http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&feed=atom&action=historyHollerith Punch Card - Revision history2024-03-19T04:11:55ZRevision history for this page on the wikiMediaWiki 1.25.2http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=12692&oldid=prevFinnb: Undo revision 12534 by Egugecuge (Talk)2010-11-24T14:48:42Z<p>Undo revision 12534 by <a href="/deadmedia/index.php/Special:Contributions/Egugecuge" title="Special:Contributions/Egugecuge">Egugecuge</a> (<a href="/deadmedia/index.php?title=User_talk:Egugecuge&action=edit&redlink=1" class="new" title="User talk:Egugecuge (page does not exist)">Talk</a>)</p>
<a href="http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=12692&oldid=12534">Show changes</a>Finnbhttp://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=12534&oldid=prevEgugecuge at 04:31, 24 November 20102010-11-24T04:31:58Z<p></p>
<a href="http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=12534&oldid=7866">Show changes</a>Egugecugehttp://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=7866&oldid=prevAlex at 03:46, 8 April 20102010-04-08T03:46:30Z<p></p>
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</table>Alexhttp://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=3458&oldid=prevTrh249: /* References */2008-03-05T21:56:19Z<p><span dir="auto"><span class="autocomment">References</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Gates, Henry Louis Gates. 1998. "'Race' as Trope of the World" Social Theory: The Multicultural and Classic Readings. ed. Charles Lemert. Boulder, Colo. : Westview Press.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Gates, Henry Louis Gates. 1998. "'Race' as Trope of the World" Social Theory: The Multicultural and Classic Readings. ed. Charles Lemert. Boulder, Colo. : Westview Press.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Haraway, Donna Jeanne. 1991. Simians, cyborgs, and women : the reinvention of nature. London: Free Association.</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Harper's Weekly. "The Plans for the Twelfth Census." 19 August 1899.   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Harper's Weekly. "The Plans for the Twelfth Census." 19 August 1899.   </div></td></tr>
</table>Trh249http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=3457&oldid=prevTrh249: /* Tabulator and Sorter */2008-03-05T21:55:38Z<p><span dir="auto"><span class="autocomment">Tabulator and Sorter</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:1942_War_Dept_card_punching_section_WP_DCPL.jpg|thumb|left|All African American female war department office with white female supervisor in 1942]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:1942_War_Dept_card_punching_section_WP_DCPL.jpg|thumb|left|All African American female war department office with white female supervisor in 1942]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>It further must be noted that tabulating work was almost from its inception gendered.  One visitor to the 1890 census office stated that “it is a very tidy and airy machineshop, however, where nice-looking girls in cool white dresses are at work at the long rows of counting machines… At first glace the machines remind one of upright pianos” (Austrain, 60).  Like secretarial work, the tedious machine-like work of punching cards and tabulating their results quickly became associated with women.  While men were detached from the machine and were the ones to analyze the results, women were- to quote Donna <del class="diffchange diffchange-inline">Harroway</del>- “cyborgs” that operated as one with the devices, both in leisure (the piano) and in labor (the Hollerith machine).  When WWII brought African Americans into the workforce, this binary continued with black women placed on key punches transforming human language into that of the machine.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>It further must be noted that tabulating work was almost from its inception gendered.  One visitor to the 1890 census office stated that “it is a very tidy and airy machineshop, however, where nice-looking girls in cool white dresses are at work at the long rows of counting machines… At first glace the machines remind one of upright pianos” (Austrain, 60).  Like secretarial work, the tedious machine-like work of punching cards and tabulating their results quickly became associated with women.  While men were detached from the machine and were the ones to analyze the results, women were- to quote Donna <ins class="diffchange diffchange-inline">Haraway</ins>- “cyborgs” that operated as one with the devices, both in leisure (the piano) and in labor (the Hollerith machine<ins class="diffchange diffchange-inline">) (Haraway</ins>).  When WWII brought African Americans into the workforce, this binary continued with black women placed on key punches transforming human language into that of the machine.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Multiple Uses of the Punch Card Technology ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Multiple Uses of the Punch Card Technology ==</div></td></tr>
</table>Trh249http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=3456&oldid=prevTrh249: /* References */2008-03-05T21:52:52Z<p><span dir="auto"><span class="autocomment">References</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>    </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>    </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Austrian, Geoffrey. 1982. Herman Hollerith, forgotten giant of information processing. New York: Columbia University Press.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Austrian, Geoffrey. 1982. Herman Hollerith, forgotten giant of information processing. New York: Columbia University Press.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Bell, William D., "The 'DUZ' General-Purpose Control Panel for the IBM Type 604 Electronic Calculator", IBM Technical Newsletter, No.1, IBM, New York (Jun 1950), pp.9-11 (also see Grosch, pp.107-108, about Bill Bell).</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Derrida, Jacques. 2005. Paper machine, Cultural memory in the present. Stanford, Calif.: Stanford University Press.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Derrida, Jacques. 2005. Paper machine, Cultural memory in the present. Stanford, Calif.: Stanford University Press.</div></td></tr>
</table>Trh249http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=3455&oldid=prevTrh249: /* Key Punch */2008-03-05T21:52:39Z<p><span dir="auto"><span class="autocomment">Key Punch</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:punchcards1.jpg|thumb|left|The keyboard, which was used to code the punch card and precursor to the modern interface]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:punchcards1.jpg|thumb|left|The keyboard, which was used to code the punch card and precursor to the modern interface]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Although often located in the same room, the technologies used to imprint punch cards and those used to read, sort and analyze them remained separate until the introduction of the IBM 604 in 1948 (<del class="diffchange diffchange-inline">needs citation</del>).  It is important to note that the sole purpose of the keyboard punch was to take data legible to humans and to transform it into data legible by a machine.  Handwritten forms from which the data was transcribed could be counted and arranged in the same manner as the punch card- for each form also represented a singe person- but such a process was intensely consumptive of both time and resources (the 1880 census actually ran out of funds before finalizing its analysis of the population).  Hollerith tabulating and sorting machines drastically cut the effort needed to conduct such an analysis, but in order to achieve this ends the from had to be transformed into the card.  Since the pantograph is itself a machine of transcription that meditates and produces punched cards, it can be argued that the punch card is a medium of communication between machines.  The pantograph receives input from the handwritten forms and internalizes this data in the form of the punch card, which is then read by the tabulator which then produces statistics.  While this suggests that the keyboard punch is a form of rudimentary interface, because the two machines remained separate for the majority of the mediums' institutional dominance (punch cards were, for the most part, obsolesced in the 1970s) punch cards should be seen as an inherently machine-centric (as opposed to anthropocentric) medium.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Although often located in the same room, the technologies used to imprint punch cards and those used to read, sort and analyze them remained separate until the introduction of the IBM 604 in 1948 (<ins class="diffchange diffchange-inline">Bell</ins>).  It is important to note that the sole purpose of the keyboard punch was to take data legible to humans and to transform it into data legible by a machine.  Handwritten forms from which the data was transcribed could be counted and arranged in the same manner as the punch card- for each form also represented a singe person- but such a process was intensely consumptive of both time and resources (the 1880 census actually ran out of funds before finalizing its analysis of the population).  Hollerith tabulating and sorting machines drastically cut the effort needed to conduct such an analysis, but in order to achieve this ends the from had to be transformed into the card.  Since the pantograph is itself a machine of transcription that meditates and produces punched cards, it can be argued that the punch card is a medium of communication between machines.  The pantograph receives input from the handwritten forms and internalizes this data in the form of the punch card, which is then read by the tabulator which then produces statistics.  While this suggests that the keyboard punch is a form of rudimentary interface, because the two machines remained separate for the majority of the mediums' institutional dominance (punch cards were, for the most part, obsolesced in the 1970s) punch cards should be seen as an inherently machine-centric (as opposed to anthropocentric) medium.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:duplicating key punch.jpg|thumb|left|IBM Type 016 motor-driven Duplicating Key Punch]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:duplicating key punch.jpg|thumb|left|IBM Type 016 motor-driven Duplicating Key Punch]]</div></td></tr>
</table>Trh249http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=3454&oldid=prevTrh249: /* References */2008-03-05T21:50:27Z<p><span dir="auto"><span class="autocomment">References</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 21:50, 5 March 2008</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L202" >Line 202:</td>
<td colspan="2" class="diff-lineno">Line 202:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Du Bois, W.E.B. 1998. Black reconstruction : an essay toward a history of the part which black folk played in the attempt to reconstruct democracy in America, 1860-1880. New York : Harcourt, Brace and Co</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Du Bois, W.E.B. 1998. Black reconstruction : an essay toward a history of the part which black folk played in the attempt to reconstruct democracy in America, 1860-1880. New York : Harcourt, Brace and Co</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Disney, Doris Miles. 1970. Do not fold, spindle, or mutilate. [1st ed. Garden City, N.Y.,: Published for the Crime Club by Doubleday.</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Eisenstein, Elizabeth L. 2005. The printing revolution in early modern Europe. 2nd ed. Cambridge ; New York: Cambridge University Press.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Eisenstein, Elizabeth L. 2005. The printing revolution in early modern Europe. 2nd ed. Cambridge ; New York: Cambridge University Press.</div></td></tr>
</table>Trh249http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=3453&oldid=prevTrh249: /* Punch Cards */2008-03-05T21:50:05Z<p><span dir="auto"><span class="autocomment">Punch Cards</span></span></p>
<table class='diff diff-contentalign-left'>
<col class='diff-marker' />
<col class='diff-content' />
<col class='diff-marker' />
<col class='diff-content' />
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 21:50, 5 March 2008</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L105" >Line 105:</td>
<td colspan="2" class="diff-lineno">Line 105:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Fold spindle mutilate.jpg|thumb|right|"Human Punchcard" by Jesse Drew]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Fold spindle mutilate.jpg|thumb|right|"Human Punchcard" by Jesse Drew]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The material necessities of the punch card- that it be cheaply reproduced and easily punctured- resulted in an object that was, like other paper products, quite fragile.  The phrase “do not fold, bend, spindle or mutilate” was a common phrase that accompanied punch cards that warned against abuse of the material which would render it illegible to the tabulating machines.  This saying gained cultural currency in the 1960’s and 1970’s as representative of the alienation and dehumanization that accompanied the rise of computers, inspiring both a movie and a novel of the same title (<del class="diffchange diffchange-inline">needs citation</del>).  The phrase invoked the irony of the situation in which people were forbidden to violate material objects that were the very tools by which they were integrated into technocratic bureaucracies.  Such prohibitions were not meant to be taken lightly, for the material disfigurement or destruction of the punch card meant potential disruptions of Kafkaesque proportions- taking the example of the 1890 census, since each individual was represented by a punch card, a card’s misuse or alteration fundamentally changed the way in which an individual counted, or if they counted at all.  Once the use of punch cards spread throughout various institutional contexts, following the census in military and health care systems and then rapidly expanding through both the public and private sector, the physical integrity of the punch card often had a direct effect on the physical integrity of the individual.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The material necessities of the punch card- that it be cheaply reproduced and easily punctured- resulted in an object that was, like other paper products, quite fragile.  The phrase “do not fold, bend, spindle or mutilate” was a common phrase that accompanied punch cards that warned against abuse of the material which would render it illegible to the tabulating machines.  This saying gained cultural currency in the 1960’s and 1970’s as representative of the alienation and dehumanization that accompanied the rise of computers, inspiring both a movie and a novel of the same title (<ins class="diffchange diffchange-inline">Disney</ins>).  The phrase invoked the irony of the situation in which people were forbidden to violate material objects that were the very tools by which they were integrated into technocratic bureaucracies.  Such prohibitions were not meant to be taken lightly, for the material disfigurement or destruction of the punch card meant potential disruptions of Kafkaesque proportions- taking the example of the 1890 census, since each individual was represented by a punch card, a card’s misuse or alteration fundamentally changed the way in which an individual counted, or if they counted at all.  Once the use of punch cards spread throughout various institutional contexts, following the census in military and health care systems and then rapidly expanding through both the public and private sector, the physical integrity of the punch card often had a direct effect on the physical integrity of the individual.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:chads.jpg|thumb|left|Uncanny Jar of Chads]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:chads.jpg|thumb|left|Uncanny Jar of Chads]]</div></td></tr>
</table>Trh249http://cultureandcommunication.org/deadmedia/index.php?title=Hollerith_Punch_Card&diff=3452&oldid=prevTrh249: /* Punch Cards */2008-03-05T21:47:48Z<p><span dir="auto"><span class="autocomment">Punch Cards</span></span></p>
<table class='diff diff-contentalign-left'>
<col class='diff-marker' />
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<col class='diff-marker' />
<col class='diff-content' />
<tr style='vertical-align: top;'>
<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 21:47, 5 March 2008</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L91" >Line 91:</td>
<td colspan="2" class="diff-lineno">Line 91:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Hollerith punch cards were typically pieces of thin cardboard (although different forms of paper were utilized, with varying levels of success, throughout its history) cut to be 3.25 inches by 7.375 inches- the same size as the US currency in 1887, so that the cards could be stored in treasury bins.  Hollerith cards initially had 24 columns, although later versions as many as 90.  A corner of the punch cards was typically cut in order to ensure that they maintained the same orientation when stacked or tabulated, but held no further meaning.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Hollerith punch cards were typically pieces of thin cardboard (although different forms of paper were utilized, with varying levels of success, throughout its history) cut to be 3.25 inches by 7.375 inches- the same size as the US currency in 1887, so that the cards could be stored in treasury bins.  Hollerith cards initially had 24 columns, although later versions as many as 90.  A corner of the punch cards was typically cut in order to ensure that they maintained the same orientation when stacked or tabulated, but held no further meaning.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>These punch cards were, by admission of their inventor, conceptually based on several pre-existing technologies: the [[Jacquard Loom]], the [[automatic telegraph]], and train tickets punched by the conductor in holes used for description.  The idea for the punch card tabulator was initially suggested by Dr. John S. Billings to Hollerith while both were working on the 1880 US census, stating that there “ought to be a machine for doing the purely mechanical work of tabulating population and similar statistics”, thinking that such a machine would create cards with the description of the individual notched into the side (Austrian).  Hollerith’s first attempts at creating a tabulating machine involved punching holes into a roll of paper, with the relative position of the holes representing different aspects of the individuals recorded (i.e. sex, race, number of members of the household, etc).  This role of paper could then be run over an electrified drum, which made electrical contact through the punched holes and activated the counters in a manner similar to the automatic telegraph.  Yet the use of the roll of paper was ultimately unsatisfactory to Hollerith, for “the trouble was that if, for example, you wanted any statistics regarding Chinamen, you would have to run miles of paper to count a few Chinamen.” (Austrian).  Drawing on his knowledge of the train tickets- so-called “punch photographs”- Hollerith abandoned the linear roll of paper for sets of punch cards- pieces of paper or cardboard cut into standardized shape, typically a rectangle- each of which could stand for an individual.  Initially, Hollerith actually used a train conductor’s punch to create his cards, but the strain incurred from the repetitive exercise proved to be inhibitive.   </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>These punch cards were, by admission of their inventor, conceptually based on several pre-existing technologies: the [[Jacquard Loom]], the [[automatic telegraph]], and train tickets punched by the conductor in holes used for description.  The idea for the punch card tabulator was initially suggested by Dr. John S. Billings to Hollerith while both were working on the 1880 US census, stating that there “ought to be a machine for doing the purely mechanical work of tabulating population and similar statistics”, thinking that such a machine would create cards with the description of the individual notched into the side (Austrian).  Hollerith’s first attempts at creating a tabulating machine involved punching holes into a roll of paper, with the relative position of the holes representing different aspects of the individuals recorded (i.e. sex, race, number of members of the household, etc).  This role of paper could then be run over an electrified drum, which made electrical contact through the punched holes and activated the counters in a manner similar to the automatic telegraph.  Yet the use of the roll of paper was ultimately unsatisfactory to Hollerith, for “the trouble was that if, for example, you wanted any statistics regarding Chinamen, you would have to run miles of paper to count a few Chinamen.” (Austrian<ins class="diffchange diffchange-inline">, 14</ins>).  Drawing on his knowledge of the train tickets- so-called “punch photographs”- Hollerith abandoned the linear roll of paper for sets of punch cards- pieces of paper or cardboard cut into standardized shape, typically a rectangle- each of which could stand for an individual.  Initially, Hollerith actually used a train conductor’s punch to create his cards, but the strain incurred from the repetitive exercise proved to be inhibitive.   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:original punch card.jpg|thumb|left|Original Hollerith Punch Card]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:original punch card.jpg|thumb|left|Original Hollerith Punch Card]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The move from the strip of paper to the individualized punch card enabled the unit of information- for the census, the individual- to be “processed once, rearranged in new combinations, and processed again, until every bit of useful information was extracted” (Austrian).  This shift away from the remediation of both the Jacquard Loom and automatic telegraph is of the utmost importance, for it not only eased the extraction of specific information (Hollerith’s Chinamen”), it fundamentally reconstituted the relationship between the data recorded and the statistician.  While the rolls of paper could be read and counted, punch cards constituted a malleable assemblage that could be dismantled and reconstructed into all possible permutations.  Remembering that the information that this invention was created to record was individual data- that each card represented an individual- one can see that the technology of the punch card allowed for an understanding of the US population as an infinitely divisible and rearrangeable mass.  Although the input of information into the rolls of paper were not meant to be serial in order, the linear nature of the medium nonetheless created a form of order unintended and unwanted by Hollerith- to find a few Chinamen it was necessary to scan the entire population, for the Chinamen were literally inseparable from the cohesive whole.  With the punch cards, it was possible to create relationships that did not necessarily exist amongst the individuals represented.  All married female octoroons whose mothers were born outside of the country could be melded into a demographic group (quite literally by extracting and compiling their cards), regardless of whether or not these individuals were even aware of each other’s existence.  They were, to reiterate Deleuze's term, "dividuals."</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The move from the strip of paper to the individualized punch card enabled the unit of information- for the census, the individual- to be “processed once, rearranged in new combinations, and processed again, until every bit of useful information was extracted” (Austrian<ins class="diffchange diffchange-inline">, 16</ins>).  This shift away from the remediation of both the Jacquard Loom and automatic telegraph is of the utmost importance, for it not only eased the extraction of specific information (Hollerith’s Chinamen”), it fundamentally reconstituted the relationship between the data recorded and the statistician.  While the rolls of paper could be read and counted, punch cards constituted a malleable assemblage that could be dismantled and reconstructed into all possible permutations.  Remembering that the information that this invention was created to record was individual data- that each card represented an individual- one can see that the technology of the punch card allowed for an understanding of the US population as an infinitely divisible and rearrangeable mass.  Although the input of information into the rolls of paper were not meant to be serial in order, the linear nature of the medium nonetheless created a form of order unintended and unwanted by Hollerith- to find a few Chinamen it was necessary to scan the entire population, for the Chinamen were literally inseparable from the cohesive whole.  With the punch cards, it was possible to create relationships that did not necessarily exist amongst the individuals represented.  All married female octoroons whose mothers were born outside of the country could be melded into a demographic group (quite literally by extracting and compiling their cards), regardless of whether or not these individuals were even aware of each other’s existence.  They were, to reiterate Deleuze's term, "dividuals."</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:IBM1130CopyCard.agr.jpg|thumb|right|Binary Punch Card]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:IBM1130CopyCard.agr.jpg|thumb|right|Binary Punch Card]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Cards were encoded by the placement of the holes punched into them.  For this reason, the information written on the cards themselves (typically numbers, and often lines indicating column and row) were unnecessary to the technology, used only for quick correction or, for those well versed in the process, reading individual cards by sight (Austrian).  To this purpose, a metal sheet cut the same size as the cards with the meaning of the individual holes could also be used to decipher the information held within(Austrian).  Tellingly, during the 1890 census when Hollerith Punch Cards were first introduced, most of the cards were blank (Austrian).  The data encoded into the punch cards at the dawn of its use can be thought of as being both digital and analogue.  In a very basic sense, the presence or lack of holes is a binary system- the coded information is either “on” or “off”.  Yet in its initial use, each position on the card stood for a single piece of information- one space was designated for male, another for married individuals, etc.  As such, the coding was a process of spatializing analogue data.  Actual binary cards were later produced (used primarily for computer programming) in which the holes represented zeroes and ones, and on these cards the relative position of the holes was of significantly less importance.  Despite the increased sophistication of systems of encoding (the 80 column card with twelve punch positions, which came to be the dominant format known generally as the “IBM card”, used the eleventh and twelfth position as a “zone punch” which symbolized plus or negative signs, or other coded information which changed the interpretation of the other ten punch positions), most punch cards were used to store information in a spatialized analogue format.  The transformation of information into a spatialized data enabled its decoding to be simultaneous- all information on a card could be read at once.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Cards were encoded by the placement of the holes punched into them.  For this reason, the information written on the cards themselves (typically numbers, and often lines indicating column and row) were unnecessary to the technology, used only for quick correction or, for those well versed in the process, reading individual cards by sight (Austrian).  To this purpose, a metal sheet cut the same size as the cards with the meaning of the individual holes could also be used to decipher the information held within (Austrian<ins class="diffchange diffchange-inline">, 63</ins>).  Tellingly, during the 1890 census when Hollerith Punch Cards were first introduced, most of the cards were blank (Austrian).  The data encoded into the punch cards at the dawn of its use can be thought of as being both digital and analogue.  In a very basic sense, the presence or lack of holes is a binary system- the coded information is either “on” or “off”.  Yet in its initial use, each position on the card stood for a single piece of information- one space was designated for male, another for married individuals, etc.  As such, the coding was a process of spatializing analogue data.  Actual binary cards were later produced (used primarily for computer programming) in which the holes represented zeroes and ones, and on these cards the relative position of the holes was of significantly less importance.  Despite the increased sophistication of systems of encoding (the 80 column card with twelve punch positions, which came to be the dominant format known generally as the “IBM card”, used the eleventh and twelfth position as a “zone punch” which symbolized plus or negative signs, or other coded information which changed the interpretation of the other ten punch positions), most punch cards were used to store information in a spatialized analogue format.  The transformation of information into a spatialized data enabled its decoding to be simultaneous- all information on a card could be read at once.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:CardRear-reg.jpg|thumb|left|"Do Not Bend or Mutilate This Card"]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:CardRear-reg.jpg|thumb|left|"Do Not Bend or Mutilate This Card"]]</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="L109" >Line 109:</td>
<td colspan="2" class="diff-lineno">Line 109:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:chads.jpg|thumb|left|Uncanny Jar of Chads]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:chads.jpg|thumb|left|Uncanny Jar of Chads]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The Hollerith punch card, along with similar technologies such as the Jacquard Loom, challenges the relationship of paper with the idea of "surface", what Jacques Derrida calls the "paper principle" (Derrida<del class="diffchange diffchange-inline">@</del>48).  Information is stored in the punch cards not through the inscription of traces on its surface, but rather in the alteration of its shape. Despite the admonishment not to "fold, spindle or mutilate" the punch card, the act of inscription is a permanent mutilation of the paper's surface.  This puncture causes the two sides of the paper to meet, creating new edges and boundaries that are held internally, creating a lack that holds meaning.  Unlike a surface that can be erased or wiped clean, the punch card becomes the information punched into it. The chad, the leftover piece of surface that has been removed by the puncture, is immediately discarded as refuse.  Since meaning is held within absence, the presence of the chad is an unwelcome impediment that recalls residual possibility.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The Hollerith punch card, along with similar technologies such as the Jacquard Loom, challenges the relationship of paper with the idea of "surface", what Jacques Derrida calls the "paper principle" (Derrida<ins class="diffchange diffchange-inline">,</ins>48).  Information is stored in the punch cards not through the inscription of traces on its surface, but rather in the alteration of its shape. Despite the admonishment not to "fold, spindle or mutilate" the punch card, the act of inscription is a permanent mutilation of the paper's surface.  This puncture causes the two sides of the paper to meet, creating new edges and boundaries that are held internally, creating a lack that holds meaning.  Unlike a surface that can be erased or wiped clean, the punch card becomes the information punched into it. The chad, the leftover piece of surface that has been removed by the puncture, is immediately discarded as refuse.  Since meaning is held within absence, the presence of the chad is an unwelcome impediment that recalls residual possibility.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Key Punch ===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>=== Key Punch ===</div></td></tr>
</table>Trh249