The digital media and Multimedia has recent history and this slide contains the information regarding the History of Digital media in details from 1920 to 1930 era.

1. History of
Multimedia

2. History of the term
O The term multimedia was coined by singer
and artist Bob Goldstein (later 'Bobb
Goldsteinn') to promote the July 1966
opening of his "LightWorks at L'Oursin"
show at Southampton, Long Island.
Goldstein was perhaps aware of a British
artist named Dick Higgins, who had two
years previously discussed a new
approach to art-making he called
"intermedia."

3. History of the term
O On August 10, 1966, Richard Albarino of
Variety borrowed the terminology, reporting:
"Brainchild of songscribe-comic Bob
('Washington Square') Goldstein, the
'Lightworks' is the latest multi-media music-
cum-visuals to debut as discothèque fare.”
Two years later, in 1968, the term
"multimedia" was re-appropriated to describe
the work of a political consultant, David
Sawyer, the husband of Iris Sawyer—one of
Goldstein’s producers at L’Oursin.

4. History of the term
O In the intervening forty years, the word
has taken on different meanings. In the
late 1970s, the term referred to
presentations consisting of multi-projector
slide shows timed to an audio track.
However, by the 1990s 'multimedia' took
on its current meaning.

5. History of the term
O In the 1993 first edition of McGraw-Hill’s
Multimedia: Making It Work, Tay Vaughan
declared “Multimedia is any combination of
text, graphic art, sound, animation, and video
that is delivered by computer. When you allow
the user – the viewer of the project – to
control what and when these elements are
delivered, it is interactive multimedia. When
you provide a structure of linked elements
through which the user can navigate,
interactive multimedia becomes hypermedia.”

6. History of the term
O The German language society,
Gesellschaft für deutsche Sprache,
decided to recognize the word's
significance and ubiquitousness in the
1990s by awarding it the title of 'Word of
the Year' in 1995. The institute summed
up its rationale by stating "[Multimedia]
has become a central word in the
wonderful new media world”.

7. History of the term
O In common usage, multimedia refers to an
electronically delivered combination of media
including video, still images, audio, text in
such a way that can be accessed interactively.
Much of the content on the web today falls
within this definition as understood by millions.
Some computers which were marketed in the
1990s were called "multimedia" computers
because they incorporated a CD-ROM drive,
which allowed for the delivery of several
hundred megabytes of video, picture, and
audio data. That era saw also a boost in the
production of educational multimedia CD-
ROMs.

8. History of the term
O In common usage, multimedia refers to an
electronically delivered combination of media
including video, still images, audio, text in
such a way that can be accessed interactively.
Much of the content on the web today falls
within this definition as understood by millions.
Some computers which were marketed in the
1990s were called "multimedia" computers
because they incorporated a CD-ROM drive,
which allowed for the delivery of several
hundred megabytes of video, picture, and
audio data. That era saw also a boost in the
production of educational multimedia CD-
ROMs.

10. KDKA (AM)
O KDKA (1020 kHz) is a radio station licensed
in Pittsburgh, Pennsylvania. Created by the
Westinghouse Electric Corporation on
November 2, 1920, it is the world's first
commercial radio station, a distinction that has
also been challenged by other stations,
although it has claimed to be the "world's first
commercially licensed radio station". KDKA is
currently owned and operated by CBS Radio,
with studios located at the combined CBS
Radio Pittsburgh facility on Foster Drive in
Green Tree and transmitter in Allison Park.

11. KDKA (AM)
O The beginning
O "This is KDKA, of the Westinghouse
Electric and Manufacturing Company,
in East Pittsburgh, Pennsylvania. We
shall now broadcast the election
returns."
O —Leo Rosenburg, on the very first radio
broadcast by KDKA, November 2, 1920

12. KDKA (AM)
O KDKA's roots began with the efforts of Westinghouse employee Frank Conrad who
operated KDKA's predecessor 75 watt 8XK from the Pittsburgh suburb of
Wilkinsburg from 1916. Conrad, who had supervised the manufacturing of military
receivers during WWI, broadcast phonograph music and communicated with other
amateur radio operators via 8YK. On September 29, 1920, the Joseph Horne
department store in Pittsburgh began advertising amateur wireless sets for $10,
which could be used to listen to Conrad’s broadcasts.
O Westinghouse vice president and Conrad’s supervisor, Harry P. Davis, saw the
advertisement and recognized the economic potential of radio. Instead of it being
limited as a hobby to scientific experimenters, radio could be marketed to a
mainstream audience. Consequently, Davis asked Conrad to build a 100-watt
transmitter, which would air programming intended to create widespread demand for
Westinghouse receivers. The KDKA callsign was assigned sequentially from a list
maintained for the use of US-registry maritime stations, and on November 2, 1920,
KDKA broadcast the US presidential election returns from a shack on the roof of the
K Building of the Westinghouse Electric Company "East Pittsburgh Works" in Turtle
Creek, Pennsylvania. There is some indication that the new license had not been
received by that date, and the station may have gone on the air with the experimental
call sign of 8ZZ that night. The original broadcast was said to be heard as far away
as Canada. KDKA continued to broadcast from the Westinghouse building for many
months.

13. Motion Pictures
O In the mid-19th century, inventions such as the
phenakistoscope and zoetrope demonstrated that a carefully
designed sequence of drawings, showing phases of the
changing appearance of objects in motion, would appear to
show the objects actually moving if they were displayed one
after the other at a sufficiently rapid rate. These devices relied
on the phenomenon of persistence of vision to make the display
appear continuous even though the observer's view was
actually blocked as each drawing rotated into the location
where its predecessor had just been glimpsed. Each sequence
was limited to a small number of drawings, usually twelve, so it
could only show endlessly repeating cyclical motions. By the
late 1880s, the last major device of this type, the praxinoscope,
had been elaborated into a form that employed a long coiled
band containing hundreds of images painted on glass and used
the elements of a magic lantern to project them onto a screen.

14. Motion Pictures
O The use of sequences of photographs in such devices was
initially limited to a few experiments with subjects photographed
in a series of poses, because the available emulsions were not
sensitive enough to allow the short exposures needed to
photograph subjects that were actually moving. The sensitivity
was gradually improved and in the late 1870s Eadweard
Muybridge created the first animated image sequences
photographed in real-time. A row of cameras was used, each in
turn capturing one image on a glass photographic plate, so the
total number of images in each sequence was limited by the
number of cameras, about two dozen at most. Muybridge used
his system to analyze the movements of a wide variety of
animal and human subjects. Hand-painted images based on
the photographs were projected as moving images by means of
his zoopraxiscope

15. Motion Pictures
Louis Le Prince, First Film Ever, Roundhay Garden Scene

16. Sound film
O A sound film is a motion picture with synchronized
sound, or sound technologically coupled to image,
as opposed to a silent film. The first known public
exhibition of projected sound films took place in
Paris in 1900, but decades would pass before
sound motion pictures were made commercially
practical. Reliable synchronization was difficult to
achieve with the early sound-on-disc systems, and
amplification and recording quality were also
inadequate. Innovations in sound-on-film led to the
first commercial screening of short motion pictures
using the technology, which took place in 1923.

17. Sound film
O The primary steps in the commercialization of
sound cinema were taken in the mid- to late 1920s.
At first, the sound films incorporating synchronized
dialogue—known as "talking pictures", or
"talkies"—were exclusively shorts; the earliest
feature-length movies with recorded sound
included only music and effects. The first feature
film originally presented as a talkie was The Jazz
Singer, released in October 1927. A major hit, it
was made with Vitaphone, the leading brand of
sound-on-disc technology. Sound-on-film,
however, would soon become the standard for
talking pictures.

18. Sound film
O By the early 1930s, the talkies were a global
phenomenon. In the United States, they helped secure
Hollywood's position as one of the world's most powerful
cultural/commercial systems (see Cinema of the United
States). In Europe (and, to a lesser degree, elsewhere),
the new development was treated with suspicion by
many filmmakers and critics, who worried that a focus
on dialogue would subvert the unique aesthetic virtues
of soundless cinema. In Japan, where the popular film
tradition integrated silent movie and live vocal
performance, talking pictures were slow to take root. In
India, sound was the transformative element that led to
the rapid expansion of the nation's film industry—the
most productive such industry in the world since the
early 1960s.

19. Sound film
O Image from the Dickson Experimental Sound Film (1894 or 1895), produced by
W.K.L. Dickson as a test of the early version of the Edison Kinetophone, combining
the Kinetoscope and phonograph.

20. The Jazz Singer

21. The Jazz Singer
O The Jazz Singer is a 1927 American musical
film. The first feature-length motion picture
with synchronized dialogue sequences, its
release heralded the commercial ascendance
of the "talkies" and the decline of the silent
film era. Directed by Alan Crosland and
produced by Warner Bros. with its Vitaphone
sound-on-disc system, the movie stars Al
Jolson, who performs six songs. The film is
based on The Day of Atonement, a play by
Samson Raphaelson.

22. The Jazz Singer
O The film depicts the fictional story of Jakie
Rabinowitz, a young man who defies the
traditions of his devout Jewish family. After
singing popular tunes in a beer garden he is
punished by his father, a cantor, prompting
Jakie to run away from home. Some years
later, now calling himself Jack Robin, he has
become a talented jazz singer. He attempts to
build a career as an entertainer but his
professional ambitions ultimately come into
conflict with the demands of his home and
heritage.

23. The Jazz Singer
O Darryl F. Zanuck won the Special Academy
Award for producing the film, and it was also
nominated for Best Adapted Screenplay and
Best Engineering Effects. In 1996, The Jazz
Singer was selected for preservation in the
U.S. Library of Congress's National Film
Registry of "culturally, historically or
aesthetically significant" motion pictures. In
1998, the film was chosen in voting conducted
by the American Film Institute as one of the
best American films of all time, ranking at
number ninety.

24. Steamboat Willie

25. Steamboat Willie
O Steamboat Willie is a 1928 American
animated short film directed by Walt Disney
and Ub Iwerks. It was produced in black-and-
white by Walt Disney Studios and was
released by Celebrity Productions. The
cartoon is considered the debut of Mickey
Mouse[2] and his girlfriend Minnie, despite
both the characters appearing several months
earlier in a test screening of Plane Crazy.
Steamboat Willie was the third of Mickey's
films to be produced, but was the first to be
distributed.

26. Steamboat Willie
O The film is also notable for being the first
cartoon with synchronized sound. It was
the first cartoon to feature a fully post-
produced soundtrack which distinguished
it from earlier sound cartoons such as
Inkwell Studios' Song Car-Tunes (1924–
1927) and Van Beuren Studios' Dinner
Time (1928). Also distinguishing
Steamboat Willie from earlier sound
cartoons was the level of popularity.

27. Steamboat Willie
O The film is also notable for being the first
cartoon with synchronized sound. It was
the first cartoon to feature a fully post-
produced soundtrack which distinguished
it from earlier sound cartoons such as
Inkwell Studios' Song Car-Tunes (1924–
1927) and Van Beuren Studios' Dinner
Time (1928). Also distinguishing
Steamboat Willie from earlier sound
cartoons was the level of popularity.

28. Magnetic Tape

29. Magnetic Tape
O Magnetic tape is a medium for magnetic
recording, made of a thin magnetizable
coating on a long, narrow strip of plastic
film. It was developed in Germany, based
on magnetic wire recording. Devices that
record and play back audio and video
using magnetic tape are tape recorders
and video tape recorders. A device that
stores computer data on magnetic tape is
a tape drive (tape unit, streamer).

30. Magnetic Tape
O Magnetic tape revolutionized broadcast and
recording. When all radio was live, it allowed
programming to be recorded. At a time when
gramophone records were recorded in one
take, it allowed recordings to be made in
multiple parts, which were then mixed and
edited with tolerable loss in quality. It is a key
technology in early computer development,
allowing unparalleled amounts of data to be
mechanically created, stored for long periods,
and to be rapidly accessed.

31. Magnetic Tape
O Nowadays other technologies can perform
the functions of magnetic tape. In many
cases these technologies are replacing
tape. Despite this, innovation in the
technology continues and tape is still
used.
O Over years, magnetic tape can suffer from
deterioration called sticky-shed syndrome.
Caused by absorption of moisture into the
binder of the tape, it can render the tape
unusable.

32. Magnetic Tape
O Magnetic tape was invented for recording sound by
Fritz Pfleumer in 1928 in Germany, based on the
invention of magnetic wire recording by Valdemar
Poulsen in 1898. Pfleumer's invention used a ferric
oxide (Fe2O3) powder coating on a long strip of
paper. This invention was further developed by the
German electronics company AEG, which
manufactured the recording machines and BASF,
which manufactured the tape. In 1933, working for
AEG, Eduard Schuller developed the ring-shaped
tape head. Previous head designs were needle-
shaped and tended to shred the tape. An important
discovery made in this period was the technique of
AC biasing which improved the fidelity of the
recorded audio signal by increasing the effective
linearity of the recording medium.

33. Magnetic Tape
O Due to the escalating political tensions, and the outbreak of
World War II, these developments were largely kept secret.
Although the Allies knew from their monitoring of Nazi radio
broadcasts that the Germans had some new form of
recording technology, the nature was not discovered until
the Allies acquired captured German recording equipment
as they invaded Europe in the closing of the war. It was
only after the war that Americans, particularly Jack Mullin,
John Herbert Orr, and Richard H. Ranger, were able to
bring this technology out of Germany and develop it into
commercially viable formats.
O A wide variety of recorders and formats have developed
since, most significantly reel-to-reel and Compact Cassette.

34. Magnetic Tape
O VIDEO RECORDING
O The practice of recording and editing audio using magnetic tape
rapidly established itself as an obvious improvement over previous
methods. Many saw the potential of making the same
improvements in recording television. Television ("video") signals
are similar to audio signals. A major difference is that video signals
use more bandwidth than audio signals. Existing audio tape
recorders could not practically capture a video signal. Many set to
work on resolving this problem. Jack Mullin (working for Bing
Crosby) and the BBC both created crude working systems that
involved moving the tape across a fixed tape head at very fast
speeds. Neither system saw much use. It was the team at Ampex,
led by Charles Ginsburg, that made the breakthrough of using a
spinning recording head and normal tape speeds to achieve a very
high head-to-tape speed that could record and reproduce the high
bandwidth signals of video. The Ampex system was called
Quadruplex and used 2-inch-wide (51 mm) tape, mounted on reels
like audio tape, which wrote the signal in what is now called
transverse scan.

35. Magnetic Tape
O VIDEO RECORDING
O Later improvements by other companies, particularly Sony,
lead to the development of helical scan and the enclosure
of the tape reels in an easy-to-handle videocassette
cartridge. Nearly all modern videotape systems use helical
scan and cartridges. Videocassette recorders used to be
common in homes and television production facilities, but
many functions of the VCR are being replaced. Since the
advent of digital video and computerized video processing,
optical disc media and digital video recorders can now
perform the same role as videotape. These devices also
offer improvements like random access to any scene in the
recording and "live" time shifting and have replaced
videotape in many situations.