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Editors Marsha Kinder and Tara McPherson present an authoritative
collection of essays on the continuing debates over medium
specificity and the politics of the digital arts. Comparing the
term “transmedia” with “transnational,” they show that the
movement beyond specific media or nations does not invalidate those
entities but makes us look more closely at the cultural specificity
of each combination. In two parts, the book stages debates across
essays, creating dialogues that give different narrative accounts
of what is historically and ideologically at stake in medium
specificity and digital politics. Each part includes a substantive
introduction by one of the editors. Part 1 examines precursors,
contemporary theorists, and artists who are protagonists in this
discursive drama, focusing on how the transmedia frictions and
continuities between old and new forms can be read most
productively: N. Katherine Hayles and Lev Manovich redefine medium
specificity, Edward Branigan and Yuri Tsivian explore nondigital
precursors, Steve Anderson and Stephen Mamber assess contemporary
archival histories, and Grahame Weinbren and Caroline Bassett
defend the open-ended mobility of newly emergent media. In part 2,
trios of essays address various ideologies of the digital: John
Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane
redraw contours of race, space, and the margins; Eric Gordon,
Cristina Venegas, and John T. Caldwell unearth database cities,
portable homelands, and virtual fieldwork; and Mark B.N. Hansen,
Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gómez-Peña
examine interactive bodies transformed by shock, gender, and color.
An invaluable reference work in the field of visual media studies,
Transmedia Frictions provides sound historical perspective on the
social and political aspects of the interactive digital arts,
demonstrating that they are never neutral or innocent.
The first fully illustrated survey of participatory art and its key
practitioners, published in association with the San Francisco
Museum of Modern Art.
This new survey covers the rich and varied history of participatory
art, from early happenings and performances to current practices
that demand audience interaction. As the hallmarks of Web
2.0--browsing, sharing, collecting, producing--increasingly
permeate every aspect of society, this timely project reveals the
ways in which artists and viewers have approached the creation of
open works of art. The featured artists include Marina Abramovic
and Ulay, Vito Acconci, Joseph Beuys, John Cage, Janet Cardiff,
Lygia Clark, Kit Galloway and Sherrie Rabinowitz, Dan Graham, Hans
Haacke, Allan Kaprow, Lynn Hershman Leeson, Antoni Muntadas, Yoko
Ono, Nam June Paik, and Erwin Wurm.
Original essays by Rudolf Frieling, Boris Groys, Robert Atkins, and
Lev Manovich identify seminal moments in participatory practice
from the 1950s to the present day. A rich array of plates introduce
work by all the artists in the accompanying exhibition, with
reproductions of significant projects by other major figures--from
Helio Oiticica, Joan Jonas, and Gordon Matta-Clark to Rirkrit
Tiravanija and SUPERFLEX--rounding out the survey. 215 color
illustrations.
A book at the intersection of data science and media studies,
presenting concepts and methods for computational analysis of
cultural data. How can we see a billion images? What analytical
methods can we bring to bear on the astonishing scale of digital
culture--the billions of photographs shared on social media every
day, the hundreds of millions of songs created by twenty million
musicians on Soundcloud, the content of four billion Pinterest
boards? In Cultural Analytics, Lev Manovich presents concepts and
methods for computational analysis of cultural data. Drawing on
more than a decade of research and projects from his own lab,
Manovich offers a gentle, nontechnical introduction to the core
ideas of data analytics and discusses the ways that our society
uses data and algorithms.
A stimulating, eclectic accountof new media that finds its origins
in old media, particularly the cinema. In this book Lev Manovich
offers the first systematic and rigorous theory of new media. He
places new media within the histories of visual and media cultures
of the last few centuries. He discusses new media's reliance on
conventions of old media, such as the rectangular frame and mobile
camera, and shows how new media works create the illusion of
reality, address the viewer, and represent space. He also analyzes
categories and forms unique to new media, such as interface and
database. Manovich uses concepts from film theory, art history,
literary theory, and computer science and also develops new
theoretical constructs, such as cultural interface, spatial
montage, and cinegratography. The theory and history of cinema play
a particularly important role in the book. Among other topics,
Manovich discusses parallels between the histories of cinema and of
new media, digital cinema, screen and montage in cinema and in new
media, and historical ties between avant-garde film and new media.
This book is available as open access through the Bloomsbury Open
Access programme and is available on www.bloomsburycollections.com.
Software has replaced a diverse array of physical, mechanical, and
electronic technologies used before 21st century to create, store,
distribute and interact with cultural artifacts. It has become our
interface to the world, to others, to our memory and our
imagination - a universal language through which the world speaks,
and a universal engine on which the world runs. What electricity
and combustion engine were to the early 20th century, software is
to the early 21st century. Offering the the first theoretical and
historical account of software for media authoring and its effects
on the practice and the very concept of 'media,' the author of The
Language of New Media (2001) develops his own theory for this
rapidly-growing, always-changing field. What was the thinking and
motivations of people who in the 1960 and 1970s created concepts
and practical techniques that underlie contemporary media software
such as Photoshop, Illustrator, Maya, Final Cut and After Effects?
How do their interfaces and tools shape the visual aesthetics of
contemporary media and design? What happens to the idea of a
'medium' after previously media-specific tools have been simulated
and extended in software? Is it still meaningful to talk about
different mediums at all? Lev Manovich answers these questions and
supports his theoretical arguments by detailed analysis of key
media applications such as Photoshop and After Effects, popular web
services such as Google Earth, and the projects in motion graphics,
interactive environments, graphic design and architecture. Software
Takes Command is a must for all practicing designers and media
artists and scholars concerned with contemporary media.
Editors Marsha Kinder and Tara McPherson present an authoritative
collection of essays on the continuing debates over medium
specificity and the politics of the digital arts. Comparing the
term "transmedia" with "transnational," they show that the movement
beyond specific media or nations does not invalidate those entities
but makes us look more closely at the cultural specificity of each
combination. In two parts, the book stages debates across essays,
creating dialogues that give different narrative accounts of what
is historically and ideologically at stake in medium specificity
and digital politics. Each part includes a substantive introduction
by one of the editors.
Part 1 examines precursors, contemporary theorists, and artists
who are protagonists in this discursive drama, focusing on how the
transmedia frictions and continuities between old and new forms can
be read most productively: N. Katherine Hayles and Lev Manovich
redefine medium specificity, Edward Branigan and Yuri Tsivian
explore nondigital precursors, Steve Anderson and Stephen Mamber
assess contemporary archival histories, and Grahame Weinbren and
Caroline Bassett defend the open-ended mobility of newly emergent
media.
In part 2, trios of essays address various ideologies of the
digital: John Hess and Patricia R. Zimmerman, Herman Gray, and
David Wade Crane redraw contours of race, space, and the margins;
Eric Gordon, Cristina Venegas, and John T. Caldwell unearth
database cities, portable homelands, and virtual fieldwork; and
Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and
Guillermo Gomez-Pena examine interactive bodies transformed by
shock, gender, and color.
An invaluable reference work in the field of visual media studies,
"Transmedia Frictions" provides sound historical perspective on the
social and political aspects of the interactive digital arts,
demonstrating that they are never neutral or innocent.
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