1.5.5 the return of the Frankfurt school critique in the popularisation of new media & conclusion 1.6.1 the status of McLuhan and Williams
*cinema and games
1900-1920
aesthetics and pleasure of computer games developed from earlier media in quality.
1930-1950
hollywood show narritive cinema
21c.
Blockbuster
*Marshall McLuhan : new media change everything.
“The medium is the message”
“global village”
*Raymond Williams : media can only take effect through already present social processes and sustain existing power relations.
-The research direction to popular culture like movies and television
determining or determined?
by who?by what?
2007년 11월 30일 금요일
2007년 11월 23일 금요일
(Week 12) who was dissatisfied with old media?
1.5.1 the question
1.5.2 the technological imaginary
1.5.3 the discursive construction of new media & conclusion
discursive?
Who was dissatisfied with old media?
why dissatisfied?
So, Is Old-Media Influence Declining in the artwork?
One is to kill TV - by Jaron Lanier
TV represent in old media ....
I think, people can not live without TV.. just it forms will be exchange.. about new~!
1.5.2 the technological imaginary
1.5.3 the discursive construction of new media & conclusion
discursive?
Who was dissatisfied with old media?
why dissatisfied?
So, Is Old-Media Influence Declining in the artwork?
One is to kill TV - by Jaron Lanier
TV represent in old media ....
I think, people can not live without TV.. just it forms will be exchange.. about new~!
2007년 11월 16일 금요일
(Week 11) what kind of history? 2
1.4.3 the return of the middle ages and other media archaeologies
This section looks at yet another historicising approach to new meda studies.
Kevin Robins :
- antique and forgotten media from our post - photographic vantage point.
The ludic : cinema and games
Rhetoric and spatialised memory
Edutainment and the eighteenth centuryenlightenment
1.4.4 a sense of deja vu & conclusion
Dejavu based on memory.
"already seen"; also called paramnesia,
is the experience of feeling sure that one has witnessed or experienced a new situation previously .
although in some cases there is a firm sense that the experience "genuinely happened" in the past. Déjà vu has been described as "remembering the future."
-several media historians to record a sense of deja vu
-more recent development has historical and ethnographic research
My simple conclusion,
media artwork was continued all ..by dejavu memory..!
This section looks at yet another historicising approach to new meda studies.
Kevin Robins :
- antique and forgotten media from our post - photographic vantage point.
The ludic : cinema and games
Rhetoric and spatialised memory
Edutainment and the eighteenth centuryenlightenment
1.4.4 a sense of deja vu & conclusion
Dejavu based on memory.
"already seen"; also called paramnesia,
is the experience of feeling sure that one has witnessed or experienced a new situation previously .
although in some cases there is a firm sense that the experience "genuinely happened" in the past. Déjà vu has been described as "remembering the future."
-several media historians to record a sense of deja vu
-more recent development has historical and ethnographic research
My simple conclusion,
media artwork was continued all ..by dejavu memory..!
2007년 11월 11일 일요일
(week 10)what kind of history? 1
1.4.1 teleological accounts of new media
From cave paintings to mobile phones:
In Rheingold historical scheme
From photography to telematics:
extracting some sense from teleologies:
an eight-stage historical model of the progressive development of technologies of image production and transmission
Seeing the limitis of new media teleologies:
from an abstract system of logic, through the development of calculating machines, to the computer as a 'medium'
Foucault and genealogies of new media:
Foucauldian perspective
1.4.2 new media and the modernist concept of progress
- Computer artists come to the instrument from art rather than computer science.(Youngblood 1999:48)
- In the name of 'progress' our official culture is striving to force the new media to do the eork of the old.(McLuhan and Fiore 1967a : 81)
- Deferred future of new media :
because of technological underdevelopment.
:be used and understanding according to older, existing practices and ideas.
-The view of modernist aesthetic
:medium has to be genuinely new from the past and old media
The artists use anything that will help them express their message.
the artist used various media from time to time.
Modern art includes creations that can never be collected, owned, or exhibited in the traditional sense.
From cave paintings to mobile phones:
In Rheingold historical scheme
From photography to telematics:
extracting some sense from teleologies:
an eight-stage historical model of the progressive development of technologies of image production and transmission
Seeing the limitis of new media teleologies:
from an abstract system of logic, through the development of calculating machines, to the computer as a 'medium'
Foucault and genealogies of new media:
Foucauldian perspective
1.4.2 new media and the modernist concept of progress
- Computer artists come to the instrument from art rather than computer science.(Youngblood 1999:48)
- In the name of 'progress' our official culture is striving to force the new media to do the eork of the old.(McLuhan and Fiore 1967a : 81)
- Deferred future of new media :
because of technological underdevelopment.
:be used and understanding according to older, existing practices and ideas.
-The view of modernist aesthetic
:medium has to be genuinely new from the past and old media
The artists use anything that will help them express their message.
the artist used various media from time to time.
Modern art includes creations that can never be collected, owned, or exhibited in the traditional sense.
2007년 11월 3일 토요일
(week 9)change and continuity
Palarised over the degree of new media's newness.
Hinges upon the disciplinary frameworks and discourse
'Revolutionary'->Historical perspective
MEASURING 'NEWNESS'
How new? How large change?
We need to establish from what previous states things have changed.
Three Possibilities
1) How can we know that new thing is made from?
2) Familiar in everyday use or consumption
3) Degrees of novelty
Old media in new times?
-New media -> digital TV or IP TV
-Old media -> immersive VR, online, interactive, multimedia
The idea of 'remediation'
Jay Bolter & Richard Grusin
New Media Formulation
1. The digital technologies 'refashion older media'.
2. These older media 'refashion themselves to answer to the challenges of new media'.
New Media
- are not born in a vacuum.
- would have no resources to draw upon if they were not in touch and negotiating with the older media.
Media had changed so natural that we could hardly recognize it .
And constantly changing world and technology.
also media too..
Hinges upon the disciplinary frameworks and discourse
'Revolutionary'->Historical perspective
MEASURING 'NEWNESS'
How new? How large change?
We need to establish from what previous states things have changed.
Three Possibilities
1) How can we know that new thing is made from?
2) Familiar in everyday use or consumption
3) Degrees of novelty
Old media in new times?
-New media -> digital TV or IP TV
-Old media -> immersive VR, online, interactive, multimedia
The idea of 'remediation'
Jay Bolter & Richard Grusin
New Media Formulation
1. The digital technologies 'refashion older media'.
2. These older media 'refashion themselves to answer to the challenges of new media'.
New Media
- are not born in a vacuum.
- would have no resources to draw upon if they were not in touch and negotiating with the older media.
Media had changed so natural that we could hardly recognize it .
And constantly changing world and technology.
also media too..
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