Reference Cards

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[ENTER THE ARCHIVE]

by A.G. (c) 2014

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Colored Index Card

Time Capsules.

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Analog Cipherspace: The Phenomenology of Secrets: The Room as three-dimensional database, physical memory. The Visible vs. The Invisible. The art of the Seen and the Unseen. A Signal-Painter who practises the Analog Database Arts. Autobiography of a Self-Portrait. A Mosaic of Episodes, Serial Art of Analog Synthesis, Signal Processing. Abstract Interfacing: Every surface is a "Face": it is a Reference Card turned up, revealing its Face-value. The Art of The Found, The Discovered. Index Cards in the Analog Database, the physical filing system. A 3-dimensional space of secrets, i.e. a Cipherspace. Every Sign is a Signal, but not every Signal is a Sign. There are Obscure Signs, ambiguous signs, hidden, concealed, and there are Ecstatic Signs, signs of the seen, the found, the unveiled, the unconcealed. An Exhibition in Tonal Cinema become a novelistic phenomenology. Around the signal-painter in the environing space are elements, objects, entities, "things", the artist needs. Around him, these elements are spread out according to their inherent nearness-at-hand, i.e. their handiness as objects (themes, processes, tools, techniques).

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Rebirth of The Reference Card

Mike Isaac said it all in the title of his August 1st post on AllThingsD: "The Future of Twitter's Platform Is All in the Cards". He goes on to say:

While members of the press scramble to cover Twitter’s most recent dustup involving the censorship of a reporter, speculation in the developer community continues to run rampant, and many accuse Twitter of being unnecessarily opaque.

But amid the confusion of the past month, nearly all have overlooked the section of Sippey’s post which holds the key to Twitter’s future: Cards. Twitter’s new Cards technology allows third-party developers to create richer, more compelling — and, above all, visually consistent— content inside of Twitter itself.

via AllThingsD

In line with the Card Mania, I have made a Retro/Vintage version of the Twitter Card:

Notice the Summary: I tweeted an article by Matthew Lasar called "25 years of HyperCard--the missing link to the Web", from last May (via Ars Technica). It gives the Title, the Author (+ his Twitter account), a short Description, the name of the Blog (+ its Twitter account), plus a small image thumbnail from the article.

I couldn't help myself, I had to make a Reference Card-style Retro Twitter Card, just for the heck of it. :)

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"Zoomracks, introduced in 1985, represented data in a form that was visually represented by a filing card, known as "QUICKCARD"s. Cards could be designed within the program as a "template", using general-purpose data fields known as "FIELDSCROLL"s, which could hold up to 250 lines of 80 characters. Cards were collected into a "RACK", which was essentially a single database file. The display was character-based and did not make use of the Atari's GEM interface even though this was the primary platform for the product. Unlike similar database programs of the era, Zoomracks did not support different types of data internally, everything was represented as text."

"When a rack was opened the cards were displayed as if they were in a sort of linear rolodex, and the user could "zoom in", non-graphically, on any particular area to see more details of the cards in that area, and then zoom in again to see all of the fields on a particular card. The racks could display their cards sorted in a variety of ways, making navigation much easier than with a real-world rolodex, which is sorted only by a single pre-defined index (normally last name). Data could be moved from database to database simply by cutting a card out of one stack and pasting it into another. Up to nine racks could be opened at one time." via Wikipedia

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Reference Card.

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Strategic interfiled entries, database arts. Disalienation through preservation. Memento mori, Vanitas. Layers of text. Welcome to the Archive of The House of Painted Scripts. -A.G.