Posts Tagged ‘inventors’
September 23, 2016 | by Dan Piepenbring
- As the Quran has it, Prophet Muhammad took a night trip to heaven aboard a trusty winged pony-horse-mule-ish creature called Buraq. It’s an episode that’s inspired Islamic art ever since, because few artists can resist a theologically sound reason to draw a winged horse. Yasmine Seale writes, “The friction between the historical Prophet and his fantastical mount, between the sacred and the physical, reflects a similar divide within Buraq herself: she has been perceived both as a dream-horse—mythical, sexless, emblematic—and as a creature of flesh. And Buraq as animal, especially in her more sexualized incarnations, in turn raises thorny questions about the body of the Prophet himself. Artists generally elided this problem, or creatively eluded it; early images of the Prophet tend to show him with a veil, and more recently his body has been symbolized by a white cloud, a rose, or a flame.”
- Hua Hsu writes in praise of the critic Greg Tate, known for his “slangy erudition”: “For a generation of critics, Tate’s career has served as a reminder that diversity isn’t just about a splash of color in the group photo; it’s about the different ways that people see, feel, and move within the world. These differences can be imperceptible, depending on where your eye lingers as you scan the newsroom. What made Tate’s criticism special was his ability to theorize outward from his encounters with genius and his brushes with banality—to telescope between moments of artistic inspiration and the giant structures within which those moments were produced … What he’s been exploring through his criticism has been something ‘less quantifiable,’ as he puts it, than culture, identity, or consciousness. What Tate wants to understand is ‘the way Black people “think,” mentally, emotionally, physically,’ and ‘how those ways of thinking and being inform our artistic choices.’ ”
September 19, 2016 | by Dan Piepenbring
Don Buchla invented some of the first electronic instruments—not synthesizers, he insisted, but electronic instruments. To him, the word synthesizer implied some attempt at emulation, as if these new machines could do nothing more than imitate preexisting sounds. Buchla believed that his inventions offered an aural palette every bit as distinct as a trumpet’s or a clarinet’s. It was only marketing that made listeners hear something derivative in them.
“An instrument has to exist long before performance techniques can be developed and a repertoire arises,” he told Keyboard Magazine in the eighties, explaining why there are so few new sounds in the world:
Because of this, the market for the instrument doesn’t exist for many years after the R&D that goes into developing a truly new instrument. With short-term profits a primary motive, the big corporations are simply not interested … When you open up those other possibilities, you'll alienate the people who are coming from a rock-band orientation and want instant gratification. They don’t want to have to figure out some other relationship between their actions and the instrument’s response. Read More »
June 23, 2014 | by Dan Piepenbring
The history of the typewriter is, as with the history of the personal computer after it, rife with collaboration, ingenuity, betrayal, setbacks, lucre, acrimony, misguided experimentation, and bickering white men. There are rough analogs for Bill Gates and for Steves Jobs and Wozniak (though there’s no one so delirious and insane as Steve Ballmer)—and one such analog is Christopher Latham Sholes, a Milwaukee printer whose first “type-writer” was patented 146 years ago today.
Sholes is widely credited with having invented the first QWERTY keyboard. It helped to prevent jams and increase typing speeds by putting frequently combined letters farther apart—but that took years of trial and error; the initial iteration of his typewriter was far more rudimentary in design. It looks like a miniature piano crossed with a clock and/or a phonograph and/or a kitchen table—and Sholes did, in fact, design the prototype out of his kitchen table. As you can imagine, it didn’t boast what today’s designers would call “intuitive UX.” Its keys, borrowing from innovations in telegraphy, were arranged as such:
3 5 7 9 N O P Q R S T U V W X Y Z
2 4 6 8 . A B C D E F G H I J K L M
Notice the absence of 0 and 1; Sholes and his cohort assumed that people would make do with I and O. They also couldn’t be bothered with lowercase letters—the first Sholes model was in a condition of eternal caps lock, doomed to permanent shouting. And yet in another sense Sholes was full of intuition and prescience: purportedly, the first letters he typed on the machine were “WWW.” Read More »