http://cultureandcommunication.org/deadmedia/api.php?action=feedcontributions&user=Matt&feedformat=atomDead Media Archive - User contributions [en]2024-03-28T16:50:05ZUser contributionsMediaWiki 1.25.2http://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2524Glass Harmonica2007-11-14T19:22:49Z<p>Matt: /* History */</p>
<hr />
<div>[[Image:Glass Harmonica 2.jpg|thumb|left|]]<br />
<br />
==History==<br />
The Glass Harmonica, originally named the Armonica was invented by Benjamin Franklin in 1761 after hearing a concert of 50 tuned water glasses during a trip to Europe. Deeply touched and inspired Ben Franklin did away with water tuning, broke off the stems, connected the glasses together, put them on a rotating spit with foot pedals and the Armonica was born. By making the glasses tuned, rather than relying on water, the glass could be put sideways and connected to be able to play faster rhythms and melodies as well as sustain notes. Franklin modernized the musical glasses and turned them not only into an elegant and playable instrument but real instrument as well (Hadlock). Playing water glasses, a fancy parlor trick, became a serious musical instrument and the first instrument invented by an American (Finkenbeiner). <br />
<br />
The Glass Harmonica was never produced on a large scale but between the late 18th and the early 19th century 400 works were written for it by composers, including Beethoven and Mozart (Pollack). The instrument experienced it's largest fame as Marie Antoinette learned to play and it was featured in the Opera Lucia de Lammermoor fueling Lucia's dramatic descend into madness.<br />
<br />
But the musical glasses predate Ben Franklin and were listed as musical instruments as early 1300 a.d. in the Wen Hsien Tung K'ao, a Chinese dictionary of musical instruments but dates even earlier than this and existed all over the world (King). The musical glasses were valued at having occult magical properties and experiments with different liquids (brandy, water, wine, salt water, and oil) inside the glasses were performed to discover different desired effects. "The diverse sounds produced by the contrasting content of the glasses were thought not only to correspond to the emotions aroused by the four "humours" of the human body." As later proven by Ben Franklin, it was not the contents of the glass bowls that held the emotional effects of the glass music but the glass themselves that contained the power of pitch and vibration (King). <br />
<br />
[[Image:Glass Harmonica 6.jpg|thumb|right|]]<br />
<br />
<br />
The Glass Harmonica was made famous by the ethereal and "angelic" voice of the instrument, but the sound produced by the instrument is no less than evasive and shaking. As Thomas Bloch notes in his introduction to "Glass Harmonica" an album complilation including his own original and modern work, the Armonica was accused of causing, "nervous problems, domestic squabbles, premature, deliveries, fatal disorders, and animal convulsions." The glass music is described as having both shocking and lulling qualities, but the best description I found for the Glass Harmonica is from the children's book titled, "Ben Franklin and his Glass Armonica." "Many people became afraid of the armonica. Some thought it had magical powers. Some said it revived people who had fainted. Others claimed it made people faint. One man said the armonica made his dog chase its tail" (Stevens).<br />
<br />
==Structure of Harmonica==<br />
One full octive (48 notes, two octaves above and below middle C) of finely tuned glass cups were turned on their side and fit within each other almost to the point of touching. They were all mounted on a driveshaft controlled by a motor powered by the users foot and were seperated and secured to the driveshaft by corks inserted into the bottom of the bowls. Sometimes a moisturizer was used spraying the cups lightly at the bottom of the instrument to keep them constantly moisturized. However, most of the time, the moisture came from the players fingertips. This became an improvement on the traditional musical glass arrangement because, "The instrument could be played much more like a piano; chords and faster musical passages would be easier to achieve, since one would not awkwardly have to coordinate turning one's finger around the rim of each glass." (Finkenbeiner 139) <br />
<br />
===Glass===<br />
[[Image:Glass Harmonica 5.jpg|thumb|right|A Glass Harmonica being played]]<br />
<br />
Creating porperly tuned glass bowls was extremely difficult. Each bowl was hand blown making every set different from the others. In fact, only one bowl out of every 100 blown was the proper size and tune. Thus, the completion of an entire four-octave Glass Harmonica was a strenuous and inconsistant task. The glass used also is believed to be one of the reasons for its downfall and disapperance into obscurity. There was a high amount of lead in the glass and many years later it was theorized that people went mad when they played it. The lead would, "Leach through the fingertips into the bloodstream.. causing nerve damage." (Finkenbeiner 140)<br />
<br />
<br />
===Foot Pedals and Framing===<br />
The housing for the bowls themselves greatly resembled a piano or a table. The bowls were strung through a bar that rested inside a box container with four legs portruding from it. A foot pedal was located on the bottom (much like a piano) that powered the motor that spun the bowls. The player had to sit in front of the instrument with their arms out the entire time. The construction did not take into consideration easy portability or storage. <br />
<br />
===Player===<br />
The player had to sit in front of the instrument the entire time. Their hands were heald out over the bowls as one would hold their hands over piano keys. If no moisturizer was built into the instrument the player would have to keep their hands wet the entire time in order to create any sound from the bowls. Sometimes players would coat their hands in chalk but most of the time they used water or oil. The amount and consistancy of the liquid used changed the sound of the tone. In 1884 "Table Talk" published a quote about men and the Glass Harmonica: "Men are like musical glasses - to produce their finest tones, you must keep them wet.<br />
<br />
[[Image:Glass Harmonica 1.jpg|thumb|right|]]<br />
<br />
==Music==<br />
===Composers===<br />
Inspired by a performer playing musical glasses, Franklin invented the glass armonica. He was not, however, alone in being inspired; various composers created music based on the unique sound produced by this instrument. Some of the most notable music composers of the glass armonica are Wolfgang Amadeus Mozart and Ludwig van Beethoven. Though the instrument of the glass armonica is a digital media, with a set number of octaves and 48 notes, to put it into practice is an analog technique. The composer or player of a glass armonica can arrange and rearrange the 48 notes to produce a different melody each time. <br />
<br />
'''Mozart's Adagio''' [[:Media:adagio.mp3]]; '''Mozart's Rondo''' [[:Media:rondo.mp3]]<br />
<br />
'''Now it's your turn to''' [[play the armonica!]]<br />
<br />
===Other Uses===<br />
<br />
As the popularity of the glass armonica increased, professionals and technicians began to utilize its unique sound to produce a variety of effects. Soon, the glass armonica developed a reputation of having calming, even healing, qualities.<br />
<br />
'''Mesmer and His Practice'''<br />
One of the most interesting and creative uses of the glass armonica was by "Dr. Franz Anton Mesmer, who employed hypnosis to treat a variety of ills, used the ethereal sound to induce deeper trances in his patients" (Fox). Though the glass armonica did not have a direct impact on any of his treatments, Mesmer had learned that his discovery of animal magnetism was propagated by music (Pattie) as it would "induce deeper states of hypnosis in his patients" (Finkenbeiner 140). <br />
<br />
Mesmer's practice began in Vienna, but he was discredited upon the treatment of Maria Theresa von Paradis, a well known pianist who was also blind (Pattie 67). Though she had tried various methods to cure her of her blindness, everything failed aside from Mesmer's animal magnetism. She regained a minimal amount of vision, but nonetheless fell into a bout of depression because she could not readjust herself to the sensory aspects of sight. Her musical talent suffered as well. Upon this failure, Mesmer then moved to Paris, where he experimented on aristocrats, surgeons, and his own right-hand man, Dr. Charles d'Elson (Pattie 103). These treatments were all conducted in a private manner, with minimal lighting and the only noise intrusion being the sound of the glass armonica. And while his discoveries were never really legitimized, they were nonetheless investigated by the Faculty of Medicines, despite the fact Franklin himself did not believe in animal magnetism. <br />
<br />
The word "mesmerize" is a direct derivation from Mesmer's practice. As Mesmer himself began to lose credit, "perhaps this use of the instrument was enough to give it a bad reputation, encouraging people to fear it and think it evil" (Finkenbeiner 140).<br />
<br />
'''Healing Qualities'''<br />
While Franklin may not have entirely bought the concept of animal magnetism, he did believe that the glass armonica some special healing quality. In 1772, Franklin went to Prince Adam Czartoryski, heir to the throne of Poland, about his wife who had been suffering of melancholia (Lipowski). She recounts Franklin's visit, saying:<br />
<br />
"I was ill, in a state of melancholia, and writing my testament and farewell letters. Wishing to distract me, my husband explained to me who Franklin was and to what he owed his fame… Franklin had a noble face with an expression of engaging kindness. Surprised by my immobility, he took my hands and gazed at me saying: pauvre jeune femme ["poor young lady']. He then opened an armonica, sat down and played long. The music made a strong impression on me and tears began flowing from my eyes. Then Franklin sat by my side and looking with compassion said, "Madam, you are cured." Indeed in that moment I was cured of my melancholia. Franklin offered to teach me how to play the armonica - I accepted without hesitation, hence he gave me twelve lessons" (Lipowski 362).<br />
<br />
'''Phantasmagoria'''<br />
The glass armonica was a one-way communication media. Those who made use of it often had a goal of evoking some sort of emotion in their audience. While its use in medical practices was to induce a tranquility in patients, a man by the name of Étienne-Gaspard Robertson wanted to capitalize on its more harmonic qualities.<br />
<br />
Robertson's favorite instrument was the glass armonica. He believed that "it contributed powerfully to the effects of the fantasmagoria, in preparing not only the minds but the very senses for strange impressions by a melody so sweet that it sometimes gave great irritation to the nervous system" (Heard). Thus, he used its haunting melodies in conjunction with the magic lantern to put "thought to sleep; all the ideas seem to concentrate on one and the same object and one and the same impression" (Heard). <br />
<br />
While those like Robertson and Mesmer basked in the glass armonica's hypnotic qualities, it was less than half a century when it began to disappear because of public fear of its power. It was "believed that it caused insanity, nervous disorders, convulsions in dogs and cats, marital disputes, and even that it woke people from the dead" (Finkenbeiner 140) and "rumors spread that the music itself could cause mental illness. The author of a 1788 manual on the armonica advised that some people avoid playing the instrument, 'in order that their state of mind not be aggravated'" (Fox). In fact, it was only a matter of time before "people so feared to touch it that a keyboard form of the instrument was devised: by striking a key, a spring would activate a wooden hammer covered with wet leater, which would reach out and make contact with the glass rim, producing a note in the same manner as direct contact with the natural finger would have" (Finkenbeiner 140). The variety of symptoms has led to speculation that the lead in the paint and glass resulted in lead poisoning, it has never been proven (Fox). Therefore, while minute details (such as the paint along the glass rims) may seem to serve no purpose, it is unclear whether or not they in fact hold a greater purpose in the story of the glass armonica.<br />
<br />
==Modern Harmonica==<br />
===Finkenbeiner's Patent===<br />
<br />
==Works Cited==<br />
<br />
Mozart Adagio and Rondo (KV 617) audio clips taken from Culture Mediation International <http://rauscher-kultur.at/seiten/kv617-mozarts-last-chamber-music.htm><br />
<br />
*[[Finkenbeiner, Gerhard, and Vera Meyer]], "The Glass Harmonica: A Return from Obscurity." Leonardo, Vol. 20, No. 2, Special Issue: Visual Art, Sound, Music and Technology (1987): 139-142. JStor. NYU. 8 Nov. 2007.<br />
<br />
*[[Fox, Catherine C.]], "Second Time Around." Smithsonian 01 Feb. 2007. 10 Nov. 2007 <http://www.smithsonianmag.com/arts-culture/10023801.html>.<br />
<br />
*[[Heard, Mervyn]], ''Phantasmagoria: The Secret Life of the Magic Lantern'', (Hastings: The Projection Box, 2006). ISBN 1903000122 <br />
<br />
*[[Pattie, Frank A.]], ''Mesmer and Animal Magnetism: A Chapter in the History of Medicine'', (Hamilton, NY : Edmonston Publishing, Inc, 1994). <br />
<br />
*[[Lipowski, Z.J.]], "Benjamin Franklin as a Psychotherapist: a Forerunner of Brief Psychotherapy." Perspectives in Biology and Medicine 27 (1984): 361-366.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2521Glass Harmonica2007-11-14T19:21:29Z<p>Matt: /* Player */</p>
<hr />
<div>[[Image:Glass Harmonica 2.jpg|thumb|left|]]<br />
<br />
==History==<br />
The Glass Harmonica, originally named the Armonica was invented by Benjamin Franklin in 1761 after hearing a concert of 50 tuned water glasses during a trip to Europe. Deeply touched and inspired Ben Franklin did away with water tuning, broke off the stems, connected the glasses together, put them on a rotating spit with foot pedals and the Armonica was born. By making the glasses tuned, rather than relying on water, the glass could be put sideways and connected to be able to play faster rhythms and melodies as well as sustain notes. Franklin modernized the musical glasses and turned them not only into an elegant and playable instrument but real instrument as well (Hadlock). Playing water glasses, a fancy parlor trick, became a serious musical instrument and the first instrument invented by an American (Finkenbeiner). <br />
<br />
The Glass Harmonica was never produced on a large scale but between the late 18th and the early 19th century 400 works were written for it by composers, including Beethoven and Mozart (Pollack). The instrument experienced it's largest fame as Marie Antoinette learned to play and it was featured in the Opera Lucia de Lammermoor fueling Lucia's dramatic descend into madness.<br />
<br />
But the musical glasses predate Ben Franklin and were listed as musical instruments as early 1300 a.d. in the Wen Hsien Tung K'ao, a Chinese dictionary of musical instruments but dates even earlier than this and existed all over the world (King). The musical glasses were valued at having occult magical properties and experiments with different liquids (brandy, water, wine, salt water, and oil) inside the glasses were performed to discover different desired effects. "The diverse sounds produced by the contrasting content of the glasses were thought not only to correspond to the emotions aroused by the four "humours" of the human body." As later proven by Ben Franklin, it was not the contents of the glass bowls that held the emotional effects of the glass music but the glass themselves that contained the power of pitch and vibration (King). <br />
<br />
The Glass Harmonica was made famous by the ethereal and "angelic" voice of the instrument, but the sound produced by the instrument is no less than evasive and shaking. As Thomas Bloch notes in his introduction to "Glass Harmonica" an album complilation including his own original and modern work, the Armonica was accused of causing, "nervous problems, domestic squabbles, premature, deliveries, fatal disorders, and animal convulsions." The glass music is described as having both shocking and lulling qualities, but the best description I found for the Glass Harmonica is from the children's book titled, "Ben Franklin and his Glass Armonica." "Many people became afraid of the armonica. Some thought it had magical powers. Some said it revived people who had fainted. Others claimed it made people faint. One man said the armonica made his dog chase its tail" (Stevens).<br />
<br />
==Structure of Harmonica==<br />
One full octive (48 notes, two octaves above and below middle C) of finely tuned glass cups were turned on their side and fit within each other almost to the point of touching. They were all mounted on a driveshaft controlled by a motor powered by the users foot and were seperated and secured to the driveshaft by corks inserted into the bottom of the bowls. Sometimes a moisturizer was used spraying the cups lightly at the bottom of the instrument to keep them constantly moisturized. However, most of the time, the moisture came from the players fingertips. This became an improvement on the traditional musical glass arrangement because, "The instrument could be played much more like a piano; chords and faster musical passages would be easier to achieve, since one would not awkwardly have to coordinate turning one's finger around the rim of each glass." (Finkenbeiner 139) <br />
<br />
===Glass===<br />
[[Image:Glass Harmonica 5.jpg|thumb|right|A Glass Harmonica being played]]<br />
<br />
Creating porperly tuned glass bowls was extremely difficult. Each bowl was hand blown making every set different from the others. In fact, only one bowl out of every 100 blown was the proper size and tune. Thus, the completion of an entire four-octave Glass Harmonica was a strenuous and inconsistant task. The glass used also is believed to be one of the reasons for its downfall and disapperance into obscurity. There was a high amount of lead in the glass and many years later it was theorized that people went mad when they played it. The lead would, "Leach through the fingertips into the bloodstream.. causing nerve damage." (Finkenbeiner 140)<br />
<br />
<br />
===Foot Pedals and Framing===<br />
The housing for the bowls themselves greatly resembled a piano or a table. The bowls were strung through a bar that rested inside a box container with four legs portruding from it. A foot pedal was located on the bottom (much like a piano) that powered the motor that spun the bowls. The player had to sit in front of the instrument with their arms out the entire time. The construction did not take into consideration easy portability or storage. <br />
<br />
===Player===<br />
The player had to sit in front of the instrument the entire time. Their hands were heald out over the bowls as one would hold their hands over piano keys. If no moisturizer was built into the instrument the player would have to keep their hands wet the entire time in order to create any sound from the bowls. Sometimes players would coat their hands in chalk but most of the time they used water or oil. The amount and consistancy of the liquid used changed the sound of the tone. In 1884 "Table Talk" published a quote about men and the Glass Harmonica: "Men are like musical glasses - to produce their finest tones, you must keep them wet.<br />
<br />
[[Image:Glass Harmonica 1.jpg|thumb|right|]]<br />
<br />
==Music==<br />
===Composers===<br />
Inspired by a performer playing musical glasses, Franklin invented the glass armonica. He was not, however, alone in being inspired; various composers created music based on the unique sound produced by this instrument. Some of the most notable music composers of the glass armonica are Wolfgang Amadeus Mozart and Ludwig van Beethoven. Though the instrument of the glass armonica is a digital media, with a set number of octaves and 48 notes, to put it into practice is an analog technique. The composer or player of a glass armonica can arrange and rearrange the 48 notes to produce a different melody each time. <br />
<br />
'''Mozart's Adagio''' [[:Media:adagio.mp3]]; '''Mozart's Rondo''' [[:Media:rondo.mp3]]<br />
<br />
'''Now it's your turn to''' [[play the armonica!]]<br />
<br />
===Other Uses===<br />
<br />
As the popularity of the glass armonica increased, professionals and technicians began to utilize its unique sound to produce a variety of effects. Soon, the glass armonica developed a reputation of having calming, even healing, qualities.<br />
<br />
'''Mesmer and His Practice'''<br />
One of the most interesting and creative uses of the glass armonica was by "Dr. Franz Anton Mesmer, who employed hypnosis to treat a variety of ills, used the ethereal sound to induce deeper trances in his patients" (Fox). Though the glass armonica did not have a direct impact on any of his treatments, Mesmer had learned that his discovery of animal magnetism was propagated by music (Pattie) as it would "induce deeper states of hypnosis in his patients" (Finkenbeiner 140). <br />
<br />
Mesmer's practice began in Vienna, but he was discredited upon the treatment of Maria Theresa von Paradis, a well known pianist who was also blind (Pattie 67). Though she had tried various methods to cure her of her blindness, everything failed aside from Mesmer's animal magnetism. She regained a minimal amount of vision, but nonetheless fell into a bout of depression because she could not readjust herself to the sensory aspects of sight. Her musical talent suffered as well. Upon this failure, Mesmer then moved to Paris, where he experimented on aristocrats, surgeons, and his own right-hand man, Dr. Charles d'Elson (Pattie 103). These treatments were all conducted in a private manner, with minimal lighting and the only noise intrusion being the sound of the glass armonica. And while his discoveries were never really legitimized, they were nonetheless investigated by the Faculty of Medicines, despite the fact Franklin himself did not believe in animal magnetism. <br />
<br />
The word "mesmerize" is a direct derivation from Mesmer's practice. As Mesmer himself began to lose credit, "perhaps this use of the instrument was enough to give it a bad reputation, encouraging people to fear it and think it evil" (Finkenbeiner 140).<br />
<br />
'''Healing Qualities'''<br />
While Franklin may not have entirely bought the concept of animal magnetism, he did believe that the glass armonica some special healing quality. In 1772, Franklin went to Prince Adam Czartoryski, heir to the throne of Poland, about his wife who had been suffering of melancholia (Lipowski). She recounts Franklin's visit, saying:<br />
<br />
"I was ill, in a state of melancholia, and writing my testament and farewell letters. Wishing to distract me, my husband explained to me who Franklin was and to what he owed his fame… Franklin had a noble face with an expression of engaging kindness. Surprised by my immobility, he took my hands and gazed at me saying: pauvre jeune femme ["poor young lady']. He then opened an armonica, sat down and played long. The music made a strong impression on me and tears began flowing from my eyes. Then Franklin sat by my side and looking with compassion said, "Madam, you are cured." Indeed in that moment I was cured of my melancholia. Franklin offered to teach me how to play the armonica - I accepted without hesitation, hence he gave me twelve lessons" (Lipowski 362).<br />
<br />
'''Phantasmagoria'''<br />
The glass armonica was a one-way communication media. Those who made use of it often had a goal of evoking some sort of emotion in their audience. While its use in medical practices was to induce a tranquility in patients, a man by the name of Étienne-Gaspard Robertson wanted to capitalize on its more harmonic qualities.<br />
<br />
Robertson's favorite instrument was the glass armonica. He believed that "it contributed powerfully to the effects of the fantasmagoria, in preparing not only the minds but the very senses for strange impressions by a melody so sweet that it sometimes gave great irritation to the nervous system" (Heard). Thus, he used its haunting melodies in conjunction with the magic lantern to put "thought to sleep; all the ideas seem to concentrate on one and the same object and one and the same impression" (Heard). <br />
<br />
While those like Robertson and Mesmer basked in the glass armonica's hypnotic qualities, it was less than half a century when it began to disappear because of public fear of its power. It was "believed that it caused insanity, nervous disorders, convulsions in dogs and cats, marital disputes, and even that it woke people from the dead" (Finkenbeiner 140) and "rumors spread that the music itself could cause mental illness. The author of a 1788 manual on the armonica advised that some people avoid playing the instrument, 'in order that their state of mind not be aggravated'" (Fox). In fact, it was only a matter of time before "people so feared to touch it that a keyboard form of the instrument was devised: by striking a key, a spring would activate a wooden hammer covered with wet leater, which would reach out and make contact with the glass rim, producing a note in the same manner as direct contact with the natural finger would have" (Finkenbeiner 140). The variety of symptoms has led to speculation that the lead in the paint and glass resulted in lead poisoning, it has never been proven (Fox). Therefore, while minute details (such as the paint along the glass rims) may seem to serve no purpose, it is unclear whether or not they in fact hold a greater purpose in the story of the glass armonica.<br />
<br />
==Modern Harmonica==<br />
===Finkenbeiner's Patent===<br />
<br />
==Works Cited==<br />
<br />
Mozart Adagio and Rondo (KV 617) audio clips taken from Culture Mediation International <http://rauscher-kultur.at/seiten/kv617-mozarts-last-chamber-music.htm><br />
<br />
*[[Finkenbeiner, Gerhard, and Vera Meyer]], "The Glass Harmonica: A Return from Obscurity." Leonardo, Vol. 20, No. 2, Special Issue: Visual Art, Sound, Music and Technology (1987): 139-142. JStor. NYU. 8 Nov. 2007.<br />
<br />
*[[Fox, Catherine C.]], "Second Time Around." Smithsonian 01 Feb. 2007. 10 Nov. 2007 <http://www.smithsonianmag.com/arts-culture/10023801.html>.<br />
<br />
*[[Heard, Mervyn]], ''Phantasmagoria: The Secret Life of the Magic Lantern'', (Hastings: The Projection Box, 2006). ISBN 1903000122 <br />
<br />
*[[Pattie, Frank A.]], ''Mesmer and Animal Magnetism: A Chapter in the History of Medicine'', (Hamilton, NY : Edmonston Publishing, Inc, 1994). <br />
<br />
*[[Lipowski, Z.J.]], "Benjamin Franklin as a Psychotherapist: a Forerunner of Brief Psychotherapy." Perspectives in Biology and Medicine 27 (1984): 361-366.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2519Glass Harmonica2007-11-14T19:20:04Z<p>Matt: /* Structure of Harmonica */</p>
<hr />
<div>[[Image:Glass Harmonica 2.jpg|thumb|left|]]<br />
<br />
==History==<br />
The Glass Harmonica, originally named the Armonica was invented by Benjamin Franklin in 1761 after hearing a concert of 50 tuned water glasses during a trip to Europe. Deeply touched and inspired Ben Franklin did away with water tuning, broke off the stems, connected the glasses together, put them on a rotating spit with foot pedals and the Armonica was born. By making the glasses tuned, rather than relying on water, the glass could be put sideways and connected to be able to play faster rhythms and melodies as well as sustain notes. Franklin modernized the musical glasses and turned them not only into an elegant and playable instrument but real instrument as well (Hadlock). Playing water glasses, a fancy parlor trick, became a serious musical instrument and the first instrument invented by an American (Finkenbeiner). <br />
<br />
The Glass Harmonica was never produced on a large scale but between the late 18th and the early 19th century 400 works were written for it by composers, including Beethoven and Mozart (Pollack). The instrument experienced it's largest fame as Marie Antoinette learned to play and it was featured in the Opera Lucia de Lammermoor fueling Lucia's dramatic descend into madness.<br />
<br />
But the musical glasses predate Ben Franklin and were listed as musical instruments as early 1300 a.d. in the Wen Hsien Tung K'ao, a Chinese dictionary of musical instruments but dates even earlier than this and existed all over the world (King). The musical glasses were valued at having occult magical properties and experiments with different liquids (brandy, water, wine, salt water, and oil) inside the glasses were performed to discover different desired effects. "The diverse sounds produced by the contrasting content of the glasses were thought not only to correspond to the emotions aroused by the four "humours" of the human body." As later proven by Ben Franklin, it was not the contents of the glass bowls that held the emotional effects of the glass music but the glass themselves that contained the power of pitch and vibration (King). <br />
<br />
The Glass Harmonica was made famous by the ethereal and "angelic" voice of the instrument, but the sound produced by the instrument is no less than evasive and shaking. As Thomas Bloch notes in his introduction to "Glass Harmonica" an album complilation including his own original and modern work, the Armonica was accused of causing, "nervous problems, domestic squabbles, premature, deliveries, fatal disorders, and animal convulsions." The glass music is described as having both shocking and lulling qualities, but the best description I found for the Glass Harmonica is from the children's book titled, "Ben Franklin and his Glass Armonica." "Many people became afraid of the armonica. Some thought it had magical powers. Some said it revived people who had fainted. Others claimed it made people faint. One man said the armonica made his dog chase its tail" (Stevens).<br />
<br />
==Structure of Harmonica==<br />
One full octive (48 notes, two octaves above and below middle C) of finely tuned glass cups were turned on their side and fit within each other almost to the point of touching. They were all mounted on a driveshaft controlled by a motor powered by the users foot and were seperated and secured to the driveshaft by corks inserted into the bottom of the bowls. Sometimes a moisturizer was used spraying the cups lightly at the bottom of the instrument to keep them constantly moisturized. However, most of the time, the moisture came from the players fingertips. This became an improvement on the traditional musical glass arrangement because, "The instrument could be played much more like a piano; chords and faster musical passages would be easier to achieve, since one would not awkwardly have to coordinate turning one's finger around the rim of each glass." (Finkenbeiner 139) <br />
<br />
===Glass===<br />
[[Image:Glass Harmonica 5.jpg|thumb|right|A Glass Harmonica being played]]<br />
<br />
Creating porperly tuned glass bowls was extremely difficult. Each bowl was hand blown making every set different from the others. In fact, only one bowl out of every 100 blown was the proper size and tune. Thus, the completion of an entire four-octave Glass Harmonica was a strenuous and inconsistant task. The glass used also is believed to be one of the reasons for its downfall and disapperance into obscurity. There was a high amount of lead in the glass and many years later it was theorized that people went mad when they played it. The lead would, "Leach through the fingertips into the bloodstream.. causing nerve damage." (Finkenbeiner 140)<br />
<br />
<br />
===Foot Pedals and Framing===<br />
The housing for the bowls themselves greatly resembled a piano or a table. The bowls were strung through a bar that rested inside a box container with four legs portruding from it. A foot pedal was located on the bottom (much like a piano) that powered the motor that spun the bowls. The player had to sit in front of the instrument with their arms out the entire time. The construction did not take into consideration easy portability or storage. <br />
<br />
===Player===<br />
The player had to sit in front of the instrument the entire time. Their hands were heald out over the bowls as one would hold their hands over piano keys. If no moisturizer was built into the instrument the player would have to keep their hands wet the entire time in order to create any sound from the bowls. Sometimes players would coat their hands in chalk but most of the time they used water or oil. The amount and consistancy of the liquid used changed the sound of the tone. In 1884 "Table Talk" published a quote about men and the Glass Harmonica: "Men are like musical glasses - to produce their finest tones, you must keep them wet.<br />
<br />
==Music==<br />
===Composers===<br />
Inspired by a performer playing musical glasses, Franklin invented the glass armonica. He was not, however, alone in being inspired; various composers created music based on the unique sound produced by this instrument. Some of the most notable music composers of the glass armonica are Wolfgang Amadeus Mozart and Ludwig van Beethoven. Though the instrument of the glass armonica is a digital media, with a set number of octaves and 48 notes, to put it into practice is an analog technique. The composer or player of a glass armonica can arrange and rearrange the 48 notes to produce a different melody each time. <br />
<br />
'''Mozart's Adagio''' [[:Media:adagio.mp3]]; '''Mozart's Rondo''' [[:Media:rondo.mp3]]<br />
<br />
'''Now it's your turn to''' [[play the armonica!]]<br />
<br />
===Other Uses===<br />
<br />
As the popularity of the glass armonica increased, professionals and technicians began to utilize its unique sound to produce a variety of effects. Soon, the glass armonica developed a reputation of having calming, even healing, qualities.<br />
<br />
'''Mesmer and His Practice'''<br />
One of the most interesting and creative uses of the glass armonica was by "Dr. Franz Anton Mesmer, who employed hypnosis to treat a variety of ills, used the ethereal sound to induce deeper trances in his patients" (Fox). Though the glass armonica did not have a direct impact on any of his treatments, Mesmer had learned that his discovery of animal magnetism was propagated by music (Pattie) as it would "induce deeper states of hypnosis in his patients" (Finkenbeiner 140). <br />
<br />
Mesmer's practice began in Vienna, but he was discredited upon the treatment of Maria Theresa von Paradis, a well known pianist who was also blind (Pattie 67). Though she had tried various methods to cure her of her blindness, everything failed aside from Mesmer's animal magnetism. She regained a minimal amount of vision, but nonetheless fell into a bout of depression because she could not readjust herself to the sensory aspects of sight. Her musical talent suffered as well. Upon this failure, Mesmer then moved to Paris, where he experimented on aristocrats, surgeons, and his own right-hand man, Dr. Charles d'Elson (Pattie 103). These treatments were all conducted in a private manner, with minimal lighting and the only noise intrusion being the sound of the glass armonica. And while his discoveries were never really legitimized, they were nonetheless investigated by the Faculty of Medicines, despite the fact Franklin himself did not believe in animal magnetism. <br />
<br />
The word "mesmerize" is a direct derivation from Mesmer's practice. As Mesmer himself began to lose credit, "perhaps this use of the instrument was enough to give it a bad reputation, encouraging people to fear it and think it evil" (Finkenbeiner 140).<br />
<br />
'''Healing Qualities'''<br />
While Franklin may not have entirely bought the concept of animal magnetism, he did believe that the glass armonica some special healing quality. In 1772, Franklin went to Prince Adam Czartoryski, heir to the throne of Poland, about his wife who had been suffering of melancholia (Lipowski). She recounts Franklin's visit, saying:<br />
<br />
"I was ill, in a state of melancholia, and writing my testament and farewell letters. Wishing to distract me, my husband explained to me who Franklin was and to what he owed his fame… Franklin had a noble face with an expression of engaging kindness. Surprised by my immobility, he took my hands and gazed at me saying: pauvre jeune femme ["poor young lady']. He then opened an armonica, sat down and played long. The music made a strong impression on me and tears began flowing from my eyes. Then Franklin sat by my side and looking with compassion said, "Madam, you are cured." Indeed in that moment I was cured of my melancholia. Franklin offered to teach me how to play the armonica - I accepted without hesitation, hence he gave me twelve lessons" (Lipowski 362).<br />
<br />
'''Phantasmagoria'''<br />
The glass armonica was a one-way communication media. Those who made use of it often had a goal of evoking some sort of emotion in their audience. While its use in medical practices was to induce a tranquility in patients, a man by the name of Étienne-Gaspard Robertson wanted to capitalize on its more harmonic qualities.<br />
<br />
Robertson's favorite instrument was the glass armonica. He believed that "it contributed powerfully to the effects of the fantasmagoria, in preparing not only the minds but the very senses for strange impressions by a melody so sweet that it sometimes gave great irritation to the nervous system" (Heard). Thus, he used its haunting melodies in conjunction with the magic lantern to put "thought to sleep; all the ideas seem to concentrate on one and the same object and one and the same impression" (Heard). <br />
<br />
While those like Robertson and Mesmer basked in the glass armonica's hypnotic qualities, it was less than half a century when it began to disappear because of public fear of its power. It was "believed that it caused insanity, nervous disorders, convulsions in dogs and cats, marital disputes, and even that it woke people from the dead" (Finkenbeiner 140) and "rumors spread that the music itself could cause mental illness. The author of a 1788 manual on the armonica advised that some people avoid playing the instrument, 'in order that their state of mind not be aggravated'" (Fox). In fact, it was only a matter of time before "people so feared to touch it that a keyboard form of the instrument was devised: by striking a key, a spring would activate a wooden hammer covered with wet leater, which would reach out and make contact with the glass rim, producing a note in the same manner as direct contact with the natural finger would have" (Finkenbeiner 140). The variety of symptoms has led to speculation that the lead in the paint and glass resulted in lead poisoning, it has never been proven (Fox). Therefore, while minute details (such as the paint along the glass rims) may seem to serve no purpose, it is unclear whether or not they in fact hold a greater purpose in the story of the glass armonica.<br />
<br />
==Modern Harmonica==<br />
===Finkenbeiner's Patent===<br />
<br />
==Works Cited==<br />
<br />
Mozart Adagio and Rondo (KV 617) audio clips taken from Culture Mediation International <http://rauscher-kultur.at/seiten/kv617-mozarts-last-chamber-music.htm><br />
<br />
*[[Finkenbeiner, Gerhard, and Vera Meyer]], "The Glass Harmonica: A Return from Obscurity." Leonardo, Vol. 20, No. 2, Special Issue: Visual Art, Sound, Music and Technology (1987): 139-142. JStor. NYU. 8 Nov. 2007.<br />
<br />
*[[Fox, Catherine C.]], "Second Time Around." Smithsonian 01 Feb. 2007. 10 Nov. 2007 <http://www.smithsonianmag.com/arts-culture/10023801.html>.<br />
<br />
*[[Heard, Mervyn]], ''Phantasmagoria: The Secret Life of the Magic Lantern'', (Hastings: The Projection Box, 2006). ISBN 1903000122 <br />
<br />
*[[Pattie, Frank A.]], ''Mesmer and Animal Magnetism: A Chapter in the History of Medicine'', (Hamilton, NY : Edmonston Publishing, Inc, 1994). <br />
<br />
*[[Lipowski, Z.J.]], "Benjamin Franklin as a Psychotherapist: a Forerunner of Brief Psychotherapy." Perspectives in Biology and Medicine 27 (1984): 361-366.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2491Glass Harmonica2007-11-14T18:46:33Z<p>Matt: </p>
<hr />
<div>[[Image:Glass Harmonica 2.jpg|thumb|left|]]<br />
<br />
==History==<br />
The Glass Harmonica, originally named the Armonica was invented by Benjamin Franklin in 1761 after hearing a concert of 50 tuned water glasses during a trip to Europe. Deeply touched and inspired Ben Franklin did away with water tuning, connecting the glass together, put them on a rotating spit and the Armonica was born. By making the glasses tuned, rather than relying on water, the glass could be put sideways and connected to be able to play faster rhythms and melodies. Playing water glasses, a fancy parlor trick, became a real musical instrument and the first instrument invented by an American (Finkenbeiner). <br />
<br />
The Glass Harmonica was never produced on a large scale but between the late 18th and the early 19th century 400 works were written for it by composers, including Beethoven and Mozart (Pollack). The instrument experienced it's largest fame as Marie Antoinette learned to play and it was featured in the Opera Lucia de Lammermoor fueling Lucia's dramatic descend into madness.<br />
<br />
But the musical glasses predate Ben Franklin and were listed as musical instruments as early 1300 a.d. in the Wen Hsien Tung K'ao, a Chinese dictionary of musical instruments but dates even earlier than this and existed all over the world (King). The musical glasses were valued at having magical properties and experiments with different liquids (brandy, water, wine, salt water, and oil) inside the glasses were performed to discover different desired effects. "The diverse sounds produced by the contrasting content of the glasses were thought not only to correspond to the emotions aroused by the four "humours" of the human body." As later proven by Ben Franklin, it was not the contents of the glass bowls that held the emotional effects of the glass music but the glass themselves that contained the power of pitch and vibration (King). <br />
<br />
The Glass Harmonica was made famous by the ethereal and "angelic" voice of the instrument, but the sound produced by the instrument is no less than evasive and shaking. As Thomas Bloch notes in his introduction to "Glass Harmonica" an album complilation including his own original and modern work, the Armonica was accused of causing, "nervous problems, domestic squabbles, premature, deliveries, fatal disorders, and animal convulsions." The Glass Harmonica was even used by Franz Anton Mesmer for hypnosis and to lull his patients into a deeper sleep. The glass music is described as having both shocking and lulling qualities, but the best description I found for the Glass Harmonica is from the children's book titled, "Ben Franklin and his Glass Armonica." "Many people became afraid of the armonica. Some thought it had magical powers. Some said it revived people who had fainted. Others claimed it made people faint. One man said the armonica made his dog chase its tail" (Stevens).<br />
<br />
==Structure of Harmonica==<br />
One full octive (48 notes, two octaves above and below middle C) of finely tuned glass cups were turned on their side and fit within each other almost to the point of touching. They were all mounted on a driveshaft controlled by a motor powered by the users foot and were seperated and secured to the driveshaft by corks inserted into the bottom of the bowls. Sometimes a moisturizer was used spraying the cups lightly at the bottom of the instrument to keep them constantly moisturized. However, most of the time, the moisture came from the players fingertips. This became an improvement on the traditional musical glass arrangement because, "The instrument could be played much more like a piano; chords and faster musical passages would be easier to achieve, since one would not awkwardly have to coordinate turning one's finger around the rim of each glass." (Finkenbeiner 139) <br />
<br />
===Glass===<br />
[[Image:Glass Harmonica 5.jpg|thumb|right|A Glass Harmonica being played]]<br />
<br />
Creating porperly tuned glass bowls was extremely difficult. Each bowl was hand blown making every set different from the others. In fact, only one bowl out of every 100 blown was the proper size and tune. Thus, the completion of an entire four-octave Glass Harmonica was a strenuous and inconsistant task. The glass used also is believed to be one of the reasons for its downfall and disapperance into obscurity. There was a high amount of lead in the glass and many years later it was theorized that people went mad when they played it. The lead would, "Leach through the fingertips into the bloodstream.. causing nerve damage." (Finkenbeiner 140)<br />
<br />
<br />
===Foot Pedals and Framing===<br />
<br />
===Player===<br />
<br />
==Music==<br />
===Composers===<br />
Inspired by a performer playing musical glasses, Franklin invented the glass armonica. He was not, however, alone in being inspired; various composers created music based on the unique sound produced by this instrument. Some of the most notable music composers of the glass armonica are Wolfgang Amadeus Mozart and Ludwig van Beethoven. Though the instrument of the glass armonica is a digital media, with a set number of octaves and 48 notes, to put it into practice is an analog technique. The composer or player of a glass armonica can arrange and rearrange the 48 notes to produce a different melody each time. <br />
<br />
'''Mozart's Adagio''' [[:Media:adagio.mp3]]; '''Mozart's Rondo''' [[:Media:rondo.mp3]]<br />
<br />
'''Now it's your turn to''' [[play the armonica!]]<br />
<br />
===Other Uses===<br />
<br />
As the popularity of the glass armonica increased, professionals and technicians began to utilize its unique sound to produce a variety of effects. Soon, the glass armonica developed a reputation of having calming, even healing, qualities.<br />
<br />
'''Mesmer and His Practice'''<br />
One of the most interesting and creative uses of the glass armonica was by "Dr. Franz Anton Mesmer, who employed hypnosis to treat a variety of ills, used the ethereal sound to induce deeper trances in his patients" (Fox). Though the glass armonica did not have a direct impact on any of his treatments, Mesmer had learned that his discovery of animal magnetism was propagated by music (Pattie) as it would "induce deeper states of hypnosis in his patients" (Finkenbeiner 140). <br />
<br />
Mesmer's practice began in Vienna, but he was discredited upon the treatment of Maria Theresa von Paradis, a well known pianist who was also blind (Pattie 67). Though she had tried various methods to cure her of her blindness, everything failed aside from Mesmer's animal magnetism. She regained a minimal amount of vision, but nonetheless fell into a bout of depression because she could not readjust herself to the sensory aspects of sight. Her musical talent suffered as well. Upon this failure, Mesmer then moved to Paris, where he experimented on aristocrats, surgeons, and his own right-hand man, Dr. Charles d'Elson (Pattie 103). These treatments were all conducted in a private manner, with minimal lighting and the only noise intrusion being the sound of the glass armonica. And while his discoveries were never really legitimized, they were nonetheless investigated by the Faculty of Medicines, despite the fact Franklin himself did not believe in animal magnetism. <br />
<br />
The word "mesmerize" is a direct derivation from Mesmer's practice. As Mesmer himself began to lose credit, "perhaps this use of the instrument was enough to give it a bad reputation, encouraging people to fear it and think it evil" (Finkenbeiner 140).<br />
<br />
'''Healing Qualities'''<br />
While Franklin may not have entirely bought the concept of animal magnetism, he did believe that the glass armonica some special healing quality. In 1772, Franklin went to Prince Adam Czartoryski, heir to the throne of Poland, about his wife who had been suffering of melancholia (Lipowski). She recounts Franklin's visit, saying:<br />
<br />
"I was ill, in a state of melancholia, and writing my testament and farewell letters. Wishing to distract me, my husband explained to me who Franklin was and to what he owed his fame… Franklin had a noble face with an expression of engaging kindness. Surprised by my immobility, he took my hands and gazed at me saying: pauvre jeune femme ["poor young lady']. He then opened an armonica, sat down and played long. The music made a strong impression on me and tears began flowing from my eyes. Then Franklin sat by my side and looking with compassion said, "Madam, you are cured." Indeed in that moment I was cured of my melancholia. Franklin offered to teach me how to play the armonica - I accepted without hesitation, hence he gave me twelve lessons" (Lipowski 362).<br />
<br />
'''Phantasmagoria'''<br />
The glass armonica was a one-way communication media. Those who made use of it often had a goal of evoking some sort of emotion in their audience. While its use in medical practices was to induce a tranquility in patients, a man by the name of Étienne-Gaspard Robertson wanted to capitalize on its more harmonic qualities.<br />
<br />
Robertson's favorite instrument was the glass armonica. He believed that "it contributed powerfully to the effects of the fantasmagoria, in preparing not only the minds but the very senses for strange impressions by a melody so sweet that it sometimes gave great irritation to the nervous system" (Heard). Thus, he used its haunting melodies in conjunction with the magic lantern to put "thought to sleep; all the ideas seem to concentrate on one and the same object and one and the same impression" (Heard). <br />
<br />
While those like Robertson and Mesmer basked in the glass armonica's hypnotic qualities, it was less than half a century when it began to disappear because of public fear of its power. It was "believed that it caused insanity, nervous disorders, convulsions in dogs and cats, marital disputes, and even that it woke people from the dead" (Finkenbeiner 140) and "rumors spread that the music itself could cause mental illness. The author of a 1788 manual on the armonica advised that some people avoid playing the instrument, 'in order that their state of mind not be aggravated'" (Fox). In fact, it was only a matter of time before "people so feared to touch it that a keyboard form of the instrument was devised: by striking a key, a spring would activate a wooden hammer covered with wet leater, which would reach out and make contact with the glass rim, producing a note in the same manner as direct contact with the natural finger would have" (Finkenbeiner 140). The variety of symptoms has led to speculation that the lead in the paint and glass resulted in lead poisoning, it has never been proven (Fox). Therefore, while minute details (such as the paint along the glass rims) may seem to serve no purpose, it is unclear whether or not they in fact hold a greater purpose in the story of the glass armonica.<br />
<br />
==Modern Harmonica==<br />
===Finkenbeiner's Patent===<br />
<br />
==Works Cited==<br />
<br />
Mozart Adagio and Rondo (KV 617) audio clips taken from Culture Mediation International <http://rauscher-kultur.at/seiten/kv617-mozarts-last-chamber-music.htm><br />
<br />
*[[Finkenbeiner, Gerhard, and Vera Meyer]], "The Glass Harmonica: A Return from Obscurity." Leonardo, Vol. 20, No. 2, Special Issue: Visual Art, Sound, Music and Technology (1987): 139-142. JStor. NYU. 8 Nov. 2007.<br />
<br />
*[[Fox, Catherine C.]], "Second Time Around." Smithsonian 01 Feb. 2007. 10 Nov. 2007 <http://www.smithsonianmag.com/arts-culture/10023801.html>.<br />
<br />
*[[Heard, Mervyn]], ''Phantasmagoria: The Secret Life of the Magic Lantern'', (Hastings: The Projection Box, 2006). ISBN 1903000122 <br />
<br />
*[[Pattie, Frank A.]], ''Mesmer and Animal Magnetism: A Chapter in the History of Medicine'', (Hamilton, NY : Edmonston Publishing, Inc, 1994). <br />
<br />
*[[Lipowski, Z.J.]], "Benjamin Franklin as a Psychotherapist: a Forerunner of Brief Psychotherapy." Perspectives in Biology and Medicine 27 (1984): 361-366.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2243Glass Harmonica2007-11-14T04:08:37Z<p>Matt: </p>
<hr />
<div>[[Image:Glass Harmonica 2.jpg|thumb|left|]]<br />
<br />
==History==<br />
==Structure of Harmonica==<br />
One full octive (48 notes, two octaves above and below middle C) of finely tuned glass cups were turned on their side and fit within each other almost to the point of touching. They were all mounted on a driveshaft controlled by a motor powered by the users foot and were seperated and secured to the driveshaft by corks inserted into the bottom of the bowls. Sometimes a moisturizer was used spraying the cups lightly at the bottom of the instrument to keep them constantly moisturized. However, most of the time, the moisture came from the players fingertips. This became an improvement on the traditional musical glass arrangement because, "The instrument could be played much more like a piano; chords and faster musical passages would be easier to achieve, since one would not awkwardly have to coordinate turning one's finger around the rim of each glass." (Finkenbeiner 139) <br />
<br />
===Glass===<br />
[[Image:Glass Harmonica 5.jpg|thumb|right|A Glass Harmonica being played]]<br />
<br />
Creating porperly tuned glass bowls was extremely difficult. Each bowl was hand blown making every set different from the others. In fact, only one bowl out of every 100 blown was the proper size and tune. Thus, the completion of an entire four-octave Glass Harmonica was a strenuous and inconsistant task. The glass used also is believed to be one of the reasons for its downfall and disapperance into obscurity. There was a high amount of lead in the glass and many years later it was theorized that people went mad when they played it. The lead would, "Leach through the fingertips into the bloodstream.. causing nerve damage." (Finkenbeiner 140)<br />
<br />
<br />
===Foot Pedals and Framing===<br />
===Player===<br />
<br />
==Music==<br />
===Composers===<br />
===Other Uses===<br />
<br />
==Modern Harmonica==</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2242Glass Harmonica2007-11-14T04:08:05Z<p>Matt: </p>
<hr />
<div>[[Image:Glass Harmonica 2.jpg|thumb|left|Benjamin Franklin playing a Glass Harmonica]]<br />
<br />
==History==<br />
==Structure of Harmonica==<br />
One full octive (48 notes, two octaves above and below middle C) of finely tuned glass cups were turned on their side and fit within each other almost to the point of touching. They were all mounted on a driveshaft controlled by a motor powered by the users foot and were seperated and secured to the driveshaft by corks inserted into the bottom of the bowls. Sometimes a moisturizer was used spraying the cups lightly at the bottom of the instrument to keep them constantly moisturized. However, most of the time, the moisture came from the players fingertips. This became an improvement on the traditional musical glass arrangement because, "The instrument could be played much more like a piano; chords and faster musical passages would be easier to achieve, since one would not awkwardly have to coordinate turning one's finger around the rim of each glass." (Finkenbeiner 139) <br />
<br />
===Glass===<br />
[[Image:Glass Harmonica 5.jpg|thumb|right|A Glass Harmonica being played]]<br />
<br />
Creating porperly tuned glass bowls was extremely difficult. Each bowl was hand blown making every set different from the others. In fact, only one bowl out of every 100 blown was the proper size and tune. Thus, the completion of an entire four-octave Glass Harmonica was a strenuous and inconsistant task. The glass used also is believed to be one of the reasons for its downfall and disapperance into obscurity. There was a high amount of lead in the glass and many years later it was theorized that people went mad when they played it. The lead would, "Leach through the fingertips into the bloodstream.. causing nerve damage." (Finkenbeiner 140)<br />
<br />
<br />
===Foot Pedals and Framing===<br />
===Player===<br />
<br />
==Music==<br />
===Composers===<br />
===Other Uses===<br />
<br />
==Modern Harmonica==</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2241Glass Harmonica2007-11-14T04:03:54Z<p>Matt: </p>
<hr />
<div>==History==<br />
==Structure of Harmonica==<br />
One full octive (48 notes, two octaves above and below middle C) of finely tuned glass cups were turned on their side and fit within each other almost to the point of touching. They were all mounted on a driveshaft controlled by a motor powered by the users foot and were seperated and secured to the driveshaft by corks inserted into the bottom of the bowls. Sometimes a moisturizer was used spraying the cups lightly at the bottom of the instrument to keep them constantly moisturized. However, most of the time, the moisture came from the players fingertips. This became an improvement on the traditional musical glass arrangement because, "The instrument could be played much more like a piano; chords and faster musical passages would be easier to achieve, since one would not awkwardly have to coordinate turning one's finger around the rim of each glass." (Finkenbeiner 139) <br />
<br />
===Glass===<br />
Creating porperly tuned glass bowls was extremely difficult. Each bowl was hand blown making every set different from the others. In fact, only one bowl out of every 100 blown was the proper size and tune. Thus, the completion of an entire four-octave Glass Harmonica was a strenuous and inconsistant task. The glass used also is believed to be one of the reasons for its downfall and disapperance into obscurity. There was a high amount of lead in the glass and many years later it was theorized that people went mad when they played it. The lead would, "Leach through the fingertips into the bloodstream.. causing nerve damage." (Finkenbeiner 140)<br />
<br />
<br />
===Foot Pedals and Framing===<br />
===Player===<br />
<br />
==Music==<br />
===Composers===<br />
===Other Uses===<br />
<br />
==Modern Harmonica==</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2229Glass Harmonica2007-11-14T02:47:42Z<p>Matt: /* Structure of Harmonica */</p>
<hr />
<div>==History==<br />
==Structure of Harmonica==<br />
One full octive of finely tuned glass cups were turned on their side and fit within each other almost to the point of touching. They were all mounted on a driveshaft controlled by a motor powered by the users foot and were seperated and secured to the driveshaft by corks inserted into the bottom of the bowls. Sometimes a moisturizer was used spraying the cups lightly at the bottom of the instrument to keep them constantly moisturized. However, most of the time, the moisture came from the players fingertips. This became an improvement on the traditional musical glass arrangement because, "The instrument could be played much more like a piano; chords and faster musical passages would be easier to achieve, since one would not awkwardly have to coordinate turning one's finger around the rim of each glass." (Finkenbeiner 139) <br />
<br />
===Glass===<br />
<br />
<br />
===Foot Pedals and Framing===<br />
===Player===<br />
<br />
==Music==<br />
===Composers===<br />
===Other Uses===<br />
<br />
==Modern Harmonica==</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Glass_Harmonica&diff=2228Glass Harmonica2007-11-14T01:38:57Z<p>Matt: </p>
<hr />
<div>==History==<br />
==Structure of Harmonica==<br />
===Glass===<br />
===Foot Pedals and Framing===<br />
===Player===<br />
<br />
==Music==<br />
===Composers===<br />
===Other Uses===<br />
<br />
==Modern Harmonica==</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Glass_Harmonica_7.jpg&diff=2123File:Glass Harmonica 7.jpg2007-11-07T02:11:30Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Glass_Harmonica_6.jpg&diff=2122File:Glass Harmonica 6.jpg2007-11-07T02:11:19Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Glass_Harmonica_5.jpg&diff=2121File:Glass Harmonica 5.jpg2007-11-07T02:11:08Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Glass_Harmonica_4.jpg&diff=2120File:Glass Harmonica 4.jpg2007-11-07T02:10:57Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Glass_Harmonica_3.jpg&diff=2119File:Glass Harmonica 3.jpg2007-11-07T02:10:39Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Glass_Harmonica_2.jpg&diff=2118File:Glass Harmonica 2.jpg2007-11-07T02:08:41Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Glass_Harmonica_1.jpg&diff=2117File:Glass Harmonica 1.jpg2007-11-07T02:08:17Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Main_Page&diff=2116Main Page2007-11-07T02:07:43Z<p>Matt: /* Dead Media Dossiers */</p>
<hr />
<div>'''Dead Media Research Studio'''<br />
<br />
Fall 2007 syllabus http://cultureandcommunication.org/galloway/2007fall_DeadMedia_syllabus.pdf<br />
<br />
This course is devoted to media archaeology, that is, historical research on forgotten, obsolete, or otherwise “dead” media technologies. Examples range from Athanasius Kircher’s seventeenth-century magic lantern to the common slide projector, discontinued by Kodak in 2004. Our goal is to acquire the skills and resources necessary for producing rigorous and compelling scholarship on such media. The course will include an exposure to recent contributions to the field of media archaeology; an introduction to research methods; instruction on the identification and utilization of word, image, and sound archives; and an emphasis on the need to restore media artifacts to their proper social and cultural context. The course stems from the premise that media archaeology is best undertaken, like any archaeological project, collaboratively. Hence the course follows a research studio model commonly used in disciplines such as architecture.<br />
<br />
<br />
= Dead Media Dossiers = <br />
<br />
[[3D Television]]<br />
<br />
[[8-track Tape]]<br />
<br />
[[Camera Lucida]]<br />
<br />
[[Camera Obscura]]<br />
<br />
[[Chirograph (Cyrograph)]]<br />
<br />
[[Civil Defense Siren]]<br />
<br />
[[Daguerreotype]]<br />
<br />
[[Electric Pen]]<br />
<br />
[[Glass Harmonica]]<br />
<br />
[[Homing Pigeons]]<br />
<br />
[[Hotel Annunciator]]<br />
<br />
[[Magic Lantern]]<br />
<br />
[[Mechanical Television]]<br />
<br />
[[Megalethoscope]]<br />
<br />
[[MiniDisc]]<br />
<br />
[[Movable Type]]<br />
<br />
[[Mystical Writing Pad]]<br />
<br />
[[Newspaper via Radio Facsimile]]<br />
<br />
[[Notificator]]<br />
<br />
[[Photographic Gun]]<br />
<br />
[[Player Piano]]<br />
<br />
[[Pneumatic Tubes]]<br />
<br />
[[Shorthand]]<br />
<br />
[[Smell Organ]]<br />
<br />
[[Spirit Duplicator]]<br />
<br />
[[Steenbeck]]<br />
<br />
[[Stereoscope]]<br />
<br />
[[Talking Book]]<br />
<br />
[[Typewriter]]<br />
<br />
[[Wax Cylinder]]<br />
<br />
= Background =<br />
<br />
Some entries in the archive are drawn from the [http://www.deadmedia.org Dead Media Project], an email list devoted to the topic started by [http://www.well.com/conf/mirrorshades Bruce Sterling] and more recently moderated by Tom Jennings. Ironically their email list is now dead. <br />
<br />
<br />
= Special Pages =<br />
<br />
[[:Special:Upload|Upload a File]]<br />
<br />
[[:Special:Allpages|All Pages]]<br />
<br />
[[:Special:Imagelist|All Uploaded Files]]</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Mechanical_Television&diff=1928Mechanical Television2007-10-31T16:18:50Z<p>Matt: </p>
<hr />
<div>==History==<br />
[[Image:charles_jenkins.jpg|thumb|left|Advertisement for Radiovision.]] <br />
[[Image:jenkr_s.jpg|thumb|right|Early Radiovision]] <br />
<br />
In June of 1923 Charles Jenkins, an inventor from Dayton, Ohio, invented and transmitted the earliest moving images through a mechanical television system called Radiovision. He publicly performed his first transmission, from Anacosta, Virginia to Washington, D.C. in June of 1925. Jenkins Laboratories constructed a Radiovision transmitter, W3XK, in Washington D.C. The short-wave station began transmitting radiomovies across the Eastern U.S. on a regular basis by July 2, 1928. As far back as 1894, Jenkins had been promoting mechanical television when he published an article in the "Electrical Engineer” describing a method of electrically transmitting pictures. In 1920, at a meeting of the Society of Motion Picture Engineers, Jenkins introduced his prismatic rings, a device that replaced the shutter on a film projector and an important invention that Charles Jenkins would later use in his Radiovision system.<br />
<br />
===How It Works===<br />
[[Image:jenkdru7.gif|thumb|right|]] <br />
<br />
The transmitter had to be set in a studio in total darkness. Holes would be punched in a spiral disc would allow only light to be passed through these selective regions. The spinning disk would emit light bounced off of the subjects face from a light source within the transmitter onto a photoelectric cell that would convert the light image into electric signals. These would, in turn, be amplified and sent via radio waves to a receiver on the other end. <br />
<br />
The receiver on the other end would convert these electric impulses into a sequence of bright flashes in a neon tube located within the receiver. A disc would rotate very rapidly in front of this tube and converted every small flash into a part of the overall image. The speed of the disc would make “persistence of vision” (when the brain retains an image for one tenth of a second after the eye perceives it) possible for the viewer. Originally the image was very scratchy and the picture had to be constantly adjusted. This made some technical knowledge a necessity thus shrinking the prospective demographic to a select few (mostly men) who knew how to operate these machines. There was also originally no audio to accompany the pictures. Sepreate radios had to be purchased, or used if the viewer already had one, and tuned into a seperate station that would supplement the noises and music for the show they were watching.<br />
[[Image:jenkdru2.gif|thumb|right|]] <br />
<br />
===Programming===<br />
Despite the limitations that the early, crude mechanical televisions presented, producers began to experiment with storytelling and programming. In 1928, the first television drama was produced. “The Queen’s Messenger”, shot on three cameras, was received on a General Electric Octagon set in Shenectady, New York. The play had two characters, with only the heads or the hands of the four actors visible at any one time. Two actors spoke the lines, while the other two acted as hand models. In 1931 The Radio Corporation of America (RCA) broadcast signals from The Empire State Building featuring the first television star, Felix The Cat.<br />
[[Image:jenkpix1.gif|thumb|right|Images like these would be broadcast as the first programming attempting to tell a story]] <br />
<br />
<br />
<br />
===Demise===<br />
The main problem with the mechanical television was that there was no set standard for production of the actual sets as well as transmission and reception of signals. This being the case, signal strength ws always very weak and the unit itself required constant tuning to keep the picture relatively clear. The invention of the glass vacuum tube television both expanded the audience demographic because it required little to no picture fine tuning and made the mechanical television obsolete.<br />
<br />
===Works Cited===<br />
*Jenkins, Charles F. Animated Pictures. New York: Arno P, 1898.<br />
<br />
*Jenkins, Charles F. Vision by Radio, Radio, Photographs, Radio Phonograms. Washington, D.C.: National Capital P, 1925.<br />
<br />
*N/A. "New Color Television". Science Newsletter, 1948.<br />
<br />
*Monfort, Ray A. A Brief History of Television for the Layman. Los Angeles: University of California P, 1949.<br />
<br />
*Reily, John W., and Frank V. Cantwell. Some Observations on the Social Effects of Television. Oxford UP, 1949.<br />
<br />
*All pictures taken from www.televisionexperimenters.com</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Mechanical_Television&diff=1927Mechanical Television2007-10-31T16:13:09Z<p>Matt: </p>
<hr />
<div>==History==<br />
[[Image:charles_jenkins.jpg|thumb|left|Advertisement for Radiovision.]] <br />
In June of 1923 Charles Jenkins, an inventor from Dayton, Ohio, invented and transmitted the earliest moving images through a mechanical television system called Radiovision. He publicly performed his first transmission, from Anacosta, Virginia to Washington, D.C. in June of 1925. Jenkins Laboratories constructed a Radiovision transmitter, W3XK, in Washington D.C. The short-wave station began transmitting radiomovies across the Eastern U.S. on a regular basis by July 2, 1928. As far back as 1894, Jenkins had been promoting mechanical television when he published an article in the "Electrical Engineer” describing a method of electrically transmitting pictures. In 1920, at a meeting of the Society of Motion Picture Engineers, Jenkins introduced his prismatic rings, a device that replaced the shutter on a film projector and an important invention that Charles Jenkins would later use in his Radiovision system.<br />
<br />
===How It Works===<br />
[[Image:jenkdru7.gif|thumb|right|]] <br />
<br />
The transmitter had to be set in a studio in total darkness. Holes would be punched in a spiral disc would allow only light to be passed through these selective regions. The spinning disk would emit light bounced off of the subjects face from a light source within the transmitter onto a photoelectric cell that would convert the light image into electric signals. These would, in turn, be amplified and sent via radio waves to a receiver on the other end. <br />
<br />
The receiver on the other end would convert these electric impulses into a sequence of bright flashes in a neon tube located within the receiver. A disc would rotate very rapidly in front of this tube and converted every small flash into a part of the overall image. The speed of the disc would make “persistence of vision” (when the brain retains an image for one tenth of a second after the eye perceives it) possible for the viewer. Originally the image was very scratchy and the picture had to be constantly adjusted. This made some technical knowledge a necessity thus shrinking the prospective demographic to a select few (mostly men) who knew how to operate these machines. There was also originally no audio to accompany the pictures. Sepreate radios had to be purchased, or used if the viewer already had one, and tuned into a seperate station that would supplement the noises and music for the show they were watching.<br />
[[Image:jenkdru2.gif|thumb|right|]] <br />
<br />
===Programming===<br />
Despite the limitations that the early, crude mechanical televisions presented, producers began to experiment with storytelling and programming. In 1928, the first television drama was produced. “The Queen’s Messenger”, shot on three cameras, was received on a General Electric Octagon set in Shenectady, New York. The play had two characters, with only the heads or the hands of the four actors visible at any one time. Two actors spoke the lines, while the other two acted as hand models. In 1931 The Radio Corporation of America (RCA) broadcast signals from The Empire State Building featuring the first television star, Felix The Cat.<br />
<br />
<br />
===Demise===<br />
The main problem with the mechanical television was that there was no set standard for production of the actual sets as well as transmission and reception of signals. This being the case, signal strength ws always very weak and the unit itself required constant tuning to keep the picture relatively clear. The invention of the glass vacuum tube television both expanded the audience demographic because it required little to no picture fine tuning and made the mechanical television obsolete.<br />
<br />
===Works Cited===<br />
Jenkins, Charles F. Animated Pictures. New York: Arno P, 1898.<br />
<br />
Jenkins, Charles F. Vision by Radio, Radio, Photographs, Radio Phonograms. Washington, D.C.: National Capital P, 1925.<br />
<br />
N/A. "New Color Television". Science Newsletter, 1948.<br />
<br />
Monfort, Ray A. A Brief History of Television for the Layman. Los Angeles: University of California P, 1949.<br />
<br />
Reily, John W., and Frank V. Cantwell. Some Observations on the Social Effects of Television. Oxford UP, 1949.<br />
<br />
*All pictures taken from http://www.televisionexperimenters.com/jenkins.html*</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Jenkdru7.gif&diff=1924File:Jenkdru7.gif2007-10-31T16:07:41Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Mechanical_Television&diff=1922Mechanical Television2007-10-31T16:04:24Z<p>Matt: </p>
<hr />
<div>==History==<br />
[[Image:charles_jenkins.jpg|thumb|left|Advertisement for Radiovision.]] <br />
In June of 1923 Charles Jenkins, an inventor from Dayton, Ohio, invented and transmitted the earliest moving images through a mechanical television system called Radiovision. He publicly performed his first transmission, from Anacosta, Virginia to Washington, D.C. in June of 1925. Jenkins Laboratories constructed a Radiovision transmitter, W3XK, in Washington D.C. The short-wave station began transmitting radiomovies across the Eastern U.S. on a regular basis by July 2, 1928. As far back as 1894, Jenkins had been promoting mechanical television when he published an article in the "Electrical Engineer” describing a method of electrically transmitting pictures. In 1920, at a meeting of the Society of Motion Picture Engineers, Jenkins introduced his prismatic rings, a device that replaced the shutter on a film projector and an important invention that Charles Jenkins would later use in his Radiovision system.<br />
<br />
===How It Works===<br />
[[Image:jenkdru1.gif|thumb|right|] <br />
The transmitter had to be set in a studio in total darkness. Holes would be punched in a spiral disc would allow only light to be passed through these selective regions. The spinning disk would emit light bounced off of the subjects face from a light source within the transmitter onto a photoelectric cell that would convert the light image into electric signals. These would, in turn, be amplified and sent via radio waves to a receiver on the other end. <br />
<br />
The receiver on the other end would convert these electric impulses into a sequence of bright flashes in a neon tube located within the receiver. A disc would rotate very rapidly in front of this tube and converted every small flash into a part of the overall image. The speed of the disc would make “persistence of vision” (when the brain retains an image for one tenth of a second after the eye perceives it) possible for the viewer. Originally the image was very scratchy and the picture had to be constantly adjusted. This made some technical knowledge a necessity thus shrinking the prospective demographic to a select few (mostly men) who knew how to operate these machines. There was also originally no audio to accompany the pictures. Sepreate radios had to be purchased, or used if the viewer already had one, and tuned into a seperate station that would supplement the noises and music for the show they were watching.<br />
[[Image:jenkdru2.gif|thumb|right|]] <br />
<br />
===Programming===<br />
Despite the limitations that the early, crude mechanical televisions presented, producers began to experiment with storytelling and programming. In 1928, the first television drama was produced. “The Queen’s Messenger”, shot on three cameras, was received on a General Electric Octagon set in Shenectady, New York. The play had two characters, with only the heads or the hands of the four actors visible at any one time. Two actors spoke the lines, while the other two acted as hand models. In 1931 The Radio Corporation of America (RCA) broadcast signals from The Empire State Building featuring the first television star, Felix The Cat.<br />
<br />
<br />
===Demise===<br />
The main problem with the mechanical television was that there was no set standard for production of the actual sets as well as transmission and reception of signals. This being the case, signal strength ws always very weak and the unit itself required constant tuning to keep the picture relatively clear. The invention of the glass vacuum tube television both expanded the audience demographic because it required little to no picture fine tuning and made the mechanical television obsolete.<br />
<br />
===Works Cited===<br />
Jenkins, Charles F. Animated Pictures. New York: Arno P, 1898.<br />
<br />
Jenkins, Charles F. Vision by Radio, Radio, Photographs, Radio Phonograms. Washington, D.C.: National Capital P, 1925.<br />
<br />
N/A. "New Color Television". Science Newsletter, 1948.<br />
<br />
Monfort, Ray A. A Brief History of Television for the Layman. Los Angeles: University of California P, 1949.<br />
<br />
Reily, John W., and Frank V. Cantwell. Some Observations on the Social Effects of Television. Oxford UP, 1949.<br />
<br />
*All pictures taken from http://www.televisionexperimenters.com/jenkins.html*</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:WesternTV.jpg&diff=1916File:WesternTV.jpg2007-10-31T15:58:41Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Jenkr_s.jpg&diff=1915File:Jenkr s.jpg2007-10-31T15:57:40Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Jenkpix1.gif&diff=1914File:Jenkpix1.gif2007-10-31T15:57:29Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Jenkins3.gif&diff=1913File:Jenkins3.gif2007-10-31T15:57:15Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Jenkdru2.gif&diff=1912File:Jenkdru2.gif2007-10-31T15:57:06Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Jenkdru1.gif&diff=1911File:Jenkdru1.gif2007-10-31T15:56:55Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Charles_jenkins.jpg&diff=1910File:Charles jenkins.jpg2007-10-31T15:56:42Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Mechanical_Television&diff=1909Mechanical Television2007-10-31T15:56:13Z<p>Matt: /* Works Cited */</p>
<hr />
<div>==History==<br />
In June of 1923 Charles Jenkins, an inventor from Dayton, Ohio, invented and transmitted the earliest moving images through a mechanical television system called Radiovision. He publicly performed his first transmission, from Anacosta, Virginia to Washington, D.C. in June of 1925. Jenkins Laboratories constructed a Radiovision transmitter, W3XK, in Washington D.C. The short-wave station began transmitting radiomovies across the Eastern U.S. on a regular basis by July 2, 1928. As far back as 1894, Jenkins had been promoting mechanical television when he published an article in the "Electrical Engineer” describing a method of electrically transmitting pictures. In 1920, at a meeting of the Society of Motion Picture Engineers, Jenkins introduced his prismatic rings, a device that replaced the shutter on a film projector and an important invention that Charles Jenkins would later use in his Radiovision system.<br />
<br />
===How It Works===<br />
The transmitter had to be set in a studio in total darkness. Holes would be punched in a spiral disc would allow only light to be passed through these selective regions. The spinning disk would emit light bounced off of the subjects face from a light source within the transmitter onto a photoelectric cell that would convert the light image into electric signals. These would, in turn, be amplified and sent via radio waves to a receiver on the other end. <br />
<br />
The receiver on the other end would convert these electric impulses into a sequence of bright flashes in a neon tube located within the receiver. A disc would rotate very rapidly in front of this tube and converted every small flash into a part of the overall image. The speed of the disc would make “persistence of vision” (when the brain retains an image for one tenth of a second after the eye perceives it) possible for the viewer. Originally the image was very scratchy and the picture had to be constantly adjusted. This made some technical knowledge a necessity thus shrinking the prospective demographic to a select few (mostly men) who knew how to operate these machines. There was also originally no audio to accompany the pictures. Sepreate radios had to be purchased, or used if the viewer already had one, and tuned into a seperate station that would supplement the noises and music for the show they were watching.<br />
<br />
===Programming===<br />
Despite the limitations that the early, crude mechanical televisions presented, producers began to experiment with storytelling and programming. In 1928, the first television drama was produced. “The Queen’s Messenger”, shot on three cameras, was received on a General Electric Octagon set in Shenectady, New York. The play had two characters, with only the heads or the hands of the four actors visible at any one time. Two actors spoke the lines, while the other two acted as hand models. In 1931 The Radio Corporation of America (RCA) broadcast signals from The Empire State Building featuring the first television star, Felix The Cat.<br />
<br />
<br />
===Demise===<br />
The main problem with the mechanical television was that there was no set standard for production of the actual sets as well as transmission and reception of signals. This being the case, signal strength ws always very weak and the unit itself required constant tuning to keep the picture relatively clear. The invention of the glass vacuum tube television both expanded the audience demographic because it required little to no picture fine tuning and made the mechanical television obsolete.<br />
<br />
===Works Cited===<br />
Jenkins, Charles F. Animated Pictures. New York: Arno P, 1898.<br />
<br />
Jenkins, Charles F. Vision by Radio, Radio, Photographs, Radio Phonograms. Washington, D.C.: National Capital P, 1925.<br />
<br />
N/A. "New Color Television". Science Newsletter, 1948.<br />
<br />
Monfort, Ray A. A Brief History of Television for the Layman. Los Angeles: University of California P, 1949.<br />
<br />
Reily, John W., and Frank V. Cantwell. Some Observations on the Social Effects of Television. Oxford UP, 1949.<br />
<br />
*All pictures taken from http://www.televisionexperimenters.com/jenkins.html*</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Mechanical_Television&diff=1908Mechanical Television2007-10-31T15:53:34Z<p>Matt: </p>
<hr />
<div>==History==<br />
In June of 1923 Charles Jenkins, an inventor from Dayton, Ohio, invented and transmitted the earliest moving images through a mechanical television system called Radiovision. He publicly performed his first transmission, from Anacosta, Virginia to Washington, D.C. in June of 1925. Jenkins Laboratories constructed a Radiovision transmitter, W3XK, in Washington D.C. The short-wave station began transmitting radiomovies across the Eastern U.S. on a regular basis by July 2, 1928. As far back as 1894, Jenkins had been promoting mechanical television when he published an article in the "Electrical Engineer” describing a method of electrically transmitting pictures. In 1920, at a meeting of the Society of Motion Picture Engineers, Jenkins introduced his prismatic rings, a device that replaced the shutter on a film projector and an important invention that Charles Jenkins would later use in his Radiovision system.<br />
<br />
===How It Works===<br />
The transmitter had to be set in a studio in total darkness. Holes would be punched in a spiral disc would allow only light to be passed through these selective regions. The spinning disk would emit light bounced off of the subjects face from a light source within the transmitter onto a photoelectric cell that would convert the light image into electric signals. These would, in turn, be amplified and sent via radio waves to a receiver on the other end. <br />
<br />
The receiver on the other end would convert these electric impulses into a sequence of bright flashes in a neon tube located within the receiver. A disc would rotate very rapidly in front of this tube and converted every small flash into a part of the overall image. The speed of the disc would make “persistence of vision” (when the brain retains an image for one tenth of a second after the eye perceives it) possible for the viewer. Originally the image was very scratchy and the picture had to be constantly adjusted. This made some technical knowledge a necessity thus shrinking the prospective demographic to a select few (mostly men) who knew how to operate these machines. There was also originally no audio to accompany the pictures. Sepreate radios had to be purchased, or used if the viewer already had one, and tuned into a seperate station that would supplement the noises and music for the show they were watching.<br />
<br />
===Programming===<br />
Despite the limitations that the early, crude mechanical televisions presented, producers began to experiment with storytelling and programming. In 1928, the first television drama was produced. “The Queen’s Messenger”, shot on three cameras, was received on a General Electric Octagon set in Shenectady, New York. The play had two characters, with only the heads or the hands of the four actors visible at any one time. Two actors spoke the lines, while the other two acted as hand models. In 1931 The Radio Corporation of America (RCA) broadcast signals from The Empire State Building featuring the first television star, Felix The Cat.<br />
<br />
<br />
===Demise===<br />
The main problem with the mechanical television was that there was no set standard for production of the actual sets as well as transmission and reception of signals. This being the case, signal strength ws always very weak and the unit itself required constant tuning to keep the picture relatively clear. The invention of the glass vacuum tube television both expanded the audience demographic because it required little to no picture fine tuning and made the mechanical television obsolete.<br />
<br />
===Works Cited===<br />
Jenkins, Charles F. Animated Pictures. New York: Arno P, 1898.<br />
<br />
Jenkins, Charles F. Vision by Radio, Radio, Photographs, Radio Phonograms. Washington, D.C.: National Capital P, 1925.<br />
<br />
N/A. "New Color Television". Science Newsletter, 1948.<br />
<br />
Monfort, Ray A. A Brief History of Television for the Layman. Los Angeles: University of California P, 1949.<br />
<br />
Reily, John W., and Frank V. Cantwell. Some Observations on the Social Effects of Television. Oxford UP, 1949.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Mechanical_Television&diff=1899Mechanical Television2007-10-31T15:28:45Z<p>Matt: </p>
<hr />
<div>==History==<br />
In June of 1923 Charles Jenkins, an inventor from Dayton, Ohio, invented and transmitted the earliest moving images through a mechanical television system called Radiovision. He publicly performed his first transmission, from Anacosta, Virginia to Washington, D.C. in June of 1925. Jenkins Laboratories constructed a Radiovision transmitter, W3XK, in Washington D.C. The short-wave station began transmitting radiomovies across the Eastern U.S. on a regular basis by July 2, 1928. As far back as 1894, Jenkins had been promoting mechanical television when he published an article in the "Electrical Engineer” describing a method of electrically transmitting pictures. In 1920, at a meeting of the Society of Motion Picture Engineers, Jenkins introduced his prismatic rings, a device that replaced the shutter on a film projector and an important invention that Charles Jenkins would later use in his Radiovision system.<br />
<br />
===How It Works===<br />
The transmitter had to be set in a studio in total darkness. Holes would be punched in a spiral disc would allow only light to be passed through these selective regions. The spinning disk would emit light bounced off of the subjects face from a light source within the transmitter onto a photoelectric cell that would convert the light image into electric signals. These would, in turn, be amplified and sent via radio waves to a receiver on the other end. <br />
<br />
The receiver on the other end would convert these electric impulses into a sequence of bright flashes in a neon tube located within the receiver. A disc would rotate very rapidly in front of this tube and converted every small flash into a part of the overall image. The speed of the disc would make “persistence of vision” (when the brain retains an image for one tenth of a second after the eye perceives it) possible for the viewer. Originally the image was very scratchy and the picture had to be constantly adjusted. This made some technical knowledge a necessity thus shrinking the prospective demographic to a select few (mostly men) who knew how to operate these machines. There was also originally no audio to accompany the pictures. Sepreate radios had to be purchased, or used if the viewer already had one, and tuned into a seperate station that would supplement the noises and music for the show they were watching.<br />
<br />
===Programming===<br />
Despite the limitations that the early, crude mechanical televisions presented, producers began to experiment with storytelling and programming. In 1928, the first television drama was produced. “The Queen’s Messenger”, shot on three cameras, was received on a General Electric Octagon set in Shenectady, New York. The play had two characters, with only the heads or the hands of the four actors visible at any one time. Two actors spoke the lines, while the other two acted as hand models. In 1931 The Radio Corporation of America (RCA) broadcast signals from The Empire State Building featuring the first television star, Felix The Cat.<br />
<br />
<br />
===Demise===<br />
The main problem with the mechanical television was that there was no set standard for production of the actual sets as well as transmission and reception of signals. This being the case, signal strength ws always very weak and the unit itself required constant tuning to keep the picture relatively clear. The invention of the glass vacuum tube television both expanded the audience demographic because it required little to no picture fine tuning and made the mechanical television obsolete.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Mechanical_Television&diff=1766Mechanical Television2007-10-31T00:29:43Z<p>Matt: </p>
<hr />
<div>==History==<br />
In June of 1923 Charles Jenkins, an inventor from Dayton, Ohio, invented and transmitted the earliest moving images through a mechanical television system called Radiovision. He publicly performed his first transmission, from Anacosta, Virginia to Washington in June of 1925. As far back as 1894, Jenkins had been promoting mechanical television when he published an article in the "Electrical Engineer” describing a method of electrically transmitting pictures. In 1920, at a meeting of the Society of Motion Picture Engineers, Jenkins introduced his prismatic rings, a device that replaced the shutter on a film projector and an important invention that Charles Jenkins would later use in his Radiovision system.<br />
<br />
===How It Works===<br />
The transmitter had to be set in a studio in total darkness. Holes would be punched in a spiral disc would allow only light to be passed through these selective regions. The spinning disk would emit light bounced off of the subjects face from a light source within the transmitter onto a photoelectric cell that would convert the light image into electric signals. These would, in turn, be amplified and sent via radio waves to a receiver on the other end. <br />
<br />
The receiver on the other end would convert these electric impulses into a sequence of bright flashes in a neon tube located within the receiver. A disc would rotate very rapidly in front of this tube and converted every small flash into a part of the overall image. The speed of the disc would make “persistence of vision” (when the brain retains an image for one tenth of a second after the eye perceives it) possible for the viewer. Originally the image was very scratchy and the picture had to be constantly adjusted. This made some technical knowledge a necessity thus shrinking the prospective demographic to a select few (mostly men) who knew how to operate these machines. There was also originally no audio to accompany the pictures. Sepreate radios had to be purchased, or used if the viewer already had one, and tuned into a seperate station that would supplement the noises and music for the show they were watching.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1459Newspaper via Radio Facsimile2007-10-16T20:40:22Z<p>Matt: /* Intended Uses */</p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
<br />
==Intended Uses==<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper.<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
==Radio Fascimile Today==<br />
[[Image:Untitled 2.jpg|thumb|right|A newspaper being sent via fascimile]]<br />
<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)<br />
<br />
==Works Cited==<br />
<br />
United States Patent Office – Facsimile System – John V. L. Hogan. Google Patents. Application: June 16, 1934. Patented March 7, 1939. Patent # 2,149,292<br />
<br />
"Facsimile Paper 'Printed' by Radio." The New York Times 18 Apr. 1946: 1. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"First Daily Newspaper by Radio Facsimile." Radio-Craft Magazine Mar. 1939. 1 Oct. 2007.<br />
<br />
Hills, Lee, and Timothy J. Sullivan. Facsimile. First ed. New York: McGraw-Hill Book Company, 1949.<br />
<br />
Jones, Alex S. "Small Fax Newspaper Shakes Up Its Press Rivals." The New York Times 12 Aug. 1991, Late ed., sec. D: 8. 9 Oct. 2007. Keyword: news via facsimile.<br />
<br />
Onosko, Tim. "Wasn't the Future Wonderful?" Modern Mechanix May 1938. 1 Oct. 2007.<br />
<br />
Russell, Nick. "The Impact of Facsimile Transmission." Journalism Quarterly: 406-410. Lexis-Nexis. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"The Times Facsimile." The New York Times 17 Feb. 1948: 1. 10 Oct. 2007.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1458Newspaper via Radio Facsimile2007-10-16T20:40:11Z<p>Matt: /* General Information */</p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
==Radio Fascimile Today==<br />
[[Image:Untitled 2.jpg|thumb|right|A newspaper being sent via fascimile]]<br />
<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)<br />
<br />
==Works Cited==<br />
<br />
United States Patent Office – Facsimile System – John V. L. Hogan. Google Patents. Application: June 16, 1934. Patented March 7, 1939. Patent # 2,149,292<br />
<br />
"Facsimile Paper 'Printed' by Radio." The New York Times 18 Apr. 1946: 1. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"First Daily Newspaper by Radio Facsimile." Radio-Craft Magazine Mar. 1939. 1 Oct. 2007.<br />
<br />
Hills, Lee, and Timothy J. Sullivan. Facsimile. First ed. New York: McGraw-Hill Book Company, 1949.<br />
<br />
Jones, Alex S. "Small Fax Newspaper Shakes Up Its Press Rivals." The New York Times 12 Aug. 1991, Late ed., sec. D: 8. 9 Oct. 2007. Keyword: news via facsimile.<br />
<br />
Onosko, Tim. "Wasn't the Future Wonderful?" Modern Mechanix May 1938. 1 Oct. 2007.<br />
<br />
Russell, Nick. "The Impact of Facsimile Transmission." Journalism Quarterly: 406-410. Lexis-Nexis. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"The Times Facsimile." The New York Times 17 Feb. 1948: 1. 10 Oct. 2007.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1457Newspaper via Radio Facsimile2007-10-16T20:39:40Z<p>Matt: /* How The Radio Fascimile Worked */</p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
==Radio Fascimile Today==<br />
[[Image:Untitled 2.jpg|thumb|right|A newspaper being sent via fascimile]]<br />
<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)<br />
<br />
==Works Cited==<br />
<br />
United States Patent Office – Facsimile System – John V. L. Hogan. Google Patents. Application: June 16, 1934. Patented March 7, 1939. Patent # 2,149,292<br />
<br />
"Facsimile Paper 'Printed' by Radio." The New York Times 18 Apr. 1946: 1. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"First Daily Newspaper by Radio Facsimile." Radio-Craft Magazine Mar. 1939. 1 Oct. 2007.<br />
<br />
Hills, Lee, and Timothy J. Sullivan. Facsimile. First ed. New York: McGraw-Hill Book Company, 1949.<br />
<br />
Jones, Alex S. "Small Fax Newspaper Shakes Up Its Press Rivals." The New York Times 12 Aug. 1991, Late ed., sec. D: 8. 9 Oct. 2007. Keyword: news via facsimile.<br />
<br />
Onosko, Tim. "Wasn't the Future Wonderful?" Modern Mechanix May 1938. 1 Oct. 2007.<br />
<br />
Russell, Nick. "The Impact of Facsimile Transmission." Journalism Quarterly: 406-410. Lexis-Nexis. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"The Times Facsimile." The New York Times 17 Feb. 1948: 1. 10 Oct. 2007.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1456Newspaper via Radio Facsimile2007-10-16T20:39:06Z<p>Matt: /* Radio Fascimile Today */</p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
<br />
<br />
<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
==Radio Fascimile Today==<br />
[[Image:Untitled 2.jpg|thumb|right|A newspaper being sent via fascimile]]<br />
<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)<br />
<br />
==Works Cited==<br />
<br />
United States Patent Office – Facsimile System – John V. L. Hogan. Google Patents. Application: June 16, 1934. Patented March 7, 1939. Patent # 2,149,292<br />
<br />
"Facsimile Paper 'Printed' by Radio." The New York Times 18 Apr. 1946: 1. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"First Daily Newspaper by Radio Facsimile." Radio-Craft Magazine Mar. 1939. 1 Oct. 2007.<br />
<br />
Hills, Lee, and Timothy J. Sullivan. Facsimile. First ed. New York: McGraw-Hill Book Company, 1949.<br />
<br />
Jones, Alex S. "Small Fax Newspaper Shakes Up Its Press Rivals." The New York Times 12 Aug. 1991, Late ed., sec. D: 8. 9 Oct. 2007. Keyword: news via facsimile.<br />
<br />
Onosko, Tim. "Wasn't the Future Wonderful?" Modern Mechanix May 1938. 1 Oct. 2007.<br />
<br />
Russell, Nick. "The Impact of Facsimile Transmission." Journalism Quarterly: 406-410. Lexis-Nexis. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"The Times Facsimile." The New York Times 17 Feb. 1948: 1. 10 Oct. 2007.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1455Newspaper via Radio Facsimile2007-10-16T20:38:53Z<p>Matt: /* Works Cited */</p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
<br />
<br />
<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
==Radio Fascimile Today==<br />
[[Image:Untitled 2.jpg|thumb|left|A newspaper being sent via fascimile]]<br />
<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)<br />
<br />
<br />
<br />
<br />
<br />
<br />
==Works Cited==<br />
<br />
United States Patent Office – Facsimile System – John V. L. Hogan. Google Patents. Application: June 16, 1934. Patented March 7, 1939. Patent # 2,149,292<br />
<br />
"Facsimile Paper 'Printed' by Radio." The New York Times 18 Apr. 1946: 1. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"First Daily Newspaper by Radio Facsimile." Radio-Craft Magazine Mar. 1939. 1 Oct. 2007.<br />
<br />
Hills, Lee, and Timothy J. Sullivan. Facsimile. First ed. New York: McGraw-Hill Book Company, 1949.<br />
<br />
Jones, Alex S. "Small Fax Newspaper Shakes Up Its Press Rivals." The New York Times 12 Aug. 1991, Late ed., sec. D: 8. 9 Oct. 2007. Keyword: news via facsimile.<br />
<br />
Onosko, Tim. "Wasn't the Future Wonderful?" Modern Mechanix May 1938. 1 Oct. 2007.<br />
<br />
Russell, Nick. "The Impact of Facsimile Transmission." Journalism Quarterly: 406-410. Lexis-Nexis. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"The Times Facsimile." The New York Times 17 Feb. 1948: 1. 10 Oct. 2007.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1454Newspaper via Radio Facsimile2007-10-16T20:38:37Z<p>Matt: /* Initial Drawbacks And Rebirth */</p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
<br />
<br />
<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
==Radio Fascimile Today==<br />
[[Image:Untitled 2.jpg|thumb|left|A newspaper being sent via fascimile]]<br />
<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)<br />
<br />
==Works Cited==<br />
<br />
United States Patent Office – Facsimile System – John V. L. Hogan. Google Patents. Application: June 16, 1934. Patented March 7, 1939. Patent # 2,149,292<br />
<br />
"Facsimile Paper 'Printed' by Radio." The New York Times 18 Apr. 1946: 1. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"First Daily Newspaper by Radio Facsimile." Radio-Craft Magazine Mar. 1939. 1 Oct. 2007.<br />
<br />
Hills, Lee, and Timothy J. Sullivan. Facsimile. First ed. New York: McGraw-Hill Book Company, 1949.<br />
<br />
Jones, Alex S. "Small Fax Newspaper Shakes Up Its Press Rivals." The New York Times 12 Aug. 1991, Late ed., sec. D: 8. 9 Oct. 2007. Keyword: news via facsimile.<br />
<br />
Onosko, Tim. "Wasn't the Future Wonderful?" Modern Mechanix May 1938. 1 Oct. 2007.<br />
<br />
Russell, Nick. "The Impact of Facsimile Transmission." Journalism Quarterly: 406-410. Lexis-Nexis. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"The Times Facsimile." The New York Times 17 Feb. 1948: 1. 10 Oct. 2007.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1453Newspaper via Radio Facsimile2007-10-16T20:38:21Z<p>Matt: /* Radio Fascimile Today */</p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
<br />
<br />
<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
[[Image:Untitled 2.jpg|thumb|left|A newspaper being sent via fascimile]]<br />
<br />
==Radio Fascimile Today==<br />
[[Image:Untitled 2.jpg|thumb|left|A newspaper being sent via fascimile]]<br />
<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)<br />
<br />
==Works Cited==<br />
<br />
United States Patent Office – Facsimile System – John V. L. Hogan. Google Patents. Application: June 16, 1934. Patented March 7, 1939. Patent # 2,149,292<br />
<br />
"Facsimile Paper 'Printed' by Radio." The New York Times 18 Apr. 1946: 1. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"First Daily Newspaper by Radio Facsimile." Radio-Craft Magazine Mar. 1939. 1 Oct. 2007.<br />
<br />
Hills, Lee, and Timothy J. Sullivan. Facsimile. First ed. New York: McGraw-Hill Book Company, 1949.<br />
<br />
Jones, Alex S. "Small Fax Newspaper Shakes Up Its Press Rivals." The New York Times 12 Aug. 1991, Late ed., sec. D: 8. 9 Oct. 2007. Keyword: news via facsimile.<br />
<br />
Onosko, Tim. "Wasn't the Future Wonderful?" Modern Mechanix May 1938. 1 Oct. 2007.<br />
<br />
Russell, Nick. "The Impact of Facsimile Transmission." Journalism Quarterly: 406-410. Lexis-Nexis. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"The Times Facsimile." The New York Times 17 Feb. 1948: 1. 10 Oct. 2007.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1452Newspaper via Radio Facsimile2007-10-16T20:37:05Z<p>Matt: </p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
<br />
<br />
<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
[[Image:Untitled 2.jpg|thumb|left|A newspaper being sent via fascimile]]<br />
<br />
==Radio Fascimile Today==<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)<br />
<br />
<br />
<br />
==Works Cited==<br />
<br />
United States Patent Office – Facsimile System – John V. L. Hogan. Google Patents. Application: June 16, 1934. Patented March 7, 1939. Patent # 2,149,292<br />
<br />
"Facsimile Paper 'Printed' by Radio." The New York Times 18 Apr. 1946: 1. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"First Daily Newspaper by Radio Facsimile." Radio-Craft Magazine Mar. 1939. 1 Oct. 2007.<br />
<br />
Hills, Lee, and Timothy J. Sullivan. Facsimile. First ed. New York: McGraw-Hill Book Company, 1949.<br />
<br />
Jones, Alex S. "Small Fax Newspaper Shakes Up Its Press Rivals." The New York Times 12 Aug. 1991, Late ed., sec. D: 8. 9 Oct. 2007. Keyword: news via facsimile.<br />
<br />
Onosko, Tim. "Wasn't the Future Wonderful?" Modern Mechanix May 1938. 1 Oct. 2007.<br />
<br />
Russell, Nick. "The Impact of Facsimile Transmission." Journalism Quarterly: 406-410. Lexis-Nexis. 10 Oct. 2007. Keyword: Radio Facsimile.<br />
<br />
"The Times Facsimile." The New York Times 17 Feb. 1948: 1. 10 Oct. 2007.</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1451Newspaper via Radio Facsimile2007-10-16T20:34:09Z<p>Matt: /* Radio Fascimile Today */</p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
<br />
<br />
<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
[[Image:Untitled 2.jpg|thumb|left|A newspaper being sent via fascimile]]<br />
<br />
==Radio Fascimile Today==<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1)</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1450Newspaper via Radio Facsimile2007-10-16T20:33:24Z<p>Matt: </p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
<br />
<br />
<br />
<br />
<br />
==General Information==<br />
Developed by John V L. Hogan on June 16, 1934, the facsimile system, and its utilization to transmission of newspaper, was originally intended to broadcast a full newspaper into the home. At the time there was no national newspaper that could be easily distributed into every household across the country. The radio facsimile was designed to help this problem. The receiver attached to a household radio and was about the size of a record player. It printed out a four-column newspaper at a rate of about 500 words a minute with relative clarity in black and white on a roll of paper. The broadcasters wanted to ensure that the paper printed at a normal reading pace, (or slightly faster to make up for illustrations (Hills 14).<br />
<br />
<br />
There is some discrepancy over what the original costs were. Rolls of paper went from very costly in 1936 to only $1.00 in 1946. Also, according to an article in the New York Times, the receiver would cost no more than a portable typewriter. However, according to an article in Radio-Craft Magazine in May 1939, the manufacturer would be able to supply receivers at a cost of around $250.00. Right before the onset of World War II, two-column facsimile receivers cost about $75 each (Payne 291). According to FCC regulation the entire paper printed in a standard 15-minute broadcast time to coincide with regular news radio broadcasts. That broke down to 28 inches a minute for four facsimile pages 11.5 inches long and 8.2 inches wide (Hills 14). It seems likely that this final judgment regarding the most efficient and effective paper size has directly influenced what is considered the standard size of paper today.<br />
[[Image:Untitled 4.jpg|thumb|right|Womand watches as the Miami Herald is printed]]<br />
<br />
==Intended Uses==<br />
<br />
The newspaper via radio facsimile started as a means of relaying charts and information between shore and ships at sea. The army also took interest in it as a means of providing front-line photographs to otherwise inaccessible locations. The newspaper via radio facsimile allowed for a newspaper to be distributed anywhere in the world that could pick up a radio signal. Newspapers were no longer bounded by personal hand delivery and the costs of trucks (which was becoming even more costly with the rising oil prices). According to the New York Times, who first began their delivery of a four page facsimile edition of their paper on February 16th, 1948, made sure to note in their description of this new practice that “it is not, nor is it intended to be, a substitute for the regular editions. The facsimile edition, for instance, has only four pages, each less than one quarter the size of a regular newspaper page.” In addition to this alteration, their newspaper via radio <br />
facsimile makes only one copy, as opposed to the thousands that a normal newspaper press can produce. It therefore should be looked at as another means of transmission because the same staff is needed equally to produce the facsimile edition as the normal edition of the newspaper. <br />
<br />
<br />
<br />
==Advertisements of the Fascimile==<br />
<br />
Times Facsimile Corporation was a subsidiary of the New York Times Company that made the multitude of articles tracing the path of this technology making them seem like advertisements. Even though there seem to be no traces of direct advertisements for the newspaper via radio facsimile, there are many articles covering the technology including pictures of people posing next to the devices in their homes. Advertisements were included in the radio facsimile just as a normal print newspaper. The ads ranged from ladies’ coats to bedroom furniture.<br />
<br />
==How The Radio Fascimile Worked==<br />
<br />
<br />
<br />
<br />
<br />
The machine responsible for sending (called the “scanner-transmitter”) included a photo-electric cell attached to a drum that spun at a very fast rate in front of a beam of light. The light would scan over the paper, transmitting it into radio waves. At the receiving end-the person’s home- a varying electric signal caused minute metal particles to pass from the printing blade inside the machine to the chemically treated paper on the drum. This process reproduced both the blacks and grays necessary for a clear newspaper to be produced. (NYT, Facsimile Paper ‘Printed’ by Radio)<br />
<br />
[[Image:Untitled.jpg|thumb|right|Inner workings of a fascimile scanner]]<br />
<br />
==History of Invention==<br />
<br />
The theory of the facsimile started in 1842 with Alexander Bain, an English physicist when he created the electrochemical recording telegraph. This telegraph employed a wire circuit to mark paper. The early radio facsimile experiments started in the 1920s over AM broadcasting. Radio Corporation of America participated in these experiments. They concentrated on developing commercial short-wave facsimile but stopped this service in 1936. According to their book Facsimile, Hills and Sullivan note how it “was hailed on the one hand as heralding a revolution in the dissemination of news and pictures. It was damned on the other hand as being the ‘fanciest way yet devised to do bad printing’” (6). <br />
<br />
In 1924, The American Telephone and Telegraph Company transmitted photographs between London and New York by wire. However, they were sent as photographic negatives that had to be reprinted as photos. <br />
<br />
In 1926, Austin G. Cooley (who was the eventual chief of Times Facsimile, Inc. in New York) developed the “ray photo”, or radio photograph system that involved a corona discharge that created an image at the recorder. Over 27 broadcasters experimented with this technology and demonstrated it to the public, however, it was ultimately deemed too slow as it took three minutes to record twenty square inches. Cooley Hills notes that Cooley’s “developments gave impetus to facsimile generally” (7). Around 1936, RCA developed an “ultrahigh-frequency receiver, a carbon-paper recorder, and a device for cutting off the facsimile pages as received and stacking them in a tray” (8). The receiver was pre-tuned, automatic, and could be turned on/off from the transmitter with the push of a button. <br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
==Initial Drawbacks And Rebirth==<br />
<br />
The newspaper via radio facsimile experienced initial drawbacks because the systems were too slow. Most sheets were too small, measuring only three inches wide, which did not allow for quality images or print. The information passed along the facsimiles was not that intriguing. In addition, broadcasters failed to regularly schedule facsimile programs, making it difficult to know when to expect them. Not to mention the fact that the transmitters and the entire production process was too expensive to be considered practical. All of these factors contributed to the fact that there were only four stations broadcasting via facsimile at the time of the Japanese attack on Pearl Harbor.<br />
<br />
Newspaper unions also halted the initial take off of the radio facsimile because they feared being replaced by these electronic machines. Craven notes in his 1941 article “New Horizons in Radio” that the newspaper industry included millions of dollars in capital and thousands of employed labor (128). It was feared that the newspaper industry would crumble and the economy would suffer.<br />
<br />
However, with the onset of World War II, companies like Hogan’s Radio Inventions, Inc., were hired to do facsimile research for the United States government, and they attacked said issues with full force. The war brought to light the many capabilities of this equipment still unexplored, and revived people’s interest in further developing it into a profitable product for the masses. Improvements such as an increase in the speed of recording, enlarging the size of paper used, and a reduction in the amount of noise produced during transmission were all largely responsible for the ensuing growth of the commercialized radio facsimile.<br />
<br />
[[Image:Untitled 2.jpg|thumb|left|A newspaper being sent via fascimile]]<br />
<br />
==Radio Fascimile Today==<br />
<br />
Although the concept of news via radio facsimile was never fully embraced, there have been continual, yet sporadic attempts to successfully commercialize this means of newspaper transmission. As recent as 1991, the New York Times reported on the existence of a one page fax paper, Fax Today, being distributed in two small towns in Illinois. While aware of its limited commercial success in the past, the creators of Fax Today hoped that free subscriptions of the paper would help to transform this means of newspaper transmission into a more profitable and ubiquitous function of radio facsimile technology. (Jones 1</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1448Newspaper via Radio Facsimile2007-10-16T19:11:32Z<p>Matt: </p>
<hr />
<div>[[Image:Untitled 5.jpg|thumb|right|Children read completed pages as they are being fed out of the fascimile]]<br />
<br />
[[Image:Untitled 4.jpg|thumb|left|Womand watches as pages are printed out]]<br />
<br />
[[Image:Untitled 3.jpg|thumb|right]]<br />
<br />
[[Image:Untitled 2.jpg|thumb|right|A newspaper being sent via fascimile]]<br />
<br />
[[Image:Untitled.jpg|thumb|left|Inner workings of a fascimile]]</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Untitled_5.jpg&diff=1447File:Untitled 5.jpg2007-10-16T18:51:41Z<p>Matt: </p>
<hr />
<div>[[Image:orgflor.jpg|thumb|right|Untitled 5]]</div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Untitled_5.jpg&diff=1446File:Untitled 5.jpg2007-10-16T18:51:04Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Untitled_4.jpg&diff=1445File:Untitled 4.jpg2007-10-16T18:50:30Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Untitled_3.jpg&diff=1444File:Untitled 3.jpg2007-10-16T18:49:52Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Untitled_2.jpg&diff=1443File:Untitled 2.jpg2007-10-16T18:47:00Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=File:Untitled.jpg&diff=1442File:Untitled.jpg2007-10-16T18:39:53Z<p>Matt: </p>
<hr />
<div></div>Matthttp://cultureandcommunication.org/deadmedia/index.php?title=Newspaper_via_Radio_Facsimile&diff=1434Newspaper via Radio Facsimile2007-10-16T00:40:13Z<p>Matt: </p>
<hr />
<div></div>Matt