"Differentiation with the Cinema Integraph", in: Journal of the Franklin Institute.

Pekeris, C.L. And W.T. White (both MIT), "Differentiation with the Cinema Integraph", in: Journal of the Franklin Institute, pp 17-29, in vol 234 1942. Full volume offered of 616pp. Bound in cloth copy of E.Mallinckrodt, jr., of the Malinckrodt Chemical Works. VG copy. [++] On the Pekeris and White (pp 17-29), ".a new machine called the cinema integraph was developed by Gordon S. Brown and his associates in the Research Division and became the subject of Brown's doctoral dissertation, presented in June 1938. The name came from the use of motion-picture film instead of cardboard or metal for the function masks. Another doctoral thesis in December 1939, by Walter R. Hedeman, Jr., was entitled The Numerical Solution of Integral Equations on the Cinema Integraph." At Bush's suggestion the cinema integraph was used by Hazen and Paul T. Nims, S.M. '40, to study the motions of a ship responding to forces encountered in a seaway. There were many other applications."--Wildes and Lindgren, A Century of Electrical Engineering and Computer Science at MIT 1882-1982. "Printing sinusoidal curves onto celluloid cinematic film, the Cinema Integraph enabled Brown and Wiener to transform optical patterns into Fourier analyses and other mathematical computations."--Wikipedia [++] "The history of computing is inseparable from the history of cinema. Such is the contention of Stine’s essay, which treats the Cinema Integraph: a technique developed by Gordon S. Brown in collaboration with Norbert Wiener at MIT in the 1930s. Printing sinusoidal curves onto celluloid cinematic film, the Cinema Integraph enabled Brown and Wiener to transform optical patterns into Fourier analyses and other mathematical computations. Situated amongst Wiener’s cybernetics and its interpretation, the Cinema Integraph becomes, for Stine, a mechanism crucial for reclaiming as much a deep history binding together technologies of calculating and picturing as the insoluble unities repressed by familiar oppositions of the analogue to the digital."--"The Coupling of Cinematics and Kinematics", by Kyle Stine.…