Manovich_The Language of New Media.pdf

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I
Lev Manovich
The Language of New Media
II
To Norman Klein / Peter Lunenfeld / Vivian Sobchack
III
Table of Contents
Prologue: Vertov’s Dataset.................................................................................VI
Acknowledgments........................................................................................ XXVII
Introduction ......................................................................................................... 30
A Personal Chronology........................................................................... 30
Theory of the Present .............................................................................. 32
Mapping New Media: the Method.......................................................... 34
Mapping New Media: Organization ....................................................... 36
The Terms: Language, Object, Representation ...................................... 38
I. What is New Media?........................................................................................ 43
Principles of New Media.............................................................................. 49
1. Numerical Representation................................................................... 49
2. Modularity .......................................................................................... 51
3. Automation ......................................................................................... 52
4. Variability ........................................................................................... 55
5. Transcoding ........................................................................................ 63
What New Media is Not............................................................................... 66
Cinema as New Media ............................................................................ 66
The Myth of the Digital .......................................................................... 68
The Myth of Interactivity........................................................................ 70
II. The Interface................................................................................................... 75
The Language of Cultural Interfaces ......................................................... 80
Cultural Interfaces................................................................................... 80
Printed Word........................................................................................... 83
Cinema .................................................................................................... 87
HCI: Representation versus Control ....................................................... 94
The Screen and the User.............................................................................. 99
A Screen's Genealogy ............................................................................. 99
The Screen and the Body ...................................................................... 105
IV
Representation versus Simulation......................................................... 111
III. The Operations ........................................................................................... 115
Menus, Filters, Plug-ins ............................................................................. 120
The Logic of Selection.......................................................................... 120
“Postmodernism” and Photoshop ......................................................... 124
From Object to Signal........................................................................... 126
Compositing................................................................................................ 130
From Image Streams to Modular Media............................................... 130
The Resistance to Montage................................................................... 134
Archeology of Compositing: Cinema ................................................... 138
Archeology of Compositing: Video...................................................... 141
Digital Compositing.............................................................................. 143
Compositing and New Types of Montage ........................................... 145
Teleaction .................................................................................................... 150
Representation versus Communication ................................................ 150
Telepresence: Illusion versus Action .................................................... 152
Image-Instruments ................................................................................ 155
Telecommunication .............................................................................. 156
Distance and Aura................................................................................. 158
IV. The Illusions ................................................................................................ 162
Synthetic Realism and its Discontents...................................................... 168
Technology and Style in Cinema.......................................................... 168
Technology and Style in Computer Animation .................................... 171
The icons of mimesis ............................................................................ 177
Synthetic Image and its Subject................................................................ 180
Georges Méliès, the father of computer graphics ................................. 180
Jurassic Park and Socialist Realism...................................................... 181
Illusion, Narrative and Interactivity ........................................................ 185
V. The Forms ..................................................................................................... 190
Database ...................................................................................................... 194
The Database Logic .............................................................................. 194
Data and Algorithm .............................................................................. 196
Database and Narrative ......................................................................... 199
Paradigm and Syntagm ......................................................................... 202
V
A Database Complex ............................................................................ 205
Database Cinema: Greenaway and Vertov ........................................... 207
Navigable space .......................................................................................... 213
Doom and Myst .................................................................................... 213
Computer Space .................................................................................... 219
The Poetics of Navigation..................................................................... 223
The Navigator and the Explorer............................................................ 231
Kino-Eye and Simulators...................................................................... 234
EVE and Place ...................................................................................... 240
VI. What is Cinema? ......................................................................................... 244
Digital Cinema and the History of a Moving Image ............................... 249
Cinema, the Art of the Index ................................................................ 249
A Brief Archeology of Moving Pictures............................................... 251
From Animation to Cinema .................................................................. 252
Cinema Redefined................................................................................. 253
From Kino-Eye to Kino-Brush ............................................................. 259
New Language of Cinema.......................................................................... 260
Cinematic and Graphic: Cinegratography ............................................ 260
New Temporality: Loop as a Narrative Engine .................................... 264
Spatial Montage .................................................................................... 269
Cinema as an Information Space .......................................................... 273
Cinema as a Code ................................................................................. 276
NOTES ............................................................................................................... 279

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