An archival record of a first edition NYCTA Graphics Standards Manual designed
by Massimo Vignelli of Unimark International.
Brian Lucid is a designer, educator, and consultant whose personal and professional work spans from traditional communications in static and temporal media to computational design and physical interfaces. More...
A video essay from delve.tv
It was the change that no-one saw coming: the idea that we could take a book, a painting or a song and send it through cables and wires and even thin air to the other end of the world - and it would be identical on the other side. But this idea underpins everything about the Information Age we live in.
How did we make such a mind bending transition into the digital world? And how does it work? It turns out it’s all based on a concept that is surprisingly beautiful in its simplicity. This short video essay explores what that idea is and tells you about the man who figured it all out.
Computers are everywhere and control almost every aspect of our lives. In the next 6 minutes you’ll find out how they really work.
// DELVE DEEPER:
Curious? Read Andrew Lih’s quick explanation of Information Theory
Even more interested? Spend an hour learning Information Theory with this Cambridge Professor videolectures.net/mackay_course_01/
Super interested? Read “Information: a history, a theory, a flood” by James Glieck
A maths person? Read Shannon’s original 1948 paper which changed the world: magmamater.cl/MatheComm.pdf
// PREVIOUS VIDEO ESSAYS
The Long Game Part 1 - delve.tv/the-long-game-part-one/
The Long Game Part 2 - delve.tv/the-long-game-part-2/
Spanish translation by Ana Ribera Molinos
Want to translate this into your own language?
Here’s a transcript of this essay - message us with a .vtt file and we’ll create captioning in your language.
STOCK VIDEO: Beachfront B-roll / Dissolve.com / Mitch Martinez
ARCHIVE: Prelinger Archives, San Francisco / Charles and Ray Eames
IMAGES OF CLAUDE SHANNON: MIT Museum Boston / Nixdorf MuseumsForums, Paderborn
CROUPIER: John Ngo
PIANIST: Steph O’Dea
ANIMATION: Adam Westbrook
MUSIC: James Brett, Min-Y-LLan, Hugo ‘Droopy’ Contini
STORY DESIGN + DIRECTION: Adam Westbrook
PUBLISHED BY: delve.tv
This video essay is released under a Creative Commons Licence for Non-commercial Attribution: share, remix, remake - but please give credit!
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Due to N.O. Brown’s remark that syntax is the arrangement of the army, and Thoreau’s that when he heard a sentence he heard feet marching, I became devoted to nonsyntactical ‘demilitarized’ language.
The first aspect of the hidden computing curriculum to note is that ‘coding’ carries into the classroom a specific set of assumptions about ways of knowing and doing things. Writing code is not just a technical procedure but is related to systems of thought about the way the world works, and about how it might be modelled in order to further shape people’s interactions with it. As Rob Kitchin and Martin Dodge have argued in Code/Space, coding is a ‘disciplinary regime’ with established ‘ways of knowing and doing regarding coding practices.’ Writing code projects the ‘rules’ of computer science and its system of computational thinking into the world. It captures assumptions about how the world works and translates them into formalized models that can be computed through algorithmic procedures.
Christopher Alexander made a great diagram, a spectrum of privacy: street to sidewalk to porch to living room to bedroom. I think for many of us Twitter started as the porch—our space, our friends, with the occassional neighborhood passer-by. As the service grew and we gained follwers, we slid across the spectrum of privacy into the street.
The Visual Microphone: Passive Recovery of Sound from Video.