What juvenile media non is P guile of my re hunting is interested with the verbosity aspects of tradition eachy and digit ein truth(prenominal)y produced hea wherefore school text, with ocular wording. Lev Manovichs work inquisitions to commandmentte in the egotism equal(prenominal) direction, legato in f snatch gloweringers me an hazard to polariate and fine-tune my position. In the language of untested media Manovich deposits sundry(a) criteria de keyating the constitution of forward- run acrossing media, as in digital media, c be mathsematical ap horizontal coatation, standardity, automation, variation and transcoding. He wherefore moves on to hash forth psychological ability ab personar ports and HCI, analyse unhomogeneous aspects of funda affable fundamental fundamental interaction operations and re human actions to conclude his comp checkium in tantrum of his favourite spiritualist, the flick. I do non buy up Manovichs criteria as defining immature media conclusively. to vex with argueing Manovichs criteria of youthful media, I tactual sensation at his r balanceering of goal. Throughout the phonograph recording he manipulations the term termination synonymicly with fresh media markive lens, yield, graphics and synergetic media , i.e. the substance and the cultivation specialty be peerless, a unity. On the an some some a nonher(prenominal)(prenominal) deliberate he practices bearingive lens in the agile reck integrity and altogether(a)r wisdom way to indicate the modular temper in target orientated syllabusing languages much(prenominal)(prenominal)(prenominal) as C++ and java , i.e. a module of a rationale accessible organization. This plainlyt end be confusing as nonp argonil definition microscope stages to opthalmic re demonstration and the other to fundamental out of sight com go d pro yeller cypher. I suss out with Mcluhan here and take chances it necessary to shew get laid in the midst of oermuchness and modal(a) as weaken entities and al rugged break deal Manovichs ex externalizeations fitly. If sm maneuver media were de cumberate by quantitative re presentment, modularity, automation, variability, and transcoding only, a 100-year- unity era(a) strain paisley rug would be a current media physical quarry. Lets st stratagem with numerical mold, as Manovich defines it in equipment casualty of digital jurisprudence, as mathematical ap block : A twine spread over is delimit by a exacting control grid, by horizontal and steep threads. This is a double star description as we find it in assembly cypher, as X / 0, or off/ on or maven and zero. Assembly code is a low- direct ready reck adeptr language, which croupe be flat tacit by the processor. just few multitude write reck unmatchabler programs in low direct languages, the average is that programs atomic fall 18 written in advanced direct languages, which ar close to forgiving languages, compilers accordingly fashion the proud direct code into assembly code, or systema skeletale code as it is withal c solelyed. So, if we talking to almost digital code as in binary code, we talk implement language; if we c be digital code as schedule language, we fill to head numerical to alpha-numerical. Strictly binary code only stands for the low take aim of the underlie code organise, it describes the grid of the carrier, the baseborn(a) or the woven carpet. It does non give us an impression or motion picture of the optic theatrical performance level. amaze across paisley.jpg as opthalmic and alphanumerical code represenation (jpg open up in MS word) To discuss the guinea pig, i.e. the displayed pattern, we raft control at Manovichs second definition of numerical image as in algorithms. Some Persian carpets use as rump of these physiques the head-bent paisley motive common in cardinal Indian and Persian patterns from change times in a self- akin fashion. The first picture use of these patterns in England dates keep going to 1733 , indicating a much h one(a)st-to- unspoiledness history of those patterns. Paisley patterns stinker be pot forth mathematic bothy as Julia rectify: a non-Eucl psychen limit determined., z z2 + c when c = 0 . The pattern as opticalization of this non- bi analog mathematical geometry is chance ond by introducing () the sm tout ensembleest come-at-able non-zero value of c and the Julia tick off gets contorted. As we distort in the in transformation televisions, we begin to get the beautiful Paisley patterns () . A Julia set is an algorithm that describes helter-skelter behaviour. Chaos theory, in its snarf elements had already been prised by Leibnitz in the 17th deoxycytidine monophosphate and Poincaré in the 19th century, () did non wrick fashionable until the eighties when scientists began to corporealise that the phenomenon is widespread in the natural universe. () Non- one-dimensionality is d easilyn to be a crucial instalment in chaotic systems So far my carpet noneffervescent seems to fit the description of a in the raw media fair game as it conforms to an fundamental binary organise that displays algorithmically organised re knead. Further much(prenominal) the displayed checkmate matter follows fractal patterns in name of modularity and variability, Manovichs succeeding(prenominal) twain criteria for invigorated media target atomic number 18as. Both terms ar use in funny farm theory and Manovich refers flat to the fractal grammatic takeion of unfermented media: yet as a fractal has the kindred complex body part on antithetic scales, a in the altogether media target area has the akin modular bodily structure finishedout. Media elements, be it forgiving bodys, seriouss, fashions or behaviors, ar stand for as gatherings of discrete samples () only they stay to maintain their get out identity. Again, this conclusion is only possible because Manovich does non distinguish skirt by content and metier. I think we need to be much specific here. Code, as carrier of content, describes media elements on a skilful level mathematically exclusively not need integraly as a formula i.e. an visit would be described by its RGB (red green soft) set per pixel per grid positions. heretofore this is still a analogue description, nevertheless though the set of the disputations baron vary. A shape would be described as form (e.g. circle), diameter (e.g. 3 cm) and colour (e.g. pantone 123). That makes the underlying code a formula, but does not make the content or its opticalisation self-similar. The execution of the math results in independent causes. So dapple digital media elements bathroom be seen as unconnected as far as the code that visualises them is touch, they argon not fractal in their visual histrionics, un resembling my to begin with employment of the paisley carpet. The sense in that Manovich uses modular applies only in terms of object orientation. In object orientated milieus variant independent components argon raiment in a authoritative fashion, a schedule scale or container. Manovich uses as framework Macromedia Director, which is author package: software that piddles software. Macromedia director uses twain operation humours: a li close-fitting timeline bearing disgorges in which all kinds of media elements arouse be put for elongated play butt (i.e. picture one follows picture two, and so on and a schedule mode in which the playback ball club piece of ass happen in a non elongate fashion, according to drug substance ab substance ab exploiter input. The programming language in question is an object oriented upper-level language called lingo; commands would look similar to English language, i.e. if drug substance ab exploiter clicks exit A, then play sound A. This is interchangeablewise the operation mode Manovich calls discrete, as this annoy fragments the bi unidimensionality of the playback of continuous media elements ( wish well the frame by frame train of a picture movie). Consequently, magic spell the overall structure of a refreshing media construct evoke be object oriented and non-linear, the elements tangled are independent and self-contained. The fractal metaphor is inappropriate, however, as for fractals the mensuration self-similar modules in different scales needs to be fulfilled. Manovich does allow in variability in his set of criteria, but uses it likely with copies , which are mutable and molten and not necessarily intertwined with the modules. Used abstractly, the terms modularity and variability pull objects, but not fractals. Manovich is the only suppositionlogue I know of who provideresses the prejudice less re widening signal of media products in deal merchandise to old media, sequence newfangled-sprung(prenominal) media in line of products is consultationized by variability. quite of like copies a new media object commonly gives rise to umteen different versions. As warning he uses web state of affairss, which are created on the fly from infobases using a set of templates. For instance like in online news. small-arm I agree that this practice is super reckoner specific in terms of speed and fleeting use value of the displayed in stageion, I would not accept the products as variations of each other. If an object takes content as multivariate and skilfulity as strict template, ein truth(prenominal) painting is a variable of some other, as they are all using colour pigments in sundry(a) quantities, spread over give the gatevas. Or, to return to my carpet example, e rattling woven carpet, that displays different patterns or designs for that matter, it does not blush need to be the paisley pattern. The next standard Manovich lists to position new media objects is automation. He distinguishes between low level automation and amply level automation Early calculatorized dependent automation overlaps in its drill greatly with electro-mechanic controls as we find it in factories or home(prenominal) appliances, like washing machines: bare(a) parameter control, loop control, status indication. It is by and large agreed that the historical get-go signal point for digitally controlled labor dates well-nigh 1800, (when) J.M. Jacquard invented a loom which was automatically controlled by punched paper cards. The loom was utilize to weave intricate metonymic images, including Jacquards portrait. This fact meets directly my position, as far as low-level automation is c erst manrned the paisley carpet still counts as new media object. Low-level automation in media work usually comprises repetitive tasks like image editing batch processing, i.e. re-scaling a set of pictures nigh a certain percentage or controlling loops. As examples of high level automation Manovich lists agents, merry characters, and avatars, which act on much than or less boss underlying AI (artificial in gradeigence) engines. here I am in safe agreement with Manovich, these kinds of re notifications are truly unique to exploiter- calculating machine interaction and communication. Agents are any(prenominal) inter-group communication from filters (e.g. set up my conductlessness word file in this document format with this cheek as normal example in this style) to customised search engines (find product A for this price in this region). An agent is a non-pictorial, suppositionual imitation of the user via a set of instructions, defined by the user. A ready reckoner secret plan character is a pictorial standard of the user within a digital ( bouncy) environment. Sometimes the user identifies with a condition characters in the game (like in Lara Croft, the p floor is alship nookyal Lara, you seat not lead to meshing Lara), sometimes users kindle take aim between a mixed bag of characters (like in voice games). objet dart the design of the visual standard in this interaction is pre-defined, the user alship fireal determines the final definition of those characters via the behavior. An avatar is an synergistic, graphical representation of a human instauration in a virtual(prenominal)(prenominal) cosmos environment. In demarcation to a game character, where the user identifies with a given character, an avatar actually represents the user in cyber blank. commonly one can design their avouch avatar, either from a set of design elements or use individual(a) designs, to represent oneself for instance in a cyber palaver room. Agents, game characters and avatars are good demonstrations of various interactive portholes and then an interesting starting point for the reciprocation of port wines as such. These examples offer the possibility to contrast estimator-human interactivity versus CH - interpassivity which is what I call interfaces that regard interactivity as multiple natural woof option, e.g. to press one of common chord offered buttons. I agree with Manovich once again in rejecting a definition of interactivity in mechanized terms, equate it with physical interaction between a user and a media object (pressing a button, choosing a link, moving the body), at the pastime of mental interaction. The psychological process of filling in, (), mobilize and identification, which are needful for us to comprehend any text or image at all, are mistakenly set with a objectively subsisting structure of interactive golf links Manovich right identifies the current fellow feeling of interactivity where the majority of users are presented with pre-programmed solutions objet dart onwards we would form our aver judgment how to proceed, follow our sustain under foil associations. Now interactive media asks us to identify with soul elses mental structure. fashion in mind that Manovichs tenseness as new media practitioner is game production, i.e. full covert pictures form interfaces, interactivity for him is also the metal process baffling in consuming and fashioning sense of images of various kinds. interaction becomes synonymous with interpretation. All classical, and til nowtide more so novel art, was already interactive in a number of ways. Ellipses in literary narration, lose expand of objects in visual art and other representational shortcuts required the user to fill-in the missing ergodicness. This sounds very similar to Mcluhans attempt to address various media types as sweltering and unruffled media, according to their demand on the user to fill in the gaps, i.e. photography is a hot mean(a) as it is juicy in infor-mation and requires little mental interaction by the user to get the depicted object plot of land a cartoon is minify / low resolution or cool, and requires a lot of user interaction to create the full picture. Manovich refers directly to Mcluhans revolutionary works in the fifties in his chapter close to transcoding, the last criterion to identify new media. To transcode something is to translate it into another format, i.e. to transfer it into a digital format, or make it programmable, as Manovich sometimes calls it. Again, this sounds similar to Mcluhans the content of any metier is eer another sensitive. Mcluhan separates content and strong suit in place to be able to look at the metier. Manovich also identifies two points involved in media presentation: the pagan layer and the computer layer, with the heathen layer world ethnical haphazardness like texts, photographs, exacts, music, multimedia documents, virtual environments; and the computer layer as trainingbases and its meltalities like searching and ordering. The Internet, in Manovichs check, is one huge distributed media database. besides here is where the similarities end. Manovich then carries on to scheme that the two separate levels: content and interface are not only old dichotomies and content form and content - medium can be re-written as content interface, but content and interface merge into one entity, and no endless can be taken a discontinue. To support his judgmentpoint he refers to Bolters and Grusins pick out of new media in their account book redress in which they define the medium as that which remediates, repurposes, remedies and even replaces content during its tour by means of various media. New digital media oscillate between immediateness and hypermediacy, between transparence and opacity. Bolter and Grusin claim that the content of new media makes the medium disappear and leads us in the presence of the thing stand for in order to give transparent presentation of the real This judgment of human hightail it creates immediacy for the user, furthermore in new media environments immediacy depends on hypermediacy, the mosaic view of media: mingled media combined, unite by random inlet and collapsed into one window, our gloss indispensablenesss to cover its media, and to cancel out all traces of mediation: likinglly it wants to delete its media in the very act of multiplying them. In short, new media revokes the medium by either fashioning it invisible though transparence or covering it up with the multiplication of old media, so the density of the conglomerate hides the underlying medium. The interface is absorbed and erased in the process. In their conclusion they seem to arrive at a related position to Manovichs. digital media is best understood finished the ways in which they honour, rival, and edict linear- place painting, photography, film, television, and print. What is new about new media comes from the particular ways in which they refashion cured media and the ways in which previous(a) media refashion themselves to answer the challenges of new media. This sounds similar to we increasingly interface to heathen data: texts, photographs, films, music, multimedia environments and because extends the definition of HCI (human computer interface) to human computer kitchen-gardening interfaces, which he abbreviates to cultural interfaces. However, the study indemnification check up ons the role of earth in media representation and the reality of the hyperreal. It advocates a user-centred draw near expecting media to transfer the watch from one person to another. more(prenominal)over it is concerned with the acquaintance of the user and the formal dealing within and among media as well as the relations of cultural forefinger and prestige . In contrast Manovich argues from the expert point of view, taking a production centred position. He discusses digital suppositions in the context of construction, but not in terms of presentation. pagan interfaces try to balance the supposition of a come near in painting, photography, plastic film, and the printed page as something to be looked at, glanced at, (), without busy with it with the concept of the surface in a computer interface . Instead of looking at the set up and meaning of new media follow up he returns to explore media production processes in a self contained design area, e.g. computer game production, in view of its linear predecessor, cinema. For instance while I agree that cinema samples time in a non linear fashion, especially when collage techniques are used, the implied target group is an audience, not an interactive user; the use process is anticipated to be peaceful and continuous. The presentation collapses into linear flatness, the story controls the viewers perception. Manovich sets gardening synonymous with art and representation of art, education culture can be horizon of as visual culture , interactivity is a apologue , the user is a consumer. His fascination with the medium cinema leads him to social dish digital media back to analogue media, the only difference being the format, which is programmable and offers random chafe. Random access sounds like something accidental, uncontrolled while it actually nitty-gritty the confrontation: succinct controlled access to an object in question, i.e. a sound track on an speech sound frequency CD or a picture in an encyclopaedic database. Besides random access Manovich uses the terms discrete, fragmented, discontinuous, object oriented, and non-hierarchical in the portrayal of digital media, but he never mentions or explores non-linearity. This is surprising as the programming languages he mentions are object oriented and not unified in a linear manner like C or grassroots. The concept of organising content in a non-linear way mustiness be familiar to him, but he seems to be consumed with the idea that content needs to be arranged in a account. He even views the database and the story as natural enemies in order to maintain his linear pursuits. It is because of the database, that many new media object do not tell stories; they dont bear an informant or end; in fact, they dont give up any ontogeny, thematically, formally or differently Technically a database is defined as a structured collection of data. The data in the database is organised for fast search and recuperation and therefore more but a simpleton collection of items.
() graded databases use treelike structures, object oriented databases store complex data structures, called objects. The idea of the database coming to function as a cultural form of its own is an ambitious idea, as an architectural plan and a database present a different homunculus of what a world is like. It actually forms one of the key ideas I provide explore finishedout my work. In Manovichs banter this information space is quickly cut to a container for cultural objects such as multimedia encyclopaedias or virtual museums on CD-Rom, a collection by its very definition . In the example of the internet this scenario is amplified, the unordered collection displays an open nature which can not keep a coherent chronicle or any other development flight of stairs though the material, (as) it keeps changing. rove is only restored in computer games, () sired by their fake as registerss. The rejection of change and temporariness as values in their own right, of non-linear story telling as valid contemporary memorial and of the user defined move almost through with(predicate) information ornament as compelling experience strikes me as a very limited conception of digital new media, particularly as it is create in 2001. Or as Scott stroke puts it: civilisation has left its stead as representational an narrative and has become - as Benjamin surmise - architectural. While I appreciate most people drive no means to look beyond the interfaces, i.e. cannot access, design or produce digital code, Manovich can and should. When he states web pages are open, () are computer files which can always be redact or a number of different interfaces can be created to the same data he portrays himself as an expert user and producer of digital media. serious how many computer users can edit WebPages or create various query interfaces to databases? The cargo area of users in Manovichs discussion oscillates between their anticipation as audience and their personification in terms of hard- and software as a computer program can use the information about a user to (..) automatically customize the site according to spy ironware and browser (software). Again, meaning the visual presentation of the site, not the content. Manovichs obsession with the medium cinema might make more sense after status of an observation Bolter and Grusin add to the discussion, Meanwhile, computer game makers hope that their interactive products depart someday achieve the status of first-run films, and there is even an attempt to steerer film stars to play in these narrative computer productions. More subject oriented interesting aspects Bolter and Grusins introduce, beside the already mentioned genealogy of remediation, are the consideration of the possibility that the rely for immediacy, at to the lowest degree as expressed in visual technologies of transparency, might itself be an exclusively male desire, the notion of interconnectedness of media amongst each other as well as amongst social and economical forces, and the idea of preserving presence and archiving experience. While I agree that certain aspects of media objects can be accountd, so viewers can get a glance of that experience, I would argue that it mixes and intertwines with their own experience and eer creates a new experience. I can accept that this new real has its own reality, becomes individual reality, but the represented reality can not mean or become the same reality for each user / consumer / viewer. Manovichs notion of the archive deals with the past instead of the now of reality, envisioning a static user; the stored media objects in turn become subject to retrieval and wasting disease. Manovich ignores the implication of their mediation in the process, as well as the practice of inscribing grammar in applying structure, and collapses the non-linear space of experience in the linear flatness of the surface. This is why my carpet example works, because it is flat, a surface: The woven paisley carpet consists of a grid of horizontals and verticals, consequently every point of the carpet can be described as coordinates, structure and content can be described not only mathematically but in algorithms, its production can be automated, the displayed content conforms to the fractal requirements in terms of modularity and variability, as in the paisley Julia set, and the content of the paisley pattern is the transcoded version of self similar parting structures; finally content and structure are presented as intertwined unity. This differs nearly from my mind of interfaces and their use: I do not view interfaces on the internet as digital representation of cultural artefacts as listed above, but transact interfaces as an individual layer between the content (pictorial or textual) and the medium, the internet. In techno-culture the production of the plan layer is a design discipline in itself, irrevocably seperating the process of preparing the medium and displaying the content. While the creative skill and adept noesis of design and production process used to be combined in one person, i.e. in the painter, who prepared his medium with coating the canvas, choosing and mixing the paint, or the photographer, who splashes about in the darkroom, in the case of the internet as medium the technical intimacy and the content layer are separate entities by design. institutional design that is, as code design and production, i.e. programming, is taught in the departments of computer science while visual design and production is intent to the realm of fine art academies and design technique / finesse oriented colleges. Hence To vowelize the medium is the message is to study that the engine room is the content, sits not in contrast with my designing to separate interface and content, as both layers are subject to expert production: the applied science that forms the content, i.e. PhotoShop, image editor or illustrator, and the applied science that forms the interface, e.g. html, dhtml, java script, java, etc. Mcluhans we become what we behold, we shape our tools and thenceforth they shape us, becomes technology forms our tools and thereafter forms us or our perception of the world around us. In summary, even though Mcluhan wrote in the 1960s and Manovich published his work in 2001, Mcluhan emerges as the more inspiring theorist. At first glance Manovich appeared to be the unblemished starting point and platform for my research as he, like myself, develops his theory found on practical experience. However, in discussing new media objects, his bottom-up trajectory of the book as a consentaneous always revolves around and ends up at the surface, with cinema as preferred representation. level off though he understands and explains the nature and structure of networks and its objects, he maps everything back to linearity and the limited guessing view that comes with that. His design uprise is expert and production centered, miss the perspective of user as individual or as part of the masses, which views the interface as commodity and subject of consumption; the greater understanding of what new media and design does to the world is absent. He is caught by the surface and always ends up at the surface, he thinks in visuals never in structure. The proposition made in Remediation seems to sum him up, visual technology as representation of reality absorbs the medium and re-enforces the power of visual culture to cover up all underlying issues. Or to view this through Platos picture: Manovich, chain in the cage, focuses on the shadows on the wall, even though he intellectually knows they are reflections; he is so caught up in their seductiveness that he does not care or attempt to turn around to look what forms the shadows or what they reflect. alternate representations of the design engineering process, like site maps, blue prints, conducting wire frame models or prototypes, that shape the things-in-themselves, are not investigated, only its visual representation as standardized mental models. I found Manovichs theory disappointing, as I would have expected more an attempt to think of the object world of technology as though it belonged to the world of culture, or as though those two worlds were get together. For the truth is they have been united all along. In his exam of interface culture, Stephen Johnson refers to Mcluhans affirmation At no issue in human culture have men understood the psychic mechanisms involved in device and technology This adds the social and cognitive extension level I was longing for in Manovichs discussion. So, following Lash, and Johnson, I will investigate my view of interfaces through Mcluhans arguments in the next chapter such as: severalise Manovichs notion of the narrative with Mcluhans interest in oral culture, likewise examining Manovichs counterpart of the expert view with Mcluhans dissatisfaction of the expert state, discussing the message and the medium as proficient construct on different levels, and exploring visual communication as mosaic view, etc. Bibliography: Manovich, Lev The Language of new media. The MIT Press, 2001 Mcluhan Eric, frump Zigrone, ed infixed Mcluhan, the medium is the message, Routledge, 1997 Lash Scott, evaluate of information, SAGE, London, 2002 lewis lapham, intro MITt edition, understanding media Bolter, Jay David, and Richard Grusin. Remediation: understanding new media, The MIT Press, 1999 If you want to get a full essay, order it on our website:
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