By Mark B. N. Hansen
In New Philosophy for brand new Media, Mark Hansen defines the picture in electronic paintings in phrases that transcend the purely visible. Arguing that the "digital snapshot" encompasses the whole strategy during which details is made perceivable, he areas the physique in a privileged place -- because the agent that filters info as a way to create photos. by way of doing so, he counters winning notions of technological transcendence and argues for the indispensability of the human within the electronic era.Hansen examines new media paintings and idea in gentle of Henri Bergson's argument that affection and reminiscence render belief impure -- that we decide upon merely these pictures accurately suitable to our singular type of embodiment. Hansen updates this argument for the electronic age, arguing that we filter out the data we obtain to create pictures instead of easily receiving pictures 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 photo isn't a hard and fast illustration of fact, yet is outlined by means of its entire flexibility and accessibility. it's not simply that the interactivity of latest media turns audience into clients; the picture itself has turn into the body's technique of perceiving it. to demonstrate his account of the way the physique filters details so as to create pictures, Hansen makes a speciality of new media artists who persist 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 booklet comprises over 70 illustrations (in either black and white and colour) from the works of those and lots of different new media artists.
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Additional info for New Philosophy for New Media (MIT Press)
10 Figure 2. 2 Jeffrey Shaw, non-stop Sound and photograph activities (1966). Hand-drawn black-andwhite lively movie loop, with sound components, projected nonsynchronously on 4 monitors. fifty four fifty five Figure 2. three Jeffrey Shaw, Emergences of continuing kinds (1966). photo surroundings that comes with non-stop Sound and picture activities. regardless of its transparent debt to structuralist film,11 this paintings proclaims Shaw’s basic aesthetic divergence from the “pulse” aesthetic theorized by way of Rosalind Krauss. since it deploys ideas designed to foreground the formless virtuality of its motivating “graphic thought” and thereby to attack the cinematic frame,12 non-stop Sound and photo Moments breaks the pulsatile isomorphism linking photograph and physique, releasing the latter to hold out a virtualization that's self sufficient from the procession of pictures. The subordination of photo to physically reception inside of an improved cinematic house ﬁnds its such a lot radical expression in Shaw’s 1967 “performance events,” Corpocinema and MovieMovie. those occasions stream past non-stop Sound and photograph Moments through exploding the specific divide among twodimensional reveal (image) and third-dimensional house. In them, the complete occasion area (the area inside an inﬂatable dome) turns into a possible or digital display for pictures projected from the surface, and the task of individuals in the area performs a very important function in actualizing that power, either by way of con- structing and manipulating absorbent surfaces (screens) and through oﬀering their our bodies as such surfaces. accordingly, those works signify the end result of a shift in Shaw’s curiosity from the ﬁlmstrip to what Anne-Marie Duguet glosses because the “uncertain prestige of the projected snapshot, the image-in-formation. ”13 Corpocinema hired a wide air-inflated obvious PVC dome onto which have been projected numerous photograph sequences, together with cartoons, characteristic motion pictures, documentaries, and slides of summary imagery, based on particular issues (figure 2. 4). as a result of the dome’s transparency, its power functionality as a cinematic reveal used to be displaced in prefer of its functionality as an architectural body. during this admire, the dome completely instantiates Bergson’s perception of the universe of pictures, during which every one photograph is “bound up with all different photos” and “continued through these which stick with it”:14 by way of letting photographs go through it with no subtracting something from them, the obvious dome materializes the virtuality of the natural flux of pictures. although, simply as this universe comprises determine 2. four Jeffrey Shaw, Corpocinema (1967). functionality occasion within air-inflated, obvious dome combining projected photographs, inflatable tubing, paint, smoke, and audience’ our bodies. fifty six fifty seven privileged pictures, Shaw’s dome encloses an area of “physical occasions and played activities” that functionality as transitority monitors. 15 therefore, the belief of the picture is made to rely on zones of fleeting opacity created by way of the advent into the dome of inflatable polythene tubing, fire-extinguishing foam, smoke, steam, water spray, and confetti, in addition to the our bodies of the performers, and by way of the applying of coloured powder, paint and crepe paper at the dome’s floor.