scholarly journals From Analogue to Digital: Theorising the Transition

Keyword(s):  
Author(s):  
W.M. Stobbs

I do not have access to the abstracts of the first meeting of EMSA but at this, the 50th Anniversary meeting of the Electron Microscopy Society of America, I have an excuse to consider the historical origins of the approaches we take to the use of electron microscopy for the characterisation of materials. I have myself been actively involved in the use of TEM for the characterisation of heterogeneities for little more than half of that period. My own view is that it was between the 3rd International Meeting at London, and the 1956 Stockholm meeting, the first of the European series , that the foundations of the approaches we now take to the characterisation of a material using the TEM were laid down. (This was 10 years before I took dynamical theory to be etched in stone.) It was at the 1956 meeting that Menter showed lattice resolution images of sodium faujasite and Hirsch, Home and Whelan showed images of dislocations in the XlVth session on “metallography and other industrial applications”. I have always incidentally been delighted by the way the latter authors misinterpreted astonishingly clear thickness fringes in a beaten (”) foil of Al as being contrast due to “large strains”, an error which they corrected with admirable rapidity as the theory developed. At the London meeting the research described covered a broad range of approaches, including many that are only now being rediscovered as worth further effort: however such is the power of “the image” to persuade that the above two papers set trends which influence, perhaps too strongly, the approaches we take now. Menter was clear that the way the planes in his image tended to be curved was associated with the imaging conditions rather than with lattice strains, and yet it now seems to be common practice to assume that the dots in an “atomic resolution image” can faithfully represent the variations in atomic spacing at a localised defect. Even when the more reasonable approach is taken of matching the image details with a computed simulation for an assumed model, the non-uniqueness of the interpreted fit seems to be rather rarely appreciated. Hirsch et al., on the other hand, made a point of using their images to get numerical data on characteristics of the specimen they examined, such as its dislocation density, which would not be expected to be influenced by uncertainties in the contrast. Nonetheless the trends were set with microscope manufacturers producing higher and higher resolution microscopes, while the blind faith of the users in the image produced as being a near directly interpretable representation of reality seems to have increased rather than been generally questioned. But if we want to test structural models we need numbers and it is the analogue to digital conversion of the information in the image which is required.


1985 ◽  
Vol 132 (4) ◽  
pp. 149 ◽  
Author(s):  
H. Jamal ◽  
F.E. Holmes
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Author(s):  
J. Gordon Robertson

Abstract One of the basic parameters of a charge coupled device (CCD) camera is its gain, that is, the number of detected electrons per output Analogue to Digital Unit (ADU). This is normally determined by finding the statistical variances from a series of flat-field exposures with nearly constant levels over substantial areas, and making use of the fact that photon (Poisson) noise has variance equal to the mean. However, when a CCD has been installed in a spectroscopic instrument fed by numerous optical fibres, or with an echelle format, it is no longer possible to obtain illumination that is constant over large areas. Instead of making do with selected small areas, it is shown here that the wide variation of signal level in a spectroscopic ‘flat-field’ can be used to obtain accurate values of the CCD gain, needing only a matched pair of exposures (that differ in their realisation of the noise). Once the gain is known, the CCD readout noise (in electrons) is easily found from a pair of bias frames. Spatial stability of the image in the two flat-fields is important, although correction of minor shifts is shown to be possible, at the expense of further analysis.


2018 ◽  
Vol 5 (1) ◽  
pp. 60
Author(s):  
Nelson Obinna Omenugha

The National Bureau of Statistics recently announced that the entertainment and media (E&M) industry in Nigeria recorded growth of 1.86% to 12.81%; contributing N54bn to the country’s GDP. The industry’s revenue is projected to reach an estimated $8.5bn in 2018, from $4bn in 2013, with internet as one of the key drivers (PwC report, 2016, p.14). This comes at a time when Nigeria’s economy has shrunk by 2.24% since 2015 and receded by 0.18% from the previous quarter. Therefore, this study unpacks the possibilities and challenges of the impact of e-marketing tools on the growth of the Nigerian E&M industry. E-marketing tools provide “a unique combination of powerful capabilities for marketers” (Parsons et al., 2015). E-marketing suitability for the E&M industry lies in its lower capital demand, and a convenient and online means of disseminating marketing messages across a heterogeneous population at an unlimited geographical space. E-marketing is a reality in Nigeria as a study by Mathew, Ogedebe & Ogedebe (2013, p. 549) shows that “Many Nigerians who used (sic) the internet as one form of communication or another are bombarded daily with advertisements of products and services from industries in the country.” This reality has brought a shift from mechanical to electronic and from analogue to digital; ultimately impacting the marketing realms. The internet enables these electronic/digital platforms; which marketers (E&M industry) and customers (content consumers) rely on to effectively reach and receive communication content and feedback respectively.  However, this study examined the challenges that have possibly hindered the full realization of the e-marketing tools of the Nigerian E&M industry and noted among others; poor power supply and unreliable network infrastructure in the country. There is also an increased customer expectation, security, content copyright and privacy issues as well as the challenge of compliance demand in the industry as influenced by ever dynamic digital boundaries. There is a huge economic need for the Nigerian government to live up to its obligation and enhance power supply and boost network infrastructure. The Nigerian E&M industry needs to continually integrate different digital platforms to reach targets and attract more content consumers. Both the government and industry should increasingly learn and bring a global perspective that can help the nation adapt to the constantly changing digital environment.


2020 ◽  
Vol 8 (1) ◽  
pp. 11-31
Author(s):  
Paul Taberham

This article offers further reflections on a chapter I published in the anthology Experimental Animation: From Analogue to Digital. I begin by exploring the reticence artists and critics have shown in attempting to define what experimental animation is, and I then offer a way to provide a definition without delimiting what it is or can be. Subsequent to this, three additional traits of experimental animation are added to the original list of defining features that were published in the original article. They are as follows: the subversion of unchecked assumptions about filmic experience, a willingness to potentially alienate viewers, and the application of symbolism in which viewers might not be able to discern the artist’s original intentions. Following this, the unique relationship experimental animation has with the commercial realm (notably in idents, title sequences and music videos) is also considered. Finally, the conclusion points towards the experimental animator’s creative process as a further avenue of exploration.


2020 ◽  
Vol 8 (1) ◽  
pp. 63-83
Author(s):  
Damian Gascoigne

My drawn animation practice has always focused on the gestural mark and messy materiality. This article is about what happened to that practice in the transition from analogue to digital animation, questioning what was lost forever and what might still be worth fighting for. This practitioner’s account of a ‘before digital, after digital’ career describes the experience of making work, as work itself changed forever. Ushered in with little reflection or resistance in the mid-1990s, the new digital doctrine slowly consumed hand-drawn 2D animation production to the point where few but the most determined independent makers keep this vital practice alive. My contention is that a reckoning on why and how we engage with digital technology is long overdue. The article will set out why – after working with digital tools for more than twenty years – I have now abandoned all but the most cursory engagement with new media tools and taken the long walk back to a material analogue practice. The ideas under discussion here can be traced back to one overriding concern – the unsolvable relationship between movement in drawing and drawing for movement. This dichotomy is unique to 2D animation, because freedom of gesture in drawing does not produce continuity of movement in animation. Mining this seam drives my independent animation practice as I try to reconcile the page and the frame.


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