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The Grand Alliance Digital HDTV Transmission System Prototype Painting
United States
Painting, Oil on Wood
Size: 84 W x 48 H x 0.5 D in
Ships in a Crate
About The Artwork
The Grand Alliance Digital HDTV Transmission System Prototype at the Advanced Television Test Center April 1995 On Thursday afternoon, four days before the MIT/GI system was to begin testing, AT&T’s Robert Graves called ACATS Chairman Dick Wiley as the negotiations were close to collapsing. Wiley joined the “fray,” looked for common ground, suggested a future goal of a 1000 line progressive system, and construction of a dual scanning system now. This was acceptable to all present. Lim was at the ATTC preparing for testing, missing the negotiations, but begrudgingly consented. Come Friday, Thomson still had IP issues to resolve before it could sign any agreement; Lim now wanted to issue his own press release condemning interlace. A press conference was rescheduled for Monday. Side-bar business negotiations continued over the weekend and by Monday each proponent had new requirements. After lunch, Wiley called for a vote. AT&T was the lone nay—no Alliance—a business issue with Thomson was still unresolved. On the second ballot, AT&T conditionally approved. More negotiations, and on the third vote, unanimity! An all-inclusive consortium was established on May 24, 1993. Announcing the agreement at the Grand Hotel, Wiley alluded to this “so called Grand Alliance,” and the consortium was officially called the Digital HDTV Grand Alliance. Peter Fannon, ATTC president, was relieved: “The best news possible… All the ‘four systems’ (and their proponents) were still standing….” Formation of the Grand Alliance eliminated two potential issues. An all-inclusive consortium eliminated possible litigation by a losing organization or a reprise of the 1953 NTSC II reversal or 1982 AM stereo non-action. Source: Cianci, Philip J. (2014). High Definition Television: The Creation, Development and Implementation of HDTV Technology. McFarland. p. 132. ISBN 9780786487974.
Details & Dimensions
Painting:Oil on Wood
Original:One-of-a-kind Artwork
Size:84 W x 48 H x 0.5 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships in a Crate
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
Living a dual existence in the parallel universes of creativity and technology, splitting my time between New York City and my Frog Hill Creative Sanctuary, in Lake Peekskill, NY, I am forging a body of work exemplifying the intelligent fusion of technology and art, subscribing to the creative premise: Why do it if it has been done before? My creative R&D is a lifelong pursuit of uniquely innovative creative expression. I am developing generative synesthetic audio visual art. Color selection is directly derived from the harmonic relationships between musical note-class and its extension to a color wheel. (https://www.iopheriancreations.com/art) The music is composed of computer assisted algorithmically generated sequences of notes and timing relationships tempered by human aesthetic considerations. (https://www.iopheriancreations.com/music) Audio is interpreted by computer code that is a customized implementation of Processing.js and produces the algorithmically generated video. My professional career in television media systems technology has permitted me to develop my artistic “vision” free from the restrictions of the contemporary art and commercial music worlds. (https://www.philipcianci.com/bio) Stylistically, I am experimenting with multiple mediums on sundry surfaces augmented by the use of electronic components, glitter, glass stains, and other materials and pigments applied to printed circuit boards, Plexiglas, wood and canvas.
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