Tag: newmedia

Nam June Paik (1932–2006)

Our life is half natural and half technological. Half-and-half is good. You cannot deny that high-tech is progress. We need it for jobs. Yet if you make only high-tech, you make war. So we must have a strong human element to keep modesty and natural life.  Nam June Paik

Korean-born American artist Paik influence the art of video and television intensely.

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TV Garden (1974)

 

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V-yramid (1982)
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Computerised One Hundred Flowers, 1998

 

 

Electronic super highway –

“Skin has become inadequate in interfacing with reality. Technology has become the body’s new membrane of existence.” —Nam June Paik

paik_tvcello_tvbuddha

Games

“Game world is a simplified subdomain of the real world.” Steve Swink

Game industry developed as the result of the military contract spin off some of their products around the 1980s. Flight simulators design their technology for the arcade games, including game council PC games muds was growing with a pace.

For example, Silicon Valley made the major products the Nintendo export for the play station and the extremely successful Super Mario series came out of that.

Expressionist Community

Typical expressionist qualities of highly subjective, personal, spontaneous self-expression can be seen in the network culture; especially, considering with instant sharing on social media.  Its goals  impose the individuals’ own sensibility to the world’s representation, rather than  reproduce the impression suggested by the dominant media institutions or media patrons. Although the new media environment is challenged  by the big companies which make the technology possible, its construction is incontrovertibly liberated in comparison by the older media environment.

Contemporary Media Studies

Contemporary media can be used interchangeably in various context with different authors.  What this research mostly referring to  Lev Manovich who describes the technology as an inseparable component of the digital media and work on the data mining in digital environments, Andreas Treske who presents video, as an immersive atmosphere, which resists the narrative dictatorship and lastly Ernst Wolfgang who wrote an archive-oriented media theory and assert the dynamic nature of the digital video archive.

Digital Environments

First of all, to be able to articulate digital environments,  inherent language of digital environments has to be considered. Distinctive specify of the medium is its codes. What are the digital codes basically? Digital means switching between the states of one-on-connected and zero-off-disconnected by electrical terms.  As switching between the two states means representing information as binary data, what you do is adding the digit (bit) after you couple the circle of two. The bit depth (number of bits available) determines the accuracy and quality of the quantized value. 8 bit is 1 byte. 1 byte is enough to hold 1 typed letterMathematically: n bits yields 2n patterns. Kilobyte about 1 thousand bytes, Megabyte, about 1 million bytes, Gigabyte, about 1 billion bytes, Terabyte, about 1 trillion bytes.

There is an encoding representation for each typed letter by a number, called ASCII. Within this representation each number is stored in one byte, so the number is in 0..255. For example; in ASCII Code, representation of the A is 65, a is 96.

In term of digital images, which look natural, and smooth; there are lots of little numbers behind the scenes.  According to The Newton prism that shows the “hue” dimension technically color is a 3-dimensional space, mixing lights works differently from mixing paints. This is the behind theory of how to represent the color of a pixel? The red/green/blue (RGB) scheme is one popular way of representing a color in the computer. In RGB, every color is defined as a particular combination of pure red, green, and blue light. By this means, any color can be represented by three numbers in between 0-255.

Although the background of binary turns to Chinese via Leibniz, circa 1700; any datum is controlled within the logical structure a digital circuit in, for instance, computer. After its developments through Morse key, the action was designed into the telegraph system in 1753. So perhaps telegraph is the first digital process.After establising the Transatlantic telegraph cable, the first message of telegraphy send by Queen Victoria in 1858 “Europe and America are united by telegraphy. Glory to God in the highest; on earth, peace and good will toward men, an additional link between the nations whose friendship is founded on their common interest and reciprocal esteem.” to President James Buchanan.

To be back to the point, digital acts like a language. “Language is, as it were, that which divides reality” (Barthes) Pixels are the discrete data of the digital. Sampling transform continuous data into discrete data. And then each sample is assigned a numerical value from a defined range. This process is what is called quantization. Quantisation of the data, as a process of converting a continuous range of values into a finite range of discreet values, has a capacity for a significant change in terms of calculation, determination and manipulation.

Very briefly digitalisation is converting data into a numerical representation. This implies a mathematical representation of the media as well as its algorithmic manipulation. Digitalised space is ready for the mathematical operation for the reasons of analysing, or migrating the data. This is one of the most significant pinpoints that media as a convergence point, capacity of algorithmic  variety in digital environments distort the identity of media and relevantly culture dramatically. These new systems by creating a different bunch of new gestures and behaviours intervene the daily life and create a new form of anthropocene. Following McLuhan, German new media philosophers Ernst poses that “cyberspace is not about content, but rather a transversive performance of communication. Without the permanent recycling of information, there is no need for emphatic memory.” By their dynamic nature, the new systems by acting like a living organisms intervene to daily life and their interaction is more impactful more than ever.

“Media becomes programable.” (Manovich, 2001)

“Digital environments is encyclopedic, spatial, procedural and participatory” (Murray, 2012)

Participatory instinct of digital culture is mot visible with the social media that allow even the off task people to participate by instant sharing. Social Media itself by containing the spontaneous and private behaviours, predilections, relations and intentions of people crete a vast database. “Instant sharing” function of media, which allows it meeting with its end users in an online environment while it is still performing the process, emphasise the living mechanism of the project, day by day, hour and hour. This function is a rupture from traditional communicational methods by its ability to multi directional communication and at the same time convergence of the many retroactive media. Social media is a reflection of a philosophy. Although the given data is very personal, in long term with such a grand participation, this is the media that has traits not like the other – possibly it is base the most objective and never existed data pool. By transcending the space and time, digital environments are profound implication for comtemporary daily activities of the people. Because the people’s life so much embedded to where they live, work and play; the spatiality of the digital environments crete foundational revolutionary new grounds, thus new ways of being.

In a way, modern technical media much more to do with quantities instates of qualities, which means it does not necessarily withhold the quality seekers.

There is also another bifurcation in the digital media, in-terms of data’s born places. The digitalising the media that produced out of the digital system is one thing, producing in the digital system is another.

Whereas a printed letter can carry the meaning of only one phonetic unit, one byte is open to encode 256 different textual, acoustic, or visual options.

Software! as Modern Art

software
Software as Modern Art

Traditionally, in art practice, the artists made a unique piece within a particular medium. There is no difference between the interface and the work that has done. In contemporary age, with the new media, there are new ways of collaborating while practising art. For instance, as a software, Pan.do/ra needs social context and an editor who enter the keywords to make the categorisation.

“Software” is the  code which runs on the hardware. If the hardware is a painter, then the software is the painting itself.

Avant Garde as Software (Manovich, 1999) – The thesis of the Lev Manovich asserts that the new ways of avant garde’s seeing and representing the world transmutes by the new media avant grade into new ways of accessing and manipulating information.

Pan.do/RA can depict as a wonderful avant-garde modern art by the same way that Lev Manovich mentioned about the greatest avant-garde film is our times is a software such as Final Cut Pro or After Effects in his writing “New Media from Borges to HTML”

Futurism –  Goal of the Futurism is discarding the art of the past and celebrating change, originality, and innovation in technologic society as a result of art and politics. In literature, As it were Futurists  create a new language free of syntax punctuation, and metrics that allowed for free expression by freeing the word and taking it as a main unit of the concern. Parole in liberta

Dada –

Digital Environments

First of all, to be able to articulate digital environments, an inherent language of digital environments has to be considered. Distinctive specify of the medium is its codes. What are the digital codes basically? Digital means switching between the states of one-on-connected and zero-off-disconnected by electrical terms. As switching between the two states means representing information as binary data, what you do is adding the digit ( a bit) after you couple the circle of two. The bit depth (number of bits available) determines the accuracy and quality of the quantized value. 8 bit is 1 byte. 1 byte is enough to hold 1 typed letterMathematically: n bits yields 2n patterns. Kilobyte about 1 thousand bytes, Megabyte, about 1 million bytes, Gigabyte, about 1 billion bytes, Terabyte, about 1 trillion bytes.

There is an encoding representation for each typed letter by a number, called ASCII. Within this representation, each number is stored in one byte, so the number is in 0..255. For example; in ASCII Code, representation of the A is 65, a is 96.

In term of digital images, which look natural, and smooth; there are lots of little numbers behind the scenes. According to The Newton prism that shows the “hue” dimension technically colour is a 3-dimensional space, mixing lights works differently from mixing paints. This is the behind theory of how to represent the colour of a pixel? The red/green/blue (RGB) scheme is one popular way of representing a colour on the computer. In RGB, every colour is defined as a particular combination of pure red, green, and blue light. By this means, any colour can be represented by three numbers in between 0-255.

Although the background of binary turns to Chinese via Leibniz, circa 1700; any datum is controlled within the logical structure a digital circuit in, for instance, computer. After its developments through Morse key, the action was designed into the telegraph system in 1753. So perhaps telegraph is the first digital process.After establishing the Transatlantic telegraph cable, the first message of telegraphy send by Queen Victoria in 1858 “Europe and America are united by telegraphy. Glory to God in the highest; on earth, peace and goodwill toward men, an additional link between the nations whose friendship is founded on their common interest and reciprocal esteem.” to President James Buchanan.

To be back to the point, digital acts like a language. “Language is, as it were, that which divides reality” (Barthes) Pixels are the discrete data of the digital. Sampling transform continuous data into discrete data. And then each sample is assigned a numerical value from a defined range. This process is what is called quantization. Quantisation of the data, as a process of converting a continuous range of values into a finite range of discreet values, has a capacity for a significant change in terms of calculation, determination and manipulation.

Very briefly digitalisation is converting data into a numerical representation. This implies a mathematical representation of the media as well as its algorithmic manipulation. Digitalised space is ready for the mathematical operation for the reasons of analysing, or migrating the data. This is one of the most significant pinpoints that media as a convergence point, capacity of algorithmic variety in digital environments distort the identity of media and relevantly culture dramatically. These new systems by creating a different bunch of new gestures and behaviours intervene the daily life and create a new form of Anthropocene. Following McLuhan, German new media philosophers Ernst poses that “cyberspace is not about content, but rather a transversive performance of communication. Without the permanent recycling of information, there is no need for emphatic memory.” By their dynamic nature, the new systems by acting like a living organisms intervene to daily life and their interaction is more impactful more than ever.

“Media becomes programable.” (Manovich, 2001)

“Digital environments is encyclopedic, spatial, procedural and participatory” (Murray, 2012)

The participatory instinct of digital culture is much visible with the social media that allow even the off task people to participate by instant sharing. Social Media itself by containing the spontaneous and private behaviours, predilections, relations and intentions of people create a vast database. “Instant sharing” function of media, which allows it meeting with its end users in an online environment while it is still performing the process, emphasise the living mechanism of the project, day by day, hour and hour. This function is a rupture from traditional communicational methods by its ability to multi-directional communication and at the same time convergence of the many retroactive media. Social media is a reflection of a philosophy. Although the given data is very personal, in the long term with such a grand participation, this is the media that has traits, not like the other – possibly it is base the most objective and never existed data pool. By transcending the space and time, digital environments are a profound implication for contemporary daily activities of the people. Because the people’s life so much embedded to where they live, work and play; the spatiality of the digital environments create foundational revolutionary new grounds, thus new ways of being.

In a way, modern technical media much more to do with quantities instead of qualities, which means it does not necessarily withhold the quality seekers.

There is also another bifurcation in the digital media, in terms of data’s born places. The digitalising the media that produced out of the digital system is one thing, producing in the digital system is another.

Whereas a printed letter can carry the meaning of only one phonetic unit, one byte is open to encode 256 different textual, acoustic, or visual options.

Modularity

Manovich (2001) uses the term ‘modularity’ to define this affordance of new media.

According to Manovich’s findings modularity refers to the notion of digital media content being made up of independent parts that can be divided into small pieces, which may remain separate.

As we know that Quantization as a process of converting a continuous range of values into a finite range of discreet values, discrete nature of the environment just like the its distributive language make the representations also discrete. The series that will be seen as an end products have multiple attitudes.

similarity theory