By Mark B. N. Hansen
In New Philosophy for brand new Media, Mark Hansen defines the picture in electronic artwork in phrases that transcend the purely visible. Arguing that the "digital image" encompasses the total approach in which info is made perceivable, he areas the physique in a privileged place -- because the agent that filters details in an effort to create photos. by means of doing so, he counters triumphing notions of technological transcendence and argues for the indispensability of the human within the electronic era.Hansen examines new media paintings and idea in mild of Henri Bergson's argument that affection and reminiscence render notion impure -- that we pick out in basic terms these photos accurately suitable to our singular type of embodiment. Hansen updates this argument for the electronic age, arguing that we clear out the data we obtain to create pictures instead of easily receiving photos as preexisting technical varieties. This framing functionality yields what Hansen calls the "digital image." He argues that this new "embodied" prestige of the body corresponds on to the electronic revolution: a digitized photograph isn't a hard and fast illustration of truth, yet is outlined by way of its entire flexibility and accessibility. it isn't simply that the interactivity of latest media turns audience into clients; the picture itself has develop into the body's technique of perceiving it. to demonstrate his account of the way the physique filters info to be able to create pictures, Hansen specializes in new media artists who keep on with a "Bergsonist vocation"; via concrete engagement with the paintings of artists like Jeffrey Shaw, Douglas Gordon, and invoice Viola, Hansen explores the modern aesthetic funding within the affective, physically foundation of imaginative and prescient. The ebook comprises over 70 illustrations (in either black and white and colour) from the works of those and plenty of different new media artists.
Read Online or Download New Philosophy for New Media PDF
Similar aesthetics books
Vintage and Romantic German Aesthetics. Edited by means of: J. M. Bernstein. Cambridge college Press, 2002. 356 pages (Cambridge Texts within the historical past of Philosophy). ISBN: 9780521001113
This 2002 quantity brings jointly significant works by means of German thinkers, writing simply sooner than and after Kant, who have been tremendously influential during this an important interval of aesthetics. those texts contain the 1st translation into English of Schiller's Kallias Letters and Moritz's at the creative Imitation of the gorgeous, including translations of a few of Hölderlin's most vital theoretical writings and works by way of Hamann, Lessing, Novalis and Schlegel. In a philosophical creation J. M. Bernstein strains the advance of aesthetics from its nonetheless rationalist and mimetic building in Lessing, throughout the positive construal of paintings and/or good looks because the visual appeal of human freedom within the paintings of Schiller, to Hölderlin's darker imaginative and prescient of artwork because the reminiscence of a misplaced solidarity, and the diversities of that subject matter - of an most unlikely striving after the misplaced excellent - that are present in the paintings of Schlegel and Novalis.
First released in 1548, at the great thing about girls purports to checklist conversations shared through a tender gentleman, Celso, and 4 girls of the higher bourgeoisie within the area of Florence. One afternoon Celso and the women think of common attractiveness. On a next night, they try and model a composite photograph of ideal attractiveness by means of combining the attractive good points of girls they be aware of.
How does a reader reply to a piece of literature and the way does he start to assessment it? Mr Olsen makes an attempt to reply to those and comparable questions. The e-book is in components. within the first 3 chapters, the writer demolishes verified theories that literature has a distinct language, offers a heightened perception into 'truth' and has emotion as its best forex.
Texture represents the most recent strengthen in cognitive poetics. This ebook builds feeling and embodied event directly to the insights into meaningfulness which the cognitive method of literature has accomplished in recent times. Taking key everyday thoughts equivalent to characterisation, tone, empathy, and identity, the e-book goals to explain the normal adventure of literary studying in a radical and principled method.
Extra resources for New Philosophy for New Media
By tracing this aesthetic extension and updating of Bergson’s philosophy to a philosophical countertradition in the history of cybernetics that insists on the intimate correlation of information and (embodied) meaning, the chapter credits Shaw with articulating the “Bergsonist vocation” that informs contemporary aesthetic experimentation with the digital. Chapter 3 addresses the transformation in the function and status of visual culture in the wake of the automation of vision. By analyzing artworks that engage photography in its digital form, the chapter foregrounds the vast divide separating scientific and aesthetic responses to the computer mediation of vision: whereas researchers aim to optimize a sightless “vision” that overcomes human perceptual limitations, artists invest in the bodily dimensions that inform (human) vision.
6 Despite his own condemnation of cinema in Creative Evolution, Bergson’s theory of perception, and specifically his understanding of the body as a 4 5 Introduction center of indetermination, furnishes the basis for a philosophical understanding of image media. This, of course, is an aﬃliation that has already been put to good use by French philosopher Gilles Deleuze in his two-volume study of the cinema. Deleuze’s great insight is to have realized that Bergson’s conception of the image finds perfect instantiation in the cinema; according to Deleuze, Bergson was mistaken to condemn cinema as a spatialization of flux, since his concept of the movement-image actually describes a more nuanced understanding of cinema.
We are, in a sense, over the aura, but we are not through with the medium; or, at any rate, we would like to think that we’re not. Indeed, Benjamin’s reflections on the medium have never been more urgent than now, in the context of claims that, with digitization, media have become thoroughly and bidirectionally interchangeable (Jay David Bolter and Richard Grusin’s notion of “remediation”) or, even more radically, that media have simply become obsolete (Friedrich Kittler’s “digital convergence”).