January 6, 2014
88, or How Telegraphers Coded ‘Love and Kisses’

What humans will do to save themselves from typing a few characters: LOL. ROTFL. TTYL. <3. BRB. Universal sentiments and actions become encoded.

Well, imagine that each character had to be tapped down the line in Morse code. Telegraph operators had even more incentive to cut down on letters than did even the T9 texters of yore.

And so they came up with codes to communicate the things that they needed to say often. These were first codified by Walter P. Phillips into what became known as the Phillips Code in 1879. (It was updated several times, the last I found in 1975.) 
Nearly all of these codes are now obsolete.
Read more. [Image: Flickr commons]

88, or How Telegraphers Coded ‘Love and Kisses’

What humans will do to save themselves from typing a few characters: LOL. ROTFL. TTYL. <3. BRB. Universal sentiments and actions become encoded.

Well, imagine that each character had to be tapped down the line in Morse code. Telegraph operators had even more incentive to cut down on letters than did even the T9 texters of yore.

And so they came up with codes to communicate the things that they needed to say often. These were first codified by Walter P. Phillips into what became known as the Phillips Code in 1879. (It was updated several times, the last I found in 1975.) 

Nearly all of these codes are now obsolete.

Read more. [Image: Flickr commons]

August 4, 2011

theatlanticvideo:

The Thomas Beale Cipher, by Andrew S Allen

I love the look of this animated short (John Pavlus called it “tweed noir”), which was created with a combination of real textures and rotoscoping. I interviewed Andrew about the making of the short, and I like his point on working with designers rather than animators:

If you put talented people in new situations, they’ll often surprise you. They don’t know the rules, so they wind up breaking most of them and interesting things come out of it. I worked with a talented crew of designers to animate the film who knew nothing about animation, but they brought a unique perspective around the framing of shots and a level of detail and richness in the scenes that I never would have gotten to on my own. When you’re trying to tell a big story in a small space, a certain visual clarity is needed — that’s something you see often in advertising design — we’re just taking it to the film world.

Read more at The Atlantic

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