Day: August 30, 2016


According to the Video theory, which is written by Andreas Treske, media technologies require us to navigate through the world of meaning, into images that make our memories. These timeless or time thickened images change the atmosphere, take us to the ground zero feeling. “We are immersing in video atmospheres”, says Treske. Videos as forms of realness give us a new space under the different light in time. Inevitably, video becomes atmospheric. Collectively produced sphere consist of many space that mirrors the subjectivity of the user and determines the user’s interaction with society. Video spreads meaningful acts around the network, inhabited spaces, and environments. According to Treske, our imagination helps us to avoid to become dizzy and create a whole video out of the fragmented clips. Therefore, our imagination will determine our future more than ever in the history.

The beauty of video, says Treske comes from the uncontrolled and unstructured nature of it; it does not underlie a system of narrative dictatorship.

Digital Compassion with online video


Multimedia is not solely for human eyes. Undetachable loss for human eye might be detect by machines easily and might cause a salient error.



Overall, camera movements and positions effect the contemporary people’s impression of speed.

Our relationship with technology is constantly evolving. Perhaps, the human enhancements will be the common culture in next decade. While the earliest cameras were room-sized, at the place we have arrived, quite rare and expensive implantation does not only give the blind people ability to see but also creates a supervision by enhancing the visual capacity. Although these prosthetic eyes are so much like belonging the science fiction novels, they are practically possible and also can be considered as a winning of a man via its creation of artefacts. Of course, they are still an appendage of older technologies but very different at the same time. Just like the Renaissance and Postmodernism. Camera Obscura as a first device, which uses a pinhole to project an image of the scene outside upside-down onto a viewing surface, possibly dating back to the ancient times. However, the first known product The ‘Kodak’ camera was developed by George Eastman and it sold in 1888. It was simple box camera with a single shutter speed and fixed focus lens. The first commercial DSLR (digital single lens reflex) was also launched by Kodak, after about hundred years later, in 1991.

Ernst writes: “With the emergence of photography, the idea of the theatrical gaze literally staging the past is displaced by the cold mechanical eye, a technologically neutral code rather than a subjective discourse.” Photography (writing with light) and film after capturing the actual events, animated the scene that usually belongs to the past. But, photography has been already absorbed by digital image technologies. It’s more than possible to achieve photorealistic visuals. The new images not only about the reproducing the existing reality but also about giving imaginative meaning the concepts. The risky situation of creating meaningless concepts always challenge the new way of image making.