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ANIMATION WORLD MAGAZINE - ISSUE 5.05 - AUGUST 2000
Alter-Net-ive Worldsby Martin "Dr. Toon" Goodman (Note: The following is a fiction based on true events in animation history…) Time: 21 August 2000 @ 1330 / Content: Lesson Plan 4B/Estimated Run Time (incl. variable factor questions.answers) 61 min 40 sec. Image enhancement and vocoder: default settings. Initialize sequence 3YA 76C "Pixelle" bandwith 6768Hz/system is activated --
"Good afternoon, class. Today we continue with the early history of Internet animation and its impact on the societal and global perception of the animated medium. Please open your textbooks to page 17 and have yesterday's notes at hand. Simon Banetta, can you tell me where we left off?" "Yes I can, Professor Pixelle. We were discussing the effects of World War I on computer development." "Quite correct. In 1912, it will be recalled, the United States government discovered, and procured the services of, 12 year-old boy genius John V. Atanasoff. This prodigy, along with a talented staff, worked on an all-electronic computer for two years. With the outbreak of World War I the project was given special impetus under Secretary of War Baker during the Wilson Administration. Who can tell me the importance of this undertaking? Elena Diaz?" "Well, if you're talking about the early development of computers, that's the period in which the first breakthroughs in magnetic-core memory and transistors replaced the first models that Atanasoff and Von Neumann designed. If you're talking about the Internet, that was the period in which Remington Rand started working on integrated communication networks for the military." "Correct on both counts. Wilson, anticipating entry into WWI, gave the project top priority. Unfortunately, the modern computer and the Internet could not be developed in time to help the Allied war effort or ‘make the world safe for democracy.' We were able to get no further than the concept of a stored program and the progenitors of languages such as FORTRAN and COBOL by the end of 1918. Still, this 24-hour a day, intensive research effort involving the most brilliant minds and prodigies from across America was one of the most impressive technological feats ever accomplished. The stage was set for the silicon disk in 1920, the semiconductor in 1923, and the first modern operating systems with ultra-large scale integration by 1926. By the time Mussolini controlled Italy and Communism was well-established in Russia, microprocessor technology allowed nearly every American to own a personal computer. This fueled one of the biggest economic booms in our history. Adam Curtis, perhaps you can tell what happened next." "I can. The Department of Defense had ARPANET running by 1928, realizing Wilson's dream. Within two years, thanks to the discovery of TCP/IP by Vint Cerf I, we had the Internet by 1929. Of course, the first animation software had been used by then. I think it was, uh, Real-Izer, developed at the Fleischer studio in 1927." "Everyone has done the assignment, I see! Right again. The combination of Internet-ready systems and animation software by 1930 turned a cel-based medium into one that could be downloaded worldwide through computer plug-in devices. Now, you mentioned the Fleischer studio; good starting point. Having long been fascinated by technical advancements, Max Fleischer was one of the first pioneers to take advantage of early CGI software. The Real-Izer was a decent start, but had many problems generating 3D effects. When Max hired Ub Iwerks away from the Disney studios in 1931, this gifted technician was able to refine the software until Real-Izer 4.5 overcame the technical problems involved in 3D rendering. Who can discuss the next great advancement in Web-based animation? Chad Wright?" "In my opinion, professor, the next advancement wasn't technical at all. It had to do with the creator's rights battles of the 1930s."
"An interesting assessment, Mr. Wright. Say more." "Sure. After the Net developed into the World Wide Web, animators began independently developing cartoons in their own small studios. The movie moguls and film producers wanted their stuff, but were forced to deal with them on a contract basis. The first challenge to the system happened in 1932 when two independents, Joe Oriolo and Seymour Reit, were hired in at Paul Terry studios. While working there, they hit it big with a Web-based toon of their own called Casper the Jive-Jumpin' Ghost. Terry tried to claim that since Oriolo and Reit worked for him, Terry Studios automatically owned the rights. It took a court less than a month to decide in favor of the creators, and Oriolo and Reit wound up millionaires. After that, creators dealt with studios on their terms, and the suits were lucky to get 15% of any merchandising rights. That's got to be a major step, Professor Pixelle."
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