In 2004, all patents relating to the proprietary compression used for GIF expired. Controversy over the licensing agreement between Unisys and CompuServe in 1994 spurred the development of the Portable Network Graphics (PNG) standard. While GIF was developed by CompuServe, it used the Lempel–Ziv–Welch (LZW) lossless data compression algorithm patented by Unisys in 1985. In September 1995 Netscape Navigator 2.0 added the ability for animated GIFs to loop. GIF was one of the first two image formats commonly used on Web sites, the other being the black-and-white XBM. By December 1987, for example, an Apple IIGS user could view pictures created on an Atari ST or Commodore 64. The two versions can be distinguished by looking at the first six bytes of the file (the " magic number" or signature), which, when interpreted as ASCII, read "GIF87a" or "GIF89a", respectively.ĬompuServe encouraged the adoption of GIF by providing downloadable conversion utilities for many computers. As there is little control over display fonts, however, this feature is rarely used. allowing text labels as text (not embedding them in the graphical data).storage of application-specific metadata.In 1989, CompuServe released an enhanced version, called 89a, This version added: This version already supported multiple images in a stream. The original version of GIF was called 87a. Since this was more efficient than the run-length encoding used by PCX and MacPaint, fairly large images could be downloaded reasonably quickly even with slow modems. GIF became popular because it used Lempel–Ziv–Welch data compression. This replaced their earlier run-length encoding format, which was black and white only. GIF images are compressed using the Lempel–Ziv–Welch (LZW) lossless data compression technique to reduce the file size without degrading the visual quality.įurther information: § Unisys and LZW patent enforcementĬompuServe introduced GIF on 15 June 1987 to provide a color image format for their file downloading areas. These palette limitations make GIF less suitable for reproducing color photographs and other images with color gradients, but well-suited for simpler images such as graphics or logos with solid areas of color. It also supports animations and allows a separate palette of up to 256 colors for each frame. The format supports up to 8 bits per pixel for each image, allowing a single image to reference its own palette of up to 256 different colors chosen from the 24-bit RGB color space. It is in widespread usage on the World Wide Web due to its wide support and portability between applications and operating systems. The Graphics Interchange Format ( GIF / ɡ ɪ f/ GHIF or / dʒ ɪ f/ JIF, see pronunciation) is a bitmap image format that was developed by a team at the online services provider CompuServe led by American computer scientist Steve Wilhite and released on 15 June 1987.
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While some other Android devices can suffer from conflicts with performance and updates, the Pixel runs like a tight, well-oiled machine.Īndroid 9.0 "Pie" on the Pixel 3XL feels up to date, optimized, clean, responsive, fluid, and reliable. There's just something about using a device where everything is made "in-house": The Pixel 3XL is a marriage of Google's hardware and Google's software. An interdisciplinary conceptual framework that combines selected theories of electroacoustic music and apposite perspectives from film soundtrack studies informs the approach. This practice-as-research study documents the development of a sonic arts approach to film sound design. This way, we seek to extend and deepen knowledge of the cinematic interval." Then, we will compare the differences and analogies of their philosophical meanings to the cinematic ones. In order to understand and specify the characteristics of the interval in cinema, we propose to start by analyzing the various concepts of the interval in philosophy. Thus, intervals between shots cause changes and internal transformations which participate in the harmonization of the film. Norman McLaren also explains that « animation is therefore the art of manipulating the invisible interstices that lie between frames 2». For Deleuze, « you can bring two instants or two positions together to infinity but movement will always occur in the interval between the two 1». On the contrary, it is the productive gap that organizes the shift between shots. Vertov’s interval is not determined to create or maintain the illusion of continuity. Vertov defines it as the passage from a shot to another, creating spatio-temporal transformations. In cinema, interval is what separates two photograms or two shots. This Atomist void isn’t considered space or container but an interval that creates a discontinuity between bodies and permits movement thanks to their contiguity or contact. In Occident, the Atomistic Philosophy maintains that nature is only composed of atoms and void. It may also describe minor changes as well as radical transformations. This term refers to the interval, the interstice but also space and boundaries. "When we focus on the notion of interval throughout History, mention should be made of the Japanese concept of Ma. Cited in Thomas Deane Tucker and Stuart Kendall (eds),Terrence Malick, Film and Philosophy, Continuum Int. With reference to Jean-Louis Comolli, Mary Ann Doane and Kaja Silverman, amongst others, I underpin my discussion of sound in Malick's film with a look at the wider context of the marginalised position of sound within film theory. This article redresses this lack of critical recognition, whilst arguing that it is reflective of the general under-theorisation of sound within a body film theory and criticism which tends to emphasise the visual image. Ridding the film of dialogue created a different emphasis on sound and Weber's states that he and Malick were disappointed that this aspect of the film was critically overlooked. Indicating that Malick's experimentation with sound largely developed in post production, Weber confirms that the dialogue-heavy screenplay was transformed in the cutting room with the addition of Linda Manz's haunting voice-over. Drawing on interview material with editor Billy Weber (who worked on all three of Malick's films), the original screenplay of Days of Heaven and detailed sequence analysis, the paper examines the film's manipulation of the traditional relationship between sound and image. Terrence Malick's Days of Heaven (1978) has been hailed as 'one of the most beautiful films ever made', but the film's immense cinematic beauty has detracted from the impact of its experimental soundtrack. Thus, the essays collected provide critical readings through which the authors provide answers to questions, such as what is the relationship between sound and vision? And what is music's potential for communicating meaning into understanding? What we attempt to put forward in this book is not a solution to the analysis of sound and vision, but rather, a list of possibilities and approaches through which interpretation can be undertaken. Chapters are organised thematically around the headings Avant-garde aesthetics, Re-sounding soundtracks, Televisual intertexts, Interrogating the mainstream, and Personal politics and embodied performance. In this way, the book addresses a cluster of concerns that pertain to audiovisual production, performance and consumption in a variety of present day contexts. The focus of the essays is exclusively contemporary. A thread that runs through the chapters is the recognition of audiovisual performance as a central theoretical category. And yet, very little has been published that recognises its relevance to a wide range of practices, including music videos, film and television music, video art, and gaming music. For several years audiovisual analysis has been a growth area in musicology and cultural studies. |
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