Total 1980s Recall

I forgot I got some video of Total Recall playing on the Panasonic Omnivision VCR through the 25″ Quasar TV I talked about in my last post. So, here it is!

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Total Recall: Panasonic Omnivision VCR

I’ve been getting pretty excited about the Console Living Room exhibit we’ll be doing in UMW’s Information and Technology Convergence Center starting the third week in March. Earlier this week I went down to Petersburg to pick up a 25″ Quasar TV from the early 1980s—my best guess is 1981.

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The color is still quite good, and I was struck by how different the picture quality of tube TVs is. When high resolution TVs came around there was no looking back, the sharpness and resolution was light years ahead. But looking at the Quasar there is different aesthetic, a softness and blurring of colors—almost impressionistic quality. It’s far more dreamlike than I ever remembered, but this might be the nostalgia talking.

Speaking of nostalgia, the centerpiece of the exhibit (at least for me), will be the 1985 Panasonic Omnivision VCR that was delivered to my house on Monday night. It’s the same exact model VCR that my family owned throughout my high school years. This was a period of my life (1985-1989) that I watched a ton of movies on VCR, and this machine has some serious time capsule qualities to it for me.

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I also associate this machine with video store culture before the corporate hegemony of Blockbuster made them uninteresting and all but irrelevant. The mom and pop video store was an integral part of the social reality of my teen years. I would spend time there with family and friends picking out movies. It was part of our routine as teenagers, and I grew to love them. I would browse the box covers for hours, and that scanning was an education in and of itself. I was exposed to art, titles, and ideas I hadn’t dreamt of before, and there was always the illicit, sleazy room at the back of the store that was the stuff of lewd “adult” legend.

oldkims_video And lest we forget, for almost two decades the VHS was the reigning format champion of the converging home theater. And 1985 marked a moment wherein the VCR started to become more affordable, according to this article in the Wall Street Journal (reprinted in the Chicago Tribune) on September 22, 1985.

When the machines were introduced in 1975, the average VCR cost between $1,000 and $1,400. But prices have fallen significantly–15 percent in the past six months alone–and now a wide selection sells for $200 to $400. “We occasionally advertise a bare-bones model at $169,”  says Richard Lewis, president of Newmark & Lewis Inc., a 26-store consumer-electronics retailer in greater New York City. Robert Amhoff, a J&R customer who paid $750 last Christmas for a top-of-the-line NEC brand VCR, is now pricing the same model for a friend. “It`s down to $569,”  Amhoff says. “It`s incredible.”

The price of VCRs 35 years ago was pretty steep. Check out this 1981 Montgomery Ward ad for a VCR priced at near on $1000 (owe someone in my Twitter feed credit for this gem, but alas Twitter’s search sucks and now so do I):

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I’m guessing my family paid between $450 and $600 for the Panasonic Omnivision in 1985, and according to the relative value calculator that’s about $950 to $1400 in 2015 dollars. Crazy 80s stagflation!

Once I got the VCR setup on the Quasar TV, I had a weird moment of confusion, I wasn’t sure how to do it. I finally hooked it all up and the sound was working but the picture was shot. Luckily, Andy Rush kept a video head cleaner tape around after all these years and it did the trick. It also led to a conversation with Andy about how he used to use the VCR for instructional technology back in the day for recording shows for classes—but that’s a paleoconnectivist post in the making.

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I did finally get everything up and running and the first VHS tape I played (from my library of hundreds) was Total Recall. I figured it was appropriate 🙂

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The Day After on SelectaVision

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Yesterday I purchased an RCA SelectaVision player along with almost 50 movies for about $75 at a local shop here in Fredericksburg called Fat Kat Records & Books. This video format is truly crazy. It’s basically grooved, vinyl-like videodiscs that are read by a stylus. It’s such a bizarre hybrid technology between the worlds of analog and digital—perfect for the Console Living Room exhibit we’ll be running at UMW next month.

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This format only lasted from 1980-1985, and it just couldn’t compete with either the Laserdisc or the VHS. What’s more, the format had more than a few flaws, and it’s greatest imperfection was responsible for the awesome movie disc design.

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The SelectaVision Disc of War Games Image credit: Sleep-Starved and Semi-Sane

As you can see above, the SelectaVision movie disc was roughly the size of a vinyl record. It came in a fairly elaborate protective sleeve because so much as a fingerprint on the videodisc, and it was shot. Such a huge Achilles Heel made them pretty inventive in creating packaging that would ensure you never touched the actual disc.

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Image credit: Sleep-Starved and Semi-Sane

You would push the disc into the SelectaVision player, and then pull the casing out, leaving the disc in to start playing. The art sleeve was left empty, with disc and it protective chassis in the machine.

Inside a SelectaVision Disc

This is the inside of the Godfather Part 1 disc

Above is a look at the disc and protective chassis without the sleeve. It’s actually grooved, like vinyl, and really straddles the conceptual line between analog and digital. Below is a box containing some of the discs I picked up for fifty cents each!

Box of SelectaVision Discs

The while discs are mono and the blue are stereo—color coding #4life

To inaugurate the machine, I decided the 1983 nuclear propaganda TV film The Day After would be most appropriate—although I got a ton of awesome 70s and 80s films.

The Day After on SelectaVision

The Day After on SelectaVision

I think the cartridge/stylus is going on the unit because the sound is really low and the image is bad. Although, from what I am hearing, this may be a feature of the format given how easily the discs scar. That said, I tried a number of different discs, and all of them exhibited almost the same exact issue so I’m thinking it’s player specific. But luckily, some awesome, obsessed person created the RCA SelectaVision VideoDisc FAQ that answers just about every question imaginable. God bless the web!

I’ll be doing some more research, and if I can muster the time and energy I might even try and get my hands on a new stylus before the exhibit starts. I’m really taken with this format right now, and how awesome is it that $75 is enough to get started as a pseudo-format collector? Failed technology formats FTW!

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Jim Groom Art #4life

There is no great predictor of a successful ds106 course than the level of Jim Groom Art it produces—a tried and true tradition of this venerable digital storytelling course. And I can now officially assure you this cohort of students is no joke. Their work invokes the ghost of Noise Professor, and that is no small tribute.

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I am a proud professor right now! And I appreciate all their artistic support while I was being kidnapped by Russians in LA and went missing only to reappear with short-term amnesia.

I know the first Jim Groom art poster I share is a bit too creepy, but it does rule. And while I haven’t read the book, or even seen the movie, I’m sure this is very wrong. But the artist, Mia Boleis,  and I are both Long Islanders, and that’s why we were born to be #4life. You have to work harder Virginians!

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It’s apparent from Emily Bostaph’s Jim Groom Art that she understands the stakes of #ds106. That said, and for the record, I don’t eat people. That’s a myth that got started a few semesters ago after one video assignment went bad, there’s nothing to it.

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Edith the Art Freak seems to think I left my soul behind while being beaten and kidnapped by the Russians. No faith. And what’s this reference to Paul? Paul who?! Did I mention I don’t eat people?

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Erin seems to think getting kidnapped by Russians is a walk in the park.groom

With this Jim Groom art, it’s almost like Justin knowns me. Too close to home.

I’m beginning to think that we need to run ds106 more like an online American Idol for digital storytelling, and Shannon Grubb appears to agree that I need to be one of the  judges.

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Lesya’s reworked Taken poster commemorating my disappearance two weeks ago truly captures one course’s devotion to finding their professor, and I feel safer for it!

July Laszakovits “Saving Professor Groom” poster may be one of my all-time favorites, despite the fact I’m not in it. It’s yet another fun example of remix, and I love how she took the images from the Google Hangout to create this masterpiece.

And despite the fact the Sharla Hargis’s black and white photo on top of a color poster of I am Legend doesn’t necessarily jive, it’s still Jim Groom art, which is better than most all other things. Also, read the book, the movie is crap.
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Landon Epperly’s Daily Create yesterday has me starring in 2001: an ITCC Odyssey 🙂
DS106 Does Outerspace

 

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Tracking the Data of Domains

Michael Branson Smith’s awesome Concrete to Data Breakout GIF

Over the past month Reclaim Hosting has been in the process of switching from Zendesk to Intercom.io for doing customer support. Zendesk was predominantly a support platform we used to answer tickets, and it was quite good at that. Nonetheless, Tim Owens is never satisfied and is constantly experimenting—a characteristic which explains so many of his successes over the last four years. When he showed me Intercom, I began to realize how much useful data we could collect across the Reclaim Hosting environment.

By importing what we already had in WHMCS (the client management system that lays on top of CPanel) from our various servers, we were able to aggregate distributed data into Intercom. And once there, we could break the information down by the various schools who were using Reclaim. This allows us to track new sign-ups and ongoing usage. This is a crucial piece for us because we need to know how many domains a particular school has signed up. Previously you would have to login to each of the servers WHMCS dashboards (we currently have 10!) to see this information, whereas Intercom brings all that data into one place so we can see it centrally.

And that’s just part of what Intercom can do, it also allows you to integrate support into your various server dashboards directly. For example, at Reclaim Hosting we have a messaging space where you can submit any questions or issues you might be having in both the Client Area, as well as CPanel.

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So, as soon as someone logs into either space they can ask questions and get support right on the page. We can also share an announcement with them, or a new feature we are rolling out.

I was particularly struck by Intercom.io after trying to get any useful information out of CPanel and WHMCS for UMW Domains. Beyond tracking the aggregate growth of the system over the last two years based on sign-ups, there is very little in the way of data. However, since we started having our community login to UMW Domains via a centralized authentication system (CAS), we were able to pull some more data from Banner. We can now find out when each students is scheduled to graduate, the group each person using Domains is part of (i.e., faculty/staff, student, or neither), their class (i.e., Freshman, Sophomore, Junior, or Senior), and how long they have been using the system. This is all data we have now imported into Intercom so we can easily filter and communicate with graduating seniors to help them transition off UMW Domains.

Such a system also gives us a sense of which faculty have been using CPanel, information which could prompt a follow-up to see if anyone needs help. We can also provide on-the-spot support for our community via the embedded messaging. All this information helps us reach out and support folks using UMW Domains in more targeted, personable ways—it also makes any reports I need to generate about how the system is being used significantly easier.

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How does Intercom work beyond the initial import of data? Whenever a new student or faculty logs into umw.domains through CAS, we have an Intercom script in the footer of that site to track them as an active users, and populate a profile pulled in from WHMCS for any new users. This helps us get a more detailed look at how many people are accessing their CPanel. For example, in the last 18 hours since this was setup, 58 people logged in—all on a snow day! On the other hand, we still have no way of tracking all those people using UMW Domains who directly access the various applications they’ve installed without logging into CPanel.

I am not sold on analytics for the particulars of teaching and learning. I don’t think tracking how many times a student or faculty logs into CPanel necessarily tells us anything about how much they are learning. But when you’re running systems like UMW Blogs and UMW Domains, it can be really useful to capture and share global data to get a sense of how the system is being used so we can support it better, as well as continually re-evaluating its necessity. If no one is using UMW Domains, we want to know.

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Best Weekly Summary Post Ever!

As part of the ds106 weekly process, students are expected to blog all their various assignments and then link to everything they have done and narrate their work what we call a “weekly summary post.” There is the expectation they narrate where they are in their thinking, creative process, problems they had, extenuating circumstances, etc. It’s their way of framing the context of their week as well as linking to everything they have done to get credit. We encourage students to be creative, thorough, and honest. This past Sunday, Emily Bostaph’s may have read the most creative, thorough, and honest weekly summary to date. She used a combination of terse sentences and GIFs to create a truly compelling—albeit sad 🙁 —story of her week. Here is a little taste. And I quote:

To start the week off, I got some ungodly virus from one of the kids I nanny…little shit

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Then my girlfriend, whom I am madly in love with, decided to end things

What made it even worse is we were suppose to go on a ski trip together this weekend

So, I invited my two best friends to come along thinking that would cheer me up…

Nope. I told them what happened and their response was, “Just don’t think about it, and try to have fun!” So I had to spend the whole weekend bottling up all the feels.

Find the final six GIFs, and the rest of the story here.
Emily has one of the strongest blog voice’s of just about anyone I read online. Full stop. Period. She is funny as hell, unbelievably observant, and can write like nobody’s business. Not to mention she has some of the most insane post titles ever, how can you not read posts title “JOIN MY NUDIST COLONY!” or  “Did someone order a large cup of depressing with a shot of feels?!” or   “I now realize how rapey this sounds.” So much of her work is on a very uncomfortable edge, and that’s why I love it so much. Making art, dammit!

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Sharper than a Knife Blade

There has been some amazing work done for noir106 this semester, and just a couple of days ago I listened to this rap created by internaut Tiffany Yowell. She dedicated it to her character Lawrence Spitler. You see, every student in ds106 this semester has to fashion there own noir-inspired figure, and then focus a certain percentage of their assignments to fleshing out their character. Tiffany’s hardboiled rap is a beautiful marriage of noir, hip hop, and some razor sharp creativity. This is an inspired ds106 creation, take a minute and 14 seconds and get a sense of the caliber of work being created for this course at the moment. So good!

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Mark it Zero

Spencer Scott has been en fuego with all things ds106 this semester. I could feature so many of his assignments, such as his Solo Voice Trio or his Noir We There Yet? bumper sticker. He performed his own musical commercial for Demarco’s Fedoras—keeping with the noir theme. But given I’m trying to keep these tributes somewhat short so I can highlight as much work as possible, let me just leave this GIF here that he created (his very first one, by the way) from The Big Lebowski.

MARK-IT-ZERO2

I love #ds106.

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Paul Bond’s Tales From the Animated Crypt

There’s been so much awesome work coming out of ds106 the that’s it been a bit overwhelming. I want to write about EVERYTHING, but that often leads to me writing about none of it. Tonight I have decided to break that vicious cycle and start writing about as much of it as I can, and in no particular order. Why not? It is my blog after all, and the less I write the less likely others will be able to appreciate how awesome this class is right now. I think what got me thinking this way was the course video Martha, Paul, and I did last night wherein we featured a bunch of work from around noir106—and we only scratched the surface. There is so much talent this semester!

It felt so good to feature so much work that I decided to turn over a new leaf on the bava, and start pushing myself to feature at least one work everyday. So, first up is Paul Bond’s animated comic book cover from the Tales from the Crypt series I blogged about the other day. I was toying with the idea of animating the man buried alive banging on the coffin, and Paul went ahead and did the heavy lifting—kind of a theme in our relationship 🙂 As you can see below, his animation came out very nicely!

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And the added touches of the “Tales from the ds106” and Martha, Paul, and I as the Crypt-Keeper, Witch, and Vault-Keeper respectively was recommended by the great John Johnston here. This whole thing just smacks of the shenanigans that continue to make ds106 so much fun. And thanks to this back and forth, I think we have our theme for Fall’s iteration of the course at UMW: “Tales from the ds106” #4death 🙂

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Grounds…for Horror!

While in L.A. last week, my good friend Mikhail and I made a stop at the comic shop Meltdown. It’s a great store. They have everything from comics to graphic novels to figurines to video games—and the folks who work there are both knowledgable and helpful. I’m a big fan. I could spend hours on end there, but we only had a little bit of time, and luckily I knew exactly what I wanted. And they had it:

The Ec Archives: Tales from the Crypt, Volume 3

I’ve been wanting to get my hands on the EC Comics archives of Tales from the Crypt because I’m toying with the idea of doing a future ds106 course around these 1950s comics. I think it would be a blast, not to mention I love to look at them. More importantly though, I needed a gift for each of my kids before heading home from L.A., and I figured Miles was ready for some of the most awesome horror comics ever created. So, I picked up volume 3.

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When I started reading the first story of this volume to Tess and Miles, “Grounds…for Horror!” I was struck my how insane it was. Let me explain. The first story is about an abusive step-father who locks his disobedient son, Artie, in a dark closet in spite of his mother’s protest. The step-father is a butcher by trade, and their apartment adjoins with his shop. Can you see it coming yet? Artie’s mother overhears her son talking to someone named Hozir, whom she takes for an imaginary friend he created to help him deal with the abuse. Well, Hozir is not imaginary, he’s just invisible. And as the step-father ramps up his attacks on the child, Hozir promises retribution. And, he delivers on that promise in a fairly spectacular way:

Scene from “Grounds…for Horror!”

Miles and Tess were like WTF, daddy? And I was like, that is awesome! A comic book for kids that truly disturbs. Who said things were normal during the 50s? In fact, the 1990s re-working of Tales from the Crypt as an animated cartoon called Tales from the Cryptkeeper is just depressing in comparison. Not only does the art suck, but the stories are completely toothless. Look at this adapted version of “Grounds for Horror” and tell me I’m wrong.

I just ordered the DVDs for the first two seasons of the late 80s, early 90s HBO series Tales from the Crypt. While I saw a few episodes at the time they came out, I don’t remember too much. But after reading up on it, seems they had a decent number of good actors and directors working on that series. My yardstick for all interpretations of this aesthetic is still George Romero’s Creepshow (1982), so we’ll see how that goes. If for no other reason, it will be useful given my kids are constantly asking me to tell them scary stories before they go to bed, and I’m running out of ideas.

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