the time) properties, such as multiple audio tracks and the ability to encode a single film frame. Some confusion comes in, however, when assessing the capacities of the format (confusion that, no doubt, had deleterious effects on the general public’s enthusiasm for LD), for there were two distinct (discrete) formats within the laserdisc format itself: Peter Becker mentioned one above when describing what attracted the founders of the Criterion Collection to the laserdisc as a format. Here, William Costanzo provides a useful description of this differentiation:</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 laserdisc stands on the threshold of the analog/digital divide—it uses analog video stored in a composite domain, but also has the capacity to store digital audio; while at its most fundamental level, sharing the same form of inscription—pits and lands—as a purely digital medium like the music CD. This sense of the hybrid nature of the laserdisc, its bridging of two distinct types of inscription, is <ins class="diffchange diffchange-inline">captured </ins>by Bernard Stiegler’s formulation, “analogico-digital” (Stiegler 2002). Stiegler, though he doesn’t speak to the videodisc format directly, could very well be describing the discrete writing of video (=visual) images in the analogical grove of a laserdisc when he writes, “In fact, the analogico-digital image is the beginning of a ''systematic discretization of movement''—that is to say, of a vast process of the ''grammaticalization of the visible''” (Stiegler 2002, 148-49; emphasis in original). For Stiegler, the analogico-digital image “''implies'' the generalization of this discretization in the domain of animated images” (149). Indeed, it is with the advant of the laserdisc that animated images would henceforth be made discrete. It is this inherently discrete nature of the laserdisc that lends it its unique (at the time) properties, such as multiple audio tracks and the ability to encode a single film frame. Some confusion comes in, however, when assessing the capacities of the format (confusion that, no doubt, had deleterious effects on the general public’s enthusiasm for LD), for there were two distinct (discrete) formats within the laserdisc format itself: Peter Becker mentioned one above when describing what attracted the founders of the Criterion Collection to the laserdisc as a format. Here, William Costanzo provides a useful description of this differentiation:</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><blockquote>The difference is between two formats: CAV and CLV. In the Constant Angular Velocity (CAV) format, there is one frame for every spiral track on the disc, and each frame begins along a common radius. This allows the light to hover beneath any frame as the disc revolves, producing a still picture of high quality. In the Constant Linear Velocity (CLV) format, frames are staggered along the spiral from the center outward. Since the innermost tracks are shorter than the outer tracks, the CLV disc is made to revolve more rapidly as the laser beam follows the widening spiral. In this way, a constant length of track (the equivalent of thirty frames) passes through the light beam every second. More frames can be packed into a CLV disc, but at a cost. CLV doesn’t have the freeze-frame and slow-motion capabilities of CAV. Nor does it permit the same kind of instant access. With CAV, you can skip to any frame; with CLV, your search is limited to predetermined intervals. Your choice of format, then, should match your purpose. If you plan to show a movie straight through, you will not mind CLV, since twice as much will fit on one disc. If you want to analyze scenes out of sequence or fix an image on the screen, you will want the interactive, frame-by-frame control of CAV. (1995, 80)</blockquote></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><blockquote>The difference is between two formats: CAV and CLV. In the Constant Angular Velocity (CAV) format, there is one frame for every spiral track on the disc, and each frame begins along a common radius. This allows the light to hover beneath any frame as the disc revolves, producing a still picture of high quality. In the Constant Linear Velocity (CLV) format, frames are staggered along the spiral from the center outward. Since the innermost tracks are shorter than the outer tracks, the CLV disc is made to revolve more rapidly as the laser beam follows the widening spiral. In this way, a constant length of track (the equivalent of thirty frames) passes through the light beam every second. More frames can be packed into a CLV disc, but at a cost. CLV doesn’t have the freeze-frame and slow-motion capabilities of CAV. Nor does it permit the same kind of instant access. With CAV, you can skip to any frame; with CLV, your search is limited to predetermined intervals. Your choice of format, then, should match your purpose. If you plan to show a movie straight through, you will not mind CLV, since twice as much will fit on one disc. If you want to analyze scenes out of sequence or fix an image on the screen, you will want the interactive, frame-by-frame control of CAV. (1995, 80)</blockquote></div></td></tr>
</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=11302&oldid=prevJRLariv: /* The Inauspicious Rise and Precipitous Fall */2010-10-27T17:56:53Z<p><span dir="auto"><span class="autocomment">The Inauspicious Rise and Precipitous Fall</span></span></p>
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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>[[File:Leonard Nimoy.jpg|250px|thumb|right|Leonard Nimoy demonstrating the new videodisc player. The fact that Spock is required to utilize this machine emphasized its high-tech nature. "Computers make excellent and efficient servants, but I have no wish to serve under them." --Spock, in "The Ultimate Computer"]]</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>[[File:Leonard Nimoy.jpg|250px|thumb|right|Leonard Nimoy demonstrating the new videodisc player. The fact that Spock is required to utilize this machine emphasized its high-tech nature. "Computers make excellent and efficient servants, but I have no wish to serve under them." --Spock, in "The Ultimate Computer"]]</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>The patent for what would eventually be known as the “LaserDisc”—as Pioneer, the majority stake owner in the format, marketed it; or simply “laserdisc” to refer to the format in general—was filed on April 3, 1967 by David Paul Gregg, who dubbed his invention the “transparent recording disc”: “The invention is particularly concerned with an improved disc-type record for optical recordings, and with a turntable assembly which is particularly adapted to drive such a record. The record is a transparent plastic and the recordings are formed in spiral grooves as opaque coatings” (Gregg 1969).Gregg goes on to describe how his invention is able to transmit video signals: “The video signals are recoded in a spiral track on the record disc . . . by means of a modulated electromagnetic beam, such as an electron beam or laser ray, and this track is sensed by the transducer head during the reproduction operation” (Gregg <del class="diffchange diffchange-inline">and Johnson </del>1969). One year later, Gregg improved on his design with a patent for an improved “pick-up head,” which “responds to the modulated light beam” in the optical disc “to produce electrical video signals corresponding thereto” (Gregg and Johnson 1970). This new pick-up would “maintain the head in registry with the recoding track on the medium [the disc], as the medium is moved between the head and light source,” thus allowing for smooth and reliable video playback (Gregg 1970). Thus, the first optical disc capable of audio and video playback was born and commercially available to the public in 1978.</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 patent for what would eventually be known as the “LaserDisc”—as Pioneer, the majority stake owner in the format, marketed it; or simply “laserdisc” to refer to the format in general—was filed on April 3, 1967 by David Paul Gregg, who dubbed his invention the “transparent recording disc”: “The invention is particularly concerned with an improved disc-type record for optical recordings, and with a turntable assembly which is particularly adapted to drive such a record. The record is a transparent plastic and the recordings are formed in spiral grooves as opaque coatings” (Gregg 1969).Gregg goes on to describe how his invention is able to transmit video signals: “The video signals are recoded in a spiral track on the record disc . . . by means of a modulated electromagnetic beam, such as an electron beam or laser ray, and this track is sensed by the transducer head during the reproduction operation” (Gregg 1969). One year later, Gregg improved on his design with a patent for an improved “pick-up head,” which “responds to the modulated light beam” in the optical disc “to produce electrical video signals corresponding thereto” (Gregg and Johnson 1970). This new pick-up would “maintain the head in registry with the recoding track on the medium [the disc], as the medium is moved between the head and light source,” thus allowing for smooth and reliable video playback (Gregg <ins class="diffchange diffchange-inline">and Johnson </ins>1970). Thus, the first optical disc capable of audio and video playback was born and commercially available to the public in 1978.</div></td></tr>
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</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=11034&oldid=prevJoshua: /* Laser Disk */2010-10-21T01:54:22Z<p><span dir="auto"><span class="autocomment">Laser Disk</span></span></p>
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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="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 class="diffchange diffchange-inline">Laser Disk</del>==</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">LaserDisc</ins>==</div></td></tr>
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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>Beller, Jonathan. 2006. ''The Cinematic Mode of Production: The Attention Economy and the Society of the Spectacle''. Hanover, NH: Dartmouth College Press.</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>Beller, Jonathan. 2006. ''The Cinematic Mode of Production: The Attention Economy and the Society of the Spectacle''. Hanover, NH: Dartmouth College Press.</div></td></tr>
</table>Joshuahttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=11031&oldid=prevJoshua: /* MiniDisc */2010-10-21T01:21:25Z<p><span dir="auto"><span class="autocomment">MiniDisc</span></span></p>
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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>Maes, Jan. 1996. ''The MiniDisc''. Oxford, UK: Focal Press.</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>Maes, Jan. 1996. ''The MiniDisc''. Oxford, UK: Focal Press.</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>Marriott, Michel. 2001. With a Little Help From Its Friends. ''New York Times.'' October 25.</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>Marriott, Michel. 2001. With a Little Help From Its Friends. ''New York Times.'' October 25<ins class="diffchange diffchange-inline">. http://www.nytimes.com/2001/10/25/technology/with-a-little-help-from-its-friends.html (accessed October 17, 2010)</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="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>Peterson, Iver. 2005. Portable Recorders Leap Forward in Convenience and Sound. ''New York Times.'' March 24.</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>Peterson, Iver. 2005. Portable Recorders Leap Forward in Convenience and Sound. ''New York Times.'' March 24<ins class="diffchange diffchange-inline">. http://www.nytimes.com/2005/03/24/technology/circuits/24reco.html (accessed October 17, 2010)</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>Pride, Dominic. 1999. MiniDisc Revival Brews Abroad. (Cover story). ''Billboard'' 111, no. 30 (July 24, 1999): 1. Academic Search Premier, EBSCOhost (accessed October 17, 2010).</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>Pride, Dominic. 1999. MiniDisc Revival Brews Abroad. (Cover story). ''Billboard'' 111, no. 30 (July 24, 1999): 1. Academic Search Premier, EBSCOhost (accessed October 17, 2010).</div></td></tr>
</table>Joshuahttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=11030&oldid=prevJoshua: /* Toward a Rewritable History */2010-10-21T01:17:03Z<p><span dir="auto"><span class="autocomment">Toward a Rewritable History</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 01:17, 21 October 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L162" >Line 162:</td>
<td colspan="2" class="diff-lineno">Line 162:</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>[[File:Be-kind-rewind.jpg|250px|thumb|right|Why fly on VHS when laserdisc is so much more aerodynamic?]]</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>[[File:Be-kind-rewind.jpg|250px|thumb|right|Why fly on VHS when laserdisc is so much more aerodynamic?]]</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>In conclusion, the various iterations of optical discs engender various impulses toward the material or immaterial. With respect to the function of production and consumption, we see in  the VCD a means of pure consumption, a highly-disposable object which merely serves as a material means to a mediated end, an end of the consumption of cultural experiences that have been marked as inaccessible by the political milieu. In contrast, the MiniDisc presented the potentiality for <del class="diffchange diffchange-inline">"pure" </del>production, a form of inexhaustible inscription which empowered the user as a creative agent. In tension with these two polarities established by these two previous media, the laserdisc presents a liminal case, a problematizing of production and consumption as distinct spheres of engagement.</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>In conclusion, the various iterations of optical discs engender various impulses toward the material or immaterial. With respect to the function of production and consumption, we see in  the VCD a means of pure consumption, a highly-disposable object which merely serves as a material means to a mediated end, an end of the consumption of cultural experiences that have been marked as inaccessible by the political milieu. In contrast, the MiniDisc presented the potentiality for <ins class="diffchange diffchange-inline">“pure” </ins>production, a form of inexhaustible inscription which empowered the user as a creative agent. In tension with these two polarities established by these two previous media, the laserdisc presents a liminal case, a problematizing of production and consumption as distinct spheres of engagement.</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>Joshuahttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=11029&oldid=prevJoshua: /* Fade Out */2010-10-21T01:15:40Z<p><span dir="auto"><span class="autocomment">Fade Out</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 01:15, 21 October 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L152" >Line 152:</td>
<td colspan="2" class="diff-lineno">Line 152:</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><blockquote>In the end, all of that stuff is irrelevant, anyway. Increasingly, the music will be detached and separated from the media itself. The standards will be set in the form of file formats, etc. There will be no standard as far as what you store those files on. MP3 players and Minidisc (and CD-R, for that matter) address different needs. . . . I see Minidisc as the format with the broadest appeal for the average music listener who demands portability and simplicity. And increasingly, even in the lagging US market, that’s proving to be true. (Worrell, 2000)</blockquote></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><blockquote>In the end, all of that stuff is irrelevant, anyway. Increasingly, the music will be detached and separated from the media itself. The standards will be set in the form of file formats, etc. There will be no standard as far as what you store those files on. MP3 players and Minidisc (and CD-R, for that matter) address different needs. . . . I see Minidisc as the format with the broadest appeal for the average music listener who demands portability and simplicity. And increasingly, even in the lagging US market, that’s proving to be true. (Worrell, 2000)</blockquote></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><del class="diffchange diffchange-inline">What's </del>interesting about Worrell’s anecdote is that, as a consumer, he’s clearly aware of shifts taking place in the digital media landscape. His miscalculation—that people will eventually realize MiniDisc’s merit and embrace the technology en masse—is the result of an overemphasis on the perceived need for a more material format, when in fact, embedded in the technology itself are the very abstractions that conceptually help people take another step away from source material. What the MiniDisc did it did well, and for a very specific demographic.</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">What’s </ins>interesting about Worrell’s anecdote is that, as a consumer, he’s clearly aware of shifts taking place in the digital media landscape. His miscalculation—that people will eventually realize MiniDisc’s merit and embrace the technology en masse—is the result of an overemphasis on the perceived need for a more material format, when in fact, embedded in the technology itself are the very abstractions that conceptually help people take another step away from source material. What the MiniDisc did it did well, and for a very specific demographic.</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>[[Category:Dossier]]</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>[[Category:Dossier]]</div></td></tr>
</table>Joshuahttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=11028&oldid=prevJoshua: /* Fade Out */2010-10-21T01:15:28Z<p><span dir="auto"><span class="autocomment">Fade Out</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 01:15, 21 October 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L148" >Line 148:</td>
<td colspan="2" class="diff-lineno">Line 148:</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>==Fade Out==</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>==Fade Out==</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>In 1999, Minidisc.org, the de facto community portal for all things related to the format, held an essay contest inviting readers to submit their thoughts on <del class="diffchange diffchange-inline">MD's </del>future. Here is a passage from the winning essay:</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>In 1999, Minidisc.org, the de facto community portal for all things related to the format, held an essay contest inviting readers to submit their thoughts on <ins class="diffchange diffchange-inline">MD’s </ins>future. Here is a passage from the winning essay:</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><blockquote>In the end, all of that stuff is irrelevant, anyway. Increasingly, the music will be detached and separated from the media itself. The standards will be set in the form of file formats, etc. There will be no standard as far as what you store those files on. MP3 players and Minidisc (and CD-R, for that matter) address different needs. . . . I see Minidisc as the format with the broadest appeal for the average music listener who demands portability and simplicity. And increasingly, even in the lagging US market, <del class="diffchange diffchange-inline">that's </del>proving to be true. (Worrell, 2000)</blockquote></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><blockquote>In the end, all of that stuff is irrelevant, anyway. Increasingly, the music will be detached and separated from the media itself. The standards will be set in the form of file formats, etc. There will be no standard as far as what you store those files on. MP3 players and Minidisc (and CD-R, for that matter) address different needs. . . . I see Minidisc as the format with the broadest appeal for the average music listener who demands portability and simplicity. And increasingly, even in the lagging US market, <ins class="diffchange diffchange-inline">that’s </ins>proving to be true. (Worrell, 2000)</blockquote></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>What's interesting about <del class="diffchange diffchange-inline">Worrell's </del>anecdote is that, as a consumer, <del class="diffchange diffchange-inline">he's </del>clearly aware of shifts taking place in the digital media landscape. His miscalculation—that people will eventually realize <del class="diffchange diffchange-inline">MiniDisc's </del>merit and embrace the technology en masse—is the result of an overemphasis on the perceived need for a more material format, when in fact, embedded in the technology itself are the very abstractions that conceptually help people take another step away from source material. What the MiniDisc did it did well, and for a very specific demographic.</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>What's interesting about <ins class="diffchange diffchange-inline">Worrell’s </ins>anecdote is that, as a consumer, <ins class="diffchange diffchange-inline">he’s </ins>clearly aware of shifts taking place in the digital media landscape. His miscalculation—that people will eventually realize <ins class="diffchange diffchange-inline">MiniDisc’s </ins>merit and embrace the technology en masse—is the result of an overemphasis on the perceived need for a more material format, when in fact, embedded in the technology itself are the very abstractions that conceptually help people take another step away from source material. What the MiniDisc did it did well, and for a very specific demographic.</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>[[Category:Dossier]]</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>[[Category:Dossier]]</div></td></tr>
</table>Joshuahttp://www.cultureandcommunication.org/deadmedia/index.php?title=Optical_Disc_(First_Generation)&diff=11027&oldid=prevJoshua: /* Geographies of Consumption */2010-10-21T01:14:17Z<p><span dir="auto"><span class="autocomment">Geographies of Consumption</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 01:14, 21 October 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L144" >Line 144:</td>
<td colspan="2" class="diff-lineno">Line 144:</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>Meanwhile, in the US and Europe, the medium appealed only to certain types of people. These were typically affluent, tech-savvy, or young individuals who had been to Japan or who were seeking specific functionality that the MiniDisc provided. This includes the aforementioned sound collectors, seeking an alternative to the bulky DAT recorder. One needed only to pair an MD recorder with a decent stereo microphone to produce high quality field recordings of anything from birdsong to war zones. Another group of early adopters was skiers and snowboarders. ATRAC compression freed up extra space for a buffer to exist between any jostling the player might experience and the audio heard by a listener, making the format much preferable to CD on the slopes.</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>Meanwhile, in the US and Europe, the medium appealed only to certain types of people. These were typically affluent, tech-savvy, or young individuals who had been to Japan or who were seeking specific functionality that the MiniDisc provided. This includes the aforementioned sound collectors, seeking an alternative to the bulky DAT recorder. One needed only to pair an MD recorder with a decent stereo microphone to produce high quality field recordings of anything from birdsong to war zones. Another group of early adopters was skiers and snowboarders. ATRAC compression freed up extra space for a buffer to exist between any jostling the player might experience and the audio heard by a listener, making the format much preferable to CD on the slopes.</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>Perhaps most untenable for the latent portable digital audio market was <del class="diffchange diffchange-inline">MiniDisc's </del>strongest link to its predecessors: linearity. As with mix tapes, the creation of a MiniDisc compilation was not a drag-and-drop proposition. Each recording required patient attendance to the medium of sound. It would seem that, for this reason, MD retains a certain romance for those most affected by analog to digital conversion.</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>Perhaps most untenable for the latent portable digital audio market was <ins class="diffchange diffchange-inline">MiniDisc’s </ins>strongest link to its predecessors: linearity. As with mix tapes, the creation of a MiniDisc compilation was not a drag-and-drop proposition. Each recording required patient attendance to the medium of sound. It would seem that, for this reason, MD retains a certain romance for those most affected by analog to digital conversion.</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>==Fade Out==</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>==Fade Out==</div></td></tr>
</table>Joshua