5154
Why the IBM PC’s Early Graphics Used Such Ugly Colors
"This was because of a quirk with the way composite screens display pixels—basically, the colors would mush together on the screen, making it possible for the screen to display up to 16 colors at once."
ErnieSmith  Vice  Motherboard  IBM  color  CGA  8088MPH 
8 days ago
Ejovi Nuwere
author of Hacker Cracker
EjoviNuwere  blog  Internet 
9 days ago
WIKIPEDIA: THE TEXT ADVENTURE
An interactive encyclopedia by Kevan Davis
Text and images CC-licenced live from en.wikipedia.org
KevanDavis  Wikipedia  CC  text  adventure  bitmap  game  inventory 
14 days ago
Kreative Korp
from Becca

"KreativeKorp (also known as Kreative Korporation, Kreative Software, Kreative Entertainment, and Kreative Media) is the home of computer software and the world of Mika City by Rebecca G. Bettencourt."
font  screensaver  Mika  RebeccaBettencourt 
18 days ago
Wikipedia - Brian Keane
composer of New York: A Documentary Film music
Wikipedia  BrianKeane  NYC  music  soundtrack 
26 days ago
Breatharian Leader Wiley Brooks Lives On Light, Air, And Quarter Pounders
"humans can live just fine by replacing food with sun and the passive inhalation of cosmic micro-dust"

"It’s just a take on what one does, eats—like vegetarian, fruitarian."

"Why do you advocate people only eat double quarter-pounder with cheese meals and drink diet Coke?
Because they’re the only things that are not radioactive."
Vice  McDonald's  radiation  WileyBrooks  Breatharian  interview  Superbrown  DietCoke 
4 weeks ago
Notepad++
PCRE (Perl Compatible Regular Expression) Search/Replace
freeware  Notepad  text  editor 
5 weeks ago
John Gardner's writings, "Personal Renewal" delivered to McKinsey & Company, Phoenix, AZ November 10, 1990
"Logan Pearsall Smith said that boredom can rise to the level of a mystical experience, and if that's true I know some very busy middle level executives who are among the great mystics of all time."
JohnGardner  PBS  boredom  work 
7 weeks ago
Wikipedia - I Ching
"The assignment of numbers, binary or decimal, to specific hexagrams is a modern invention."
Wikipedia  China  book  divination 
7 weeks ago
Farming robots get to grips with weeding at Harper Adams
"They call it "Hands Free Hectare" and in the office we call it "Robocrop"."

off-the-shelf tech
farming  robot  BBC  agriculture  weed  HarperAdamsUniversity 
7 weeks ago
‘A feature, not a bug’: George Church ascribes his visionary ideas to narcolepsy
"The world needs people with high-functioning autism and obsessive-compulsive disorder and attention deficit disorder and, yes, narcolepsy, he has come to believe."
GeorgeChurch  narcolepsy 
10 weeks ago
The Mysterious Printer Code That Could Have Led the FBI to Reality Winner
"When someone prints in color on one of these machines, the printer does everything normally, but also adds this nearly invisible identifying stamp. (If they print in black and white, though, there are no dots.)"
printer  FBI  TheAtlantic  color  timestamp  AlexisMadrigal  RealityWinner  NSA 
10 weeks ago
Wikipedia - LexisNexis
fascinating

"On April 2, 1973, LEXIS launched publicly, offering full-text search in all Ohio and New York cases. In 1980, LEXIS completed its hand-keyed electronic archive of all U.S. federal and state cases."
Wikipedia  LexisNexis  Mead  law  search  information 
10 weeks ago
1982 Burgertime DRM was hard core.
"I'm beginning to suspect that this disk is nothing more than an infinite series of decryption routines with a game bolted on as an afterthought."
DRM  crack  Burgertime  1982  AppleII  game 
11 weeks ago
The Man Behind the Punishing Barkley Marathons
"They’ve been eating breakfast here, every morning, at this very table, since the dawn of fucking time. They can remember all the various phases of branding and décor Hardee’s has cycled through over the decades; they can recount what year the restaurant got new booths, new light fixtures, new flooring."

“In France, I’m a star,” he tells me. “In America, I’m thought of more as a homeless person.”

“You don’t have to eat to run,” he tells me. “That’s an old wives tale. We were designed for feast and famine. Most people of who have lived have been hungry most of the time. There’s either plenty or there’s nothing.”
Hardees  Tennessee  marathon 
11 weeks ago
Wikipedia - Agnes Martin
"soft edges, muted colors and distinctly horizontal bands"
Wikipedia  artist  AgnesMartin  NYC  Taos  NewMexico 
12 weeks ago
Nordic Names
"Welcome to the comprehensive site on given names in Sweden, Denmark, Norway, Finland, Iceland, Greenland and the Faroe Islands!"
name  Sweden  Denmark  Norway  Finland  Iceland  Greenland  FaroeIslands 
12 weeks ago
Too Many Secrets: Decrypting SNEAKERS
"Sneakers is the creation of Phil Alden Robinson, Lawrence Lasker, and Walter F. Parkes, who sought to make a movie they would want to see. It took 10 years to write, ultimately becoming an excuse for these guys to hang out."

making me want to watch this and Three Days of the Condor again
movie  Sneakers  PriscillaPage  RobertRedford  PhilAldenRobinson  LawrenceLasker  WalterParkes  Superbrown 
may 2017
my friend pokey - Output Lag
"What’s happening during a Half-Life style “playable cutscene”? The game’s stopped, but it’s still going - the semblance of goals and consequence have been taken away, but the controls still respond the way they always do. In my experience it requires a kind of deliberate effort to pull back and play “in character”, or even just leave the controller or the mouse alone, as opposed to absently bunnyhopping around or grinding the camera viewport against the face of whoever’s talking in the vague hope that this will speed up the narrative somehow. There’s a kind of goofy Wile-E-Coyote-running-off-the-cliff aspect to it, where it just takes a while for the penny to drop. But it’s also a little eerie in the same way: the Brownian motion of the target reticule twitching back and forth under the impact of drives too vague and shortlived to articulate, that kind of frantic, static watchfulness, drops and smears of useless energy action-painting themselves through a controller, onto the screen. I don’t know that this is play, it seems to have very little to do with choice, but it’s familiar from other times I’ve played videogames, or even used a computer, it feels less like a kind of accidental parody of than the natural terrain for all of those activities, as if the foundational experience of playing a videogame is this kind of feedback loop of alienated consciousness - consciousness with a tape delay, recognising itself a second or a millisecond too late, correcting, revising, circling, re-expressing, trying to correct this alien record, creating in the process a perverse catalogue of elision and mistake. Like Twitch Plays Pokemon on a more individuated level. The feedback loop here is one of estrangement and recognition, both omnipresent as sensations but slipping away as soon as they appear within reach, each one turning seamlessly into the other.
Obviously a sensation most specifically present in a small group of reflex-driven action games can’t be extrapolated to the whole format but part of what interests me about it is the feeling that it CAN be extrapolated to computers, to the general state of being on or using a computer, that same dissociated intensity. And of course many of the same ingredients are there: the continual movement towards greater sensitivity of input, less time on an act than on the modification of an act (like the back and forth of typing and checking the autocomplete response to your typing to get the quickest search), the movement towards interfaces that can be “read” as quickly and instinctively as possible to cut down on user-side response lag, that strange sense that results of being outside time, as if what you’re watching is less a linear, sequential flow of inputs and outputs than a blurred, circular admixture of them both. And if it’s familiar from computer usage then it’s necessarily familiar from other computer games too, even the most sedate, if not overtly present then as a certain recurring baseline of intensity which the rest of the experience is implicitly structured around. Videogames remain too close to other forms of computer use to be unaffected by the proximity - it affects not only their production and distribution but also the network of associations about technology, certain forms of input or visual representation or spatial organisation, which we draw upon when playing through the things. And if I’m insistent about connecting this feeling to even the smallest Klik N Play games it’s partly because I think it helps us with a way of thinking about those games in particular that a more orthodox game criticism would seem to lack.
Kero Blaster & The Charged Field
Kero Blaster is a Metroid style game about a frog who jumps around and shoots bugs. The frog has a boss who is a cat that seems to get more frantically depressed between each mission, for reasons which remain mysterious throughout. The scenes with the boss are very brief and make up a small proportion of the game - five or six “cutscenes” of under 30 seconds each, that play when you’re about to start a new level - but tonally they’re a mixture of goofy and plangent enough to stick slightly in the mind, assisted from the break they give from the experience of the levels. These two narratives - frog metroid and depressive cat - are technically connected by the appearance of a kind of plump black insect that appears in each, first as a background feature and eventual enemy / overarching threat in the frog levels, secondly as the boss’s “pet”, which lives in a tank above a file cabinet and seems to grow larger as the boss gets more unhappy. But the problem here is that, as much as the presence of this pet hints at a single overarching master narrative around both types of segment, it remains difficult to construct that narrative in a way which doesn’t diminish or evade our experience of one or the other of the consituent parts. To say the game is about the ominous black bugs that you fight throughout is to take the strangely affecting scenes of cat depression and reframe them through the debateably less relateable lens of being possessed by a malevolent fantasy insect. To say the game is about the unhappiness of the boss character is to draw attention away from the fact that you spend most of the game jumping around and shooting stuff. So while all the pieces are there they remain difficult to join up - as gnomic and short as the game is there’s still something like an excess of meaning that consistently threatens to break out from the framing narratives that we construct. This evasiveness extends to the ending of the game, where the defeat of the bug-possessed boss cat simultaneously completes the frog’s quest and also signifies the catharsis which allows the boss cat to move from neurotic misery back to regular unhappiness - our uncertainty about the priority of the two frames means we view this less as specific resolution to either one than as a kind of magical synchronicity uniting both, where the solution to one problem resolves a totally different one in the manner of those fairy tales where giving a ring to a fish causes the evil baron to fall down a well. The dream here is one of some radical contingency which could cut across the discrete realms.. but a glimpsed dream it remains, one which the game shows no interest of developing into a broader or more stable thesis about the other two parts: after the credits we’re back at the title screen, with the frog once more staring gnomically at the ringing phone that sends it on the missions. Restart Game Y/N.

This is the kind of structure I tend to think of as “the charged field” - where rather than grouping materials by their relevance to some central theme or with reference to some existing set of relationships a work seems to rely on the associations of unity within the concept of an artistic work itself to hold the various components together, as if dropping a picture frame around three random images was enough to, if not relate them all together in a new way, at least prompt the sort of interpretation and attention that notionally could. But what interests me is not the merit of this form or of Kero Blaster specifically so much as the unobtrusiveness of their overlap: the sense that both we and the game remain froggily comfortable in these murky waters, among such diffuse and unclear structural relationships. There’s obviously a link between this tacit acceptance and the fact that such interpretation is outside the strict remit of the “mechanics”, or those set of readings and adjustments necessary to progress through the game, but it’s this very distractedness that the narrative relies on, plays off of - if it’s animated by anything it’s the constant background churn of micro-recognitions, comparisons, correspondances, surgings and leachings of attention and of intent that are thrown up continuously by the barely-registered activity involved in using a computer or a phone, and it’s this churn that allows the narrative level (or condemns it) to operate in odd liminal spaces, shorn of unity or the capability for same, art for a peripheral form of consciousness.
For what it’s worth I’d like to avoid from the start the kind of moralism that sees this formal reliance on distractedness as either a good or bad thing in itself, that would immediately reconfigure it as either some grumpy dad pastiche of postmodernity or as utopian anti-hierarchial space, since I think part of the interest of these videogames for us is the way that, carrying associations from both sides, they must find ways of situating themselves variously between, with or against both at different times, when not trying to escape the bind through new configurations entirely. (I’m tempted to argue that the weird persistence of pastoral imagery in videogames is a side-effect of this process, as a kind of rhetorical counterweight to newness and disorientation). And in general I’d like to suggest that what’s interesting about new cultural forms has more to do with what they complicate or undercut than what they can more straightforwardly enact - desires or fears which remained unarticulated or secondary now pushed into the light, old distinctions suddenly confused, systems of value less reflected in our art then refracted in them, revealing hidden contours. The ability of videogames to unproblematically depict “choice” in effect dooms efforts to thematise “choice” to empty tautology (“Ah, I see… I made a choice…” “Ah, I see… choices have consequences, sometimes, once they remain within the technical and ideological remit of the game systems…”) while supposedly more minor corrollary questions (say, the impact of input and game systems on strategies of visual representation) grow dense, rich and tangled with the effort of reconciling what’s peculiar about the new format with what we know about the old ones.
Questions I Can’t Answer
So all this being said I would like to pick … [more]
Tumblr  game  time 
may 2017
Wikipedia - Claude Debussy
"Debussy's music is noted for its sensory content and frequent usage of nontraditional tonalities. The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant."
ClaudeDebussy  music  Wikipedia 
may 2017
Wikipedia - Paladin Press
How to Prepare for Bad Times on a Budget
Wikipedia  book  publisher 
may 2017
An F.B.I. Director Is Terminated, and a Front Page Is Too
"...the front page of Wednesday’s New York Times began its diurnal life as it always does: as a simple hand-drawn pencil sketch, made on lime green paper."

“But then I glanced over to Renee Murawski’s machine” — Ms. Murawski is the content editor for print — “and she showed me the actual letter from the president, which I hadn’t seen yet.”

“Al always used a green pen when he was marking up copy, so that people would recognize the source of his edits,” Mr. Bodkin explained. “I’m guessing that’s where the green pad came about — it was his signature color.”

“I kind of know what this stuff is going to look like,” he said. “I don’t need to see the page in any higher fidelity in order to visualize it. I just need to work out the relative position of elements and scale — and that’s much faster with a pencil.”
NYTimes  FBI  JamesComey  pencil  green  paper  Trump  signature  laptop 
may 2017
Visible Cloaks: Synthesis and Systems
"An excerpt of Yoshio Ojima’s sound design for the interior of the Spiral Building (1988)"
VisibleCloaks  Ableton  synthesizer  interview  music  SpencerDoran  RyanCarlile  MIDI  Youtube 
may 2017
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