Download e-book for kindle: New Philosophy for New Media by Mark B. N. Hansen

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.

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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”).

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