19th Century Photography In Extreme Miniature

Ever since the invention of the microscope, humanity has gained access to the world of the incredibly small. Scientists discovered that creatures never known to exist before are alive in an uncountable number in spaces as small as the head of a pin. But the microscope unlocked some interesting forms of art as well. Not only could people view and photograph small objects with them, but in the mid-nineteenth century, various artists and scientists used them to shrink photographs themselves down into the world of the microscopic. This article goes into depth on how one man from this era invented the art form known as microphotography.

Compared to photomicroscopy, which uses a microscope or other similar optical device to take normal-sized photographs of incredibly small things, microphotography takes the reverse approach of taking pictures of normal-sized things and shrinking them down to small sizes. [John Benjamin Dancer] was the inventor of this method, which used optics to shrink an image to a small size. The pictures were developed onto photosensitive media just like normal-sized photographs. Not only were these unique pieces of art, which developed — no pun intended — into a large fad, but they also had plenty of other uses as well. For example, since the photographs weren’t at all obvious without a microscope, they found plenty of uses in espionage and erotica.

Although the uses for microphotography have declined in today’s digital world, there are still plenty of unique pieces of art around with these minuscule photographs, as well as a bustling collector culture around preserving some of the antique and historical microphotographs from before the turn of the century. There is also similar technology, like microfilm and microfiche, that were generally used to preserve data instead of creating art, although plenty of these are being converted to digital information storage now.

Retrotechtacular: 1970s Radio

Before YouTube, you had to watch your educational videos on film. In the 1970s, if you studied radio, you might have seen the video from Universal Education and Visual Arts, titled Understanding Electronics Basic Radio Circuitry. The video’s been restored, and it appears on the [CHAP] YouTube channel.

The video starts with a good history lesson that even covers Fessenden, which you rarely hear about. The video is full of old components that you may or may not remember, depending on your age. There’s a classic crystal radio at the start and it quickly moves to active receivers. There’s probably nothing in here you don’t already know. On the other hand, radios work about the same today as they did in the 1970s, unless you count software-defined varieties.

We expect this was produced for the “trade school” market or, maybe, a super advanced high school shop class. There were more in the series, apparently, including ones on vacuum tubes, the transistor, and the principles of television.

We were sad that the credits don’t mention the narrator. He sounded familiar. Maybe Robert Vaughn? Maybe not. A little research indicates the company was a division of Universal Studios, although the Library of Congress says it was actually produced by  Moreland-Latchford Productions in Toronto.

Maybe these videos were the next step in becoming a child radio engineer. If you like old radio videos, this one is even older.

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Cassette Data Storage From The 1970s

When home computers first appeared, disk drives were an expensive rarity. Consumers weren’t likely to be interested in punch cards or paper tape, but most people did have consumer-grade audio cassette recorders. There were a few attempts at storing data on tapes, which, in theory, is simple enough. But, practically, cheap audio recorders are far from perfect, which can complicate the situation.

A conference in Kansas City settled on a standard design, and the “Kansas City standard” tape format appeared. In a recent video, [Igor Brichkov] attempts to work with the format using 555s and op amps — the same way computers back in the day might have done it. Check out the video below to learn more.

These days, it would be dead simple to digitize audio and process it to recover data. The 1970s were a different time. The KC standard used frequency shift method with 2.4 kHz tones standing in for ones, and 1.2 kHz tones were zeros. The bit length was equal (at 300 baud), so a one had 8 cycles and a zero had 4 cycles. There were other mundane details like a start bit, a minimum stop bit, and the fact that the least significant bit was first.

The real world makes these things iffy. Stretched tape, varying motor speeds, and tape dropouts can all change things. The format makes it possible to detect the tones and then feed the output to a UART that you might use for a serial port.

There were many schemes. The one in the video uses an op-amp to square up the signal to a digital output. The digital pulses feed to a pair of 555s made to re-trigger during fast input trains but not during slower input trains. If that doesn’t make sense, watch the video!

The KC standard shows up all over the place. We’ve even used it to hide secret messages in our podcast.

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The 1972 INTERCAL Compiler Revealed

Have you ever heard of INTERCAL? If you haven’t, don’t feel bad. This relatively obscure language dates back to 1972 with the goal of being difficult to read and write. It is the intellectual parent of systems like brainf**k and other bad languages. Now, you can read the INTERCAL-72 source code thanks to a found printout. It will help if you can read SPITBOL, another obscure language that is a compiled version of SNOBOL (which is like an old-fashioned non-Unix awk program).

How strange it INTERCAL? Well, one of the statements is PLEASE. If you don’t use it enough, you’ll offend the interpreter, who will then ignore your program. But if you use it too much, then you are a suck up and, therefore, your program will be ignored again. If you think GOTO is a bad idea, you’ll just hate COME FROM, although that was from a later version of INTERCAL.

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Wayback Proxy Lets Your Browser Party Like It’s 1999

This project is a few years old, but it might be appropriate to cover it late since [richardg867]’s Wayback Proxy is, quite literally, timeless.

It does, more-or-less, what it says as on the tin: it is an HTTP proxy that retrieves pages from the Internet Archive’s Wayback Machine, or the Oocities archive of old Geocities sites. (Remember Geocities?) It is meant to sit on a Raspberry Pi or similar SBC between you and the modern internet. A line in a config file lets you specify the exact date. We found this via YouTube in a video by [The Science Elf] (embedded below, for those of you who don’t despise YouTube) in which he attaches a small screen and dial to his Pi to create what he calls the “Internet Time Machine” using the Wayback Proxy. (Sadly [The Science Elf] did not see fit to share his work, but it would not be difficult to recreate the python script that edits config.json.)

What’s the point? Well, if you have a retro-computer from the late 90s or early 2000s, you’re missing out a key part of the vintage experience without access to the vintage internet. This was the era when desktops were being advertised as made to get you “Online”. Using Wayback Proxy lets you relive those halcyon days– or live them for the first time, for the younger set. At least relive those of which parts of the old internet which could be Archived, which sadly isn’t everything. Still, for a nostalgia trip, or a living history exhibit to show the kids? It sounds delightful.

Of course it is possible to hit up the modern web on a retro PC (or on a Mac Plus). As long as you’re not caught up in an internet outage, as this author recently was.

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An Awful 1990s PDA Delivers AI Wisdom

There was a period in the 1990s when it seemed like the personal data assistant (PDA) was going to be the device of the future. If you were lucky you could afford a Psion, a PalmPilot, or even the famous Apple Newton — but to trap the unwary there were a slew of far less capable machines competing for market share.

[Nick Bild] has one of these, branded Rolodex, and in a bid to make using a generative AI less alluring, he’s set it up as the interface to an LLM hosted on a Raspberry Pi 400. This hack is thus mostly a tale of reverse engineering the device’s serial protocol to free it from its Windows application.

Finding the baud rate was simple enough, but the encoding scheme was unexpectedly fiddly. Sadly the device doesn’t come with a terminal because these machines were very much single-purpose, but it does have a memo app that allows transfer of text files. This is the wildly inefficient medium through which the communication with the LLM happens, and it satisfies the requirement of making the process painful.

We see this type of PDA quite regularly in second hand shops, indeed you’ll find nearly identical devices from multiple manufacturers also sporting software such as dictionaries or a thesaurus. Back in the day they always seemed to be advertised in Sunday newspapers and aimed at older people. We’ve never got to the bottom of who the OEM was who manufactured them, or indeed cracked one apart to find the inevitable black epoxy blob processor. If we had to place a bet though, we’d guess there’s an 8051 core in there somewhere.

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Rebooting An 1973 Art Installation Running On A Nova

Electronics-based art installations are often fleeting and specific things that only a select few people who are in the right place or time get to experience before they are lost to the ravages of ‘progress.’ So it’s wonderful to find a dedicated son who has recreated his father’s 1973 art installation, showing it to the world in a miniature form. The network-iv-rebooted project is a recreation of an installation once housed within a departure lounge in terminal C of Seattle-Tacoma airport.

You can do a lot with a ‘pi and a fistful of Teensies!

The original unit comprises an array of 1024 GE R6A neon lamps, controlled from a Data General Nova 1210 minicomputer. A bank of three analog synthesizers also drove into no fewer than 32 resonators. An 8×8 array of input switches was the only user-facing input. The switches were mounted to a floor-standing pedestal facing the display.

For the re-creation, the neon lamps were replaced with 16×16 WS2811 LED modules, driven via a Teensy 4.0 using the OctoWS2811 library. The display Teensy is controlled from a Raspberry Pi 4, hooked up as a virtual serial device over USB. A second Teensy (you can’t have too many Teensies!) is responsible for scanning a miniature 8×8 push button array as well as running a simulation of the original sound synthesis setup. Audio is pushed out of the Teensy using a PT8211 I2S audio DAC, before driving a final audio power amp.

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