[Nettime-bold] Programming with n2+0. The Only Distraktiv Arbeit.Macht.Ganz.Glucklich + Frei \\

[integer@www.god-emil.dk]

>Programming with a Paintbrush:
>A Study in the Production Culture of the Moving Image
>
>July, 1999
>
>(An edited version of this essay appears in the next issue of Filmwaves
>no. 12
>This is the very long version...).



und d!sz = !zt dze realt!me verz!on






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med!a

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>Since the beginning of the eighties the British company Quantel Ltd has
>managed to maintain a reputation that has made it almost synonymous with
>the limits of what is possible in digital post-production and broadcast
>special effects work. More remarkable is the fact that this success is
>based on an interface design that was introduced in 1981 and has
>remained largely unchanged to the present day. The intention of the
>company to provide a completely dedicated computer hardware that can
>provide instant feedback and unequalled image processing speeds has
>resulted in a completely different experience of the creative process
>for the user, and one that is about to end in several important
>respects.
>
>In the hierarchy of post-production equipment, Quantel machines are like
>the Rolls Royce, their nearest rivals being Discrete Logic's Silicon
>Graphics based Fire and Flame family. They are the machines that led to
>the fashion in the eighties of designers carrying the distinctive
>Quantel pens around in their top pockets when they went out to the local
>wine bars, like a little calling card that could guarantee the respect
>due to someone working at the dizzy high-end of mission critical
>advertising schedules and high profile pop promos. These are the people
>who are selected by facilities houses not only for their technical
>proficiency and creative flair but also for their client manner, their
>ability to shoulder the anxieties of pressured art directors and satisfy
>indecisive advertising executives. A top Quantel operator justifies
>their telephone number salary by selling confidence of a particularly
>rarefied sort. For when you are working at a level of production which
>is premised on the assumption that this is the best that money can buy
>and that technology can dare then you are trading on a dream, a dream
>best characterised by the Japanese media theorist Asada Akira as the
>meaning of technology itself – "When we find something impossible, we do
>it".
>





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