everything old is new again principles of new media
TRANSCRIPT
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Everything Old is New
Again
PRINCIPLES OF NEW MEDIA
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We lack a quality record of the wide-spreading changes to culture brought on by the early days of cinema.
We’re in an even more drastic cultural shift with new media/computers and we’re also failing to document those changes.
To use my metaphor: we’ve switched to a crayon culture in the past 30 years and we’re not stopping to notice how this changes everything.
BOOK’S CENTRAL PREMISE
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THE PRINTING PRESS
Affected:
• The distribution of media
• Preservation of knowledge
• Literacy rates
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THE CAMERA
Affected:
• The still image• The integration of
image with text
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DIGITALITY
Affected:
• Acquisition• Manipulation• Storage• Distribution
• Text• Still Images• Moving Images• Sound• Spatial
Construction
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#1 NUMERICAL REPRESENTATION
Any New Media object is composed of code that is numerical and algorithmic in nature.
Media becomes programmable and subject to evolution/change
You can’t change a printed book.You can’t change a painting.You can’t change analog photography.You can’t change a sculpture.
. . . OK, you could write in the margins, vandalize the painting, or break the sculpture, but you get the point.
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MEDIA FORMS REFLECT CULTURAL VALUES OF THE TIME THEY
DEVELOPED
• Standardization of Parts• Production Process as
Simple, Repetitive, Sequential Steps
Modern Media follows this same factory logic:
• Division of labor to produce (Hollywood films)
• Typesetting machines• Cinema: size, ratio,
contrast• Television: genre and
formatting
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“[New] media elements . . . Are represented as collections of discrete samples (pixels, polygons, characters, scripts). These elements are assembled into larger-scale objects but continue to remain their separate identities.”
“Because all elements are stored independently, they can be modified at any time.”
(Manovich 30)
#2: MODULARITY
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WEBSITES
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MUSIC
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IMAGES & FILM
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“The numerical coding of media (principle 1) and the modular structure of media object (principle 2) allow for the automation of many operations involved in media creation, manipulation, and access. This human intentionality can be removed from the creative process, at least in part.”
(Manovich 32)
#3 AUTOMATION
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I may have typed this here and changed the font size, but the aesthetics and layout of the slide were a pre-programmed selection.
TEMPLATES
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FILTERS
Original Photo and Same Photo with Photoshop “Plastic Wrap” Filter.Time to Accomplish: 2 seconds
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AFTER & BEFORE PHOTOSHOP
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VIDEO GAMES
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34 Gigapixel image of Tokoyo
ART & ARTISTS
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34 Gigapixel image of Tokoyo
Can we consider what these people are doing to be “art?”
Are they “artists?”
ART & ARTISTS
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PHOTO MANIPULATION
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Evolution of Beauty
What are some of the cultural ramifications/changes of a hyper-remediated world?
BEAUTY
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WEB TEMPLATES
Why Are You Here? There’s a million templates out there.
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“A new media object is not something fixed once and for all, but something that can exist in diff erent, potentially infinite versions.”
“With old media . . . Numerous copies could be run from a master, and, in perfect correspondence with the logic of an industrial society, they were all identical.”
(Manovich 36)
“Changes in media technologies are correlated with social change. If the logic of old media corresponded to the logic of industrial mass society, the logic of new media fi ts the logic of postindustrial society, which values individuality over conformity”
(Manovich 41)
#4 VARIABILITY
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ANDY WARHOL
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WEBSITES
“Light” Version
“Heavy” Version
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SOFTWARE
Microsoft Word with all menus visible.
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HYPERLINKING
When hyperlinks are offered, the decision of whether or not to follow them creates a different version of the document for every reader.
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THEORY OF PROTOTYPES
Star Wars is prototype for infinite versions and references.
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“Cultural categories and concepts are substituted, on the level of meaning and/or language, by new ones that derive from the computer’s ontology, epistemology, and pragmatics. New media thus acts as a forerunner of this more general process of cultural reconceptualization.”
(Manovich 47)
In English: old media and new media affect each other back and forth. Computers make us look at old cultural forms and habits differently, while old cultural forms and habits find their way into computer culture.
#5 TRANSCODING
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OLD TO NEW: INTERFACE
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OLD TO NEW: CONTROL
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“Just Google it.”“I can’t process this.”Text speak (LOL, BRB, TMI)“I need some down time.”“I’m an excellent multitasker.”“Going camping. I need to unplug.”“That girl is nothing but eye candy.”“That’s not for me; I’m gonna opt-out.”“That pic is obviously Photoshopped.”
NEW TO OLD: DAILY LINGO
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NEW TO OLD: CATEGORIZATION OF ENTERTAINMENT
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Identify and note the signifi cance of a few more examples of modularity than I discussed here. More interestingly, note some examples of the value of modularity playing out in the non-digital. Think, the rise of IKEA and modular living design versus an old
skool focus on sets and matching pieces
Identify and note the signifi cance of a few more examples of variability than I discussed here. More interestingly, note some examples of the value of variability playing out in the non-digital. Think, (from what the kids tell me) less emphasis on a set
sub-group or style (goth, punk, grunge, jock, etc.) and increased acceptance of playing with varying identity roles
HAPPY BLOG GROUPS TALK TO EACH OTHER F2F