History ofMultimedia

History of the termO The term multimedia was coined by

singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of a British artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia."

History of the termO On August 10, 1966, Richard

Albarino of Variety borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest multi-media music-cum-visuals to debut as discothèque fare.” Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein’s producers at L’Oursin.

History of the termO In the intervening forty years, the

word has taken on different meanings. In the late 1970s, the term referred to presentations consisting of multi-projector slide shows timed to an audio track. However, by the 1990s 'multimedia' took on its current meaning.

History of the termO In the 1993 first edition of McGraw-Hill’s

Multimedia: Making It Work, Tay Vaughan declared “Multimedia is any combination of text, graphic art, sound, animation, and video that is delivered by computer. When you allow the user – the viewer of the project – to control what and when these elements are delivered, it is interactive multimedia. When you provide a structure of linked elements through which the user can navigate, interactive multimedia becomes hypermedia.”

History of the termO The German language society,

Gesellschaft für deutsche Sprache, decided to recognize the word's significance and ubiquitousness in the 1990s by awarding it the title of 'Word of the Year' in 1995. The institute summed up its rationale by stating "[Multimedia] has become a central word in the wonderful new media world”.

History of the termO In common usage, multimedia refers to an

electronically delivered combination of media including video, still images, audio, text in such a way that can be accessed interactively. Much of the content on the web today falls within this definition as understood by millions. Some computers which were marketed in the 1990s were called "multimedia" computers because they incorporated a CD-ROM drive, which allowed for the delivery of several hundred megabytes of video, picture, and audio data. That era saw also a boost in the production of educational multimedia CD-ROMs.

History of the termO In common usage, multimedia refers to an

electronically delivered combination of media including video, still images, audio, text in such a way that can be accessed interactively. Much of the content on the web today falls within this definition as understood by millions. Some computers which were marketed in the 1990s were called "multimedia" computers because they incorporated a CD-ROM drive, which allowed for the delivery of several hundred megabytes of video, picture, and audio data. That era saw also a boost in the production of educational multimedia CD-ROMs.

KDKA (AM)O KDKA (1020 kHz) is a

radio station licensed in Pittsburgh, Pennsylvania. Created by the Westinghouse Electric Corporation on November 2, 1920, it is the world's first commercial radio station, a distinction that has also been challenged by other stations, although it has claimed to be the "world's first commercially licensed radio station". KDKA is currently owned and operated by CBS Radio, with studios located at the combined CBS Radio Pittsburgh facility on Foster Drive in Green Tree and transmitter in Allison Park.

KDKA (AM)O The beginningO "This is KDKA, of the

Westinghouse Electric and Manufacturing Company, in East Pittsburgh, Pennsylvania. We shall now broadcast the election returns."

O —Leo Rosenburg, on the very first radio broadcast by KDKA, November 2, 1920

KDKA (AM)O KDKA's roots began with the efforts of Westinghouse employee

Frank Conrad who operated KDKA's predecessor 75 watt 8XK from the Pittsburgh suburb of Wilkinsburg from 1916. Conrad, who had supervised the manufacturing of military receivers during WWI, broadcast phonograph music and communicated with other amateur radio operators via 8YK. On September 29, 1920, the Joseph Horne department store in Pittsburgh began advertising amateur wireless sets for $10, which could be used to listen to Conrad’s broadcasts.

O Westinghouse vice president and Conrad’s supervisor, Harry P. Davis, saw the advertisement and recognized the economic potential of radio. Instead of it being limited as a hobby to scientific experimenters, radio could be marketed to a mainstream audience. Consequently, Davis asked Conrad to build a 100-watt transmitter, which would air programming intended to create widespread demand for Westinghouse receivers. The KDKA callsign was assigned sequentially from a list maintained for the use of US-registry maritime stations, and on November 2, 1920, KDKA broadcast the US presidential election returns from a shack on the roof of the K Building of the Westinghouse Electric Company "East Pittsburgh Works" in Turtle Creek, Pennsylvania. There is some indication that the new license had not been received by that date, and the station may have gone on the air with the experimental call sign of 8ZZ that night. The original broadcast was said to be heard as far away as Canada. KDKA continued to broadcast from the Westinghouse building for many months.

Motion PicturesO In the mid-19th century, inventions such as the

phenakistoscope and zoetrope demonstrated that a carefully designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects actually moving if they were displayed one after the other at a sufficiently rapid rate. These devices relied on the phenomenon of persistence of vision to make the display appear continuous even though the observer's view was actually blocked as each drawing rotated into the location where its predecessor had just been glimpsed. Each sequence was limited to a small number of drawings, usually twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen.

Motion PicturesO The use of sequences of

photographs in such devices was initially limited to a few experiments with subjects photographed in a series of poses, because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were actually moving. The sensitivity was gradually improved and in the late 1870s Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each in turn capturing one image on a glass photographic plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wide variety of animal and human subjects. Hand-painted images based on the photographs were projected as moving images by means of his zoopraxiscope

Motion Pictures

Louis Le Prince, First Film Ever, Roundhay Garden Scene

Sound filmO A sound film is a motion picture with

synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of projected sound films took place in Paris in 1900, but decades would pass before sound motion pictures were made commercially practical. Reliable synchronization was difficult to achieve with the early sound-on-disc systems, and amplification and recording quality were also inadequate. Innovations in sound-on-film led to the first commercial screening of short motion pictures using the technology, which took place in 1923.

Sound filmO The primary steps in the commercialization

of sound cinema were taken in the mid- to late 1920s. At first, the sound films incorporating synchronized dialogue—known as "talking pictures", or "talkies"—were exclusively shorts; the earliest feature-length movies with recorded sound included only music and effects. The first feature film originally presented as a talkie was The Jazz Singer, released in October 1927. A major hit, it was made with Vitaphone, the leading brand of sound-on-disc technology. Sound-on-film, however, would soon become the standard for talking pictures.

Sound filmO By the early 1930s, the talkies were a global

phenomenon. In the United States, they helped secure Hollywood's position as one of the world's most powerful cultural/commercial systems (see Cinema of the United States). In Europe (and, to a lesser degree, elsewhere), the new development was treated with suspicion by many filmmakers and critics, who worried that a focus on dialogue would subvert the unique aesthetic virtues of soundless cinema. In Japan, where the popular film tradition integrated silent movie and live vocal performance, talking pictures were slow to take root. In India, sound was the transformative element that led to the rapid expansion of the nation's film industry—the most productive such industry in the world since the early 1960s.

Sound film

O Image from the Dickson Experimental Sound Film (1894 or 1895), produced by W.K.L. Dickson as a test of the early version of the Edison Kinetophone, combining the Kinetoscope and phonograph.

The Jazz Singer

The Jazz SingerO The Jazz Singer is a 1927 American musical

film. The first feature-length motion picture with synchronized dialogue sequences, its release heralded the commercial ascendance of the "talkies" and the decline of the silent film era. Directed by Alan Crosland and produced by Warner Bros. with its Vitaphone sound-on-disc system, the movie stars Al Jolson, who performs six songs. The film is based on The Day of Atonement, a play by Samson Raphaelson.

The Jazz SingerO The film depicts the fictional story of

Jakie Rabinowitz, a young man who defies the traditions of his devout Jewish family. After singing popular tunes in a beer garden he is punished by his father, a cantor, prompting Jakie to run away from home. Some years later, now calling himself Jack Robin, he has become a talented jazz singer. He attempts to build a career as an entertainer but his professional ambitions ultimately come into conflict with the demands of his home and heritage.

The Jazz SingerO Darryl F. Zanuck won the Special

Academy Award for producing the film, and it was also nominated for Best Adapted Screenplay and Best Engineering Effects. In 1996, The Jazz Singer was selected for preservation in the U.S. Library of Congress's National Film Registry of "culturally, historically or aesthetically significant" motion pictures. In 1998, the film was chosen in voting conducted by the American Film Institute as one of the best American films of all time, ranking at number ninety.

Steamboat Willie

Steamboat WillieO Steamboat Willie is a 1928

American animated short film directed by Walt Disney and Ub Iwerks. It was produced in black-and-white by Walt Disney Studios and was released by Celebrity Productions. The cartoon is considered the debut of Mickey Mouse[2] and his girlfriend Minnie, despite both the characters appearing several months earlier in a test screening of Plane Crazy. Steamboat Willie was the third of Mickey's films to be produced, but was the first to be distributed.

Steamboat WillieO The film is also notable for being the

first cartoon with synchronized sound. It was the first cartoon to feature a fully post-produced soundtrack which distinguished it from earlier sound cartoons such as Inkwell Studios' Song Car-Tunes (1924–1927) and Van Beuren Studios' Dinner Time (1928). Also distinguishing Steamboat Willie from earlier sound cartoons was the level of popularity.

Steamboat WillieO The film is also notable for being the

first cartoon with synchronized sound. It was the first cartoon to feature a fully post-produced soundtrack which distinguished it from earlier sound cartoons such as Inkwell Studios' Song Car-Tunes (1924–1927) and Van Beuren Studios' Dinner Time (1928). Also distinguishing Steamboat Willie from earlier sound cartoons was the level of popularity.

Magnetic Tape

Magnetic TapeO Magnetic tape is a medium for

magnetic recording, made of a thin magnetizable coating on a long, narrow strip of plastic film. It was developed in Germany, based on magnetic wire recording. Devices that record and play back audio and video using magnetic tape are tape recorders and video tape recorders. A device that stores computer data on magnetic tape is a tape drive (tape unit, streamer).

Magnetic TapeO Magnetic tape revolutionized

broadcast and recording. When all radio was live, it allowed programming to be recorded. At a time when gramophone records were recorded in one take, it allowed recordings to be made in multiple parts, which were then mixed and edited with tolerable loss in quality. It is a key technology in early computer development, allowing unparalleled amounts of data to be mechanically created, stored for long periods, and to be rapidly accessed.

Magnetic TapeO Nowadays other technologies can

perform the functions of magnetic tape. In many cases these technologies are replacing tape. Despite this, innovation in the technology continues and tape is still used.

O Over years, magnetic tape can suffer from deterioration called sticky-shed syndrome. Caused by absorption of moisture into the binder of the tape, it can render the tape unusable.

Magnetic TapeO Magnetic tape was invented for

recording sound by Fritz Pfleumer in 1928 in Germany, based on the invention of magnetic wire recording by Valdemar Poulsen in 1898. Pfleumer's invention used a ferric oxide (Fe2O3

) powder coating on a long strip of paper. This invention was further developed by the German electronics company AEG, which manufactured the recording machines and BASF, which manufactured the tape. In 1933, working for AEG, Eduard Schuller developed the ring-shaped tape head. Previous head designs were needle-shaped and tended to shred the tape. An important discovery made in this period was the technique of AC biasing which improved the fidelity of the recorded audio signal by increasing the effective linearity of the recording medium.

Magnetic TapeO Due to the escalating political

tensions, and the outbreak of World War II, these developments were largely kept secret. Although the Allies knew from their monitoring of Nazi radio broadcasts that the Germans had some new form of recording technology, the nature was not discovered until the Allies acquired captured German recording equipment as they invaded Europe in the closing of the war. It was only after the war that Americans, particularly Jack Mullin, John Herbert Orr, and Richard H. Ranger, were able to bring this technology out of Germany and develop it into commercially viable formats.

O A wide variety of recorders and formats have developed since, most significantly reel-to-reel and Compact Cassette.

Magnetic TapeO VIDEO RECORDINGO The practice of recording and editing audio using

magnetic tape rapidly established itself as an obvious improvement over previous methods. Many saw the potential of making the same improvements in recording television. Television ("video") signals are similar to audio signals. A major difference is that video signals use more bandwidth than audio signals. Existing audio tape recorders could not practically capture a video signal. Many set to work on resolving this problem. Jack Mullin (working for Bing Crosby) and the BBC both created crude working systems that involved moving the tape across a fixed tape head at very fast speeds. Neither system saw much use. It was the team at Ampex, led by Charles Ginsburg, that made the breakthrough of using a spinning recording head and normal tape speeds to achieve a very high head-to-tape speed that could record and reproduce the high bandwidth signals of video. The Ampex system was called Quadruplex and used 2-inch-wide (51 mm) tape, mounted on reels like audio tape, which wrote the signal in what is now called transverse scan.

Magnetic TapeO VIDEO RECORDINGO Later improvements by other companies,

particularly Sony, lead to the development of helical scan and the enclosure of the tape reels in an easy-to-handle videocassette cartridge. Nearly all modern videotape systems use helical scan and cartridges. Videocassette recorders used to be common in homes and television production facilities, but many functions of the VCR are being replaced. Since the advent of digital video and computerized video processing, optical disc media and digital video recorders can now perform the same role as videotape. These devices also offer improvements like random access to any scene in the recording and "live" time shifting and have replaced videotape in many situations.