The Interface: Who controls Who?

Could not stop looking at my screen while reading this chapter!

Lev Manovich’s chapter two of “The new language of media,” focused on the interface and its tight grip on human interaction with technology.

Of course no chapter of Manovich would be complete without at least fifty pages of technicalities. However, this read was quite interesting, particularly the screen and the user (pg. 94-115).

Manovich drew many parallels between physical and virtual reality, and the distinct fusion (and partial separation) the screen can somehow manipulate the two. For example, “she is fully situated within this other space. We can say the two spaces, physical and virtual coincide. The virtual space, previously confined to a movie screen, now encompasses the real space” (p. 97).

This union of worlds is slightly terrifying, but also fascinating. In some ways the screen dictates what we see and what we actually see. We become reliant on screens to provide us with information we could not see without a screen. For example, the use of radar during the World Wars allowed the military to gather information about the enemy before it was too late. This proactive behavior was successful, and I believe that this began our imprisonment with the first screen apparatus (p. 105).

“The imprisonment of the body takes place on both the conceptual and literal levels” (p. 105). Alberti’s perspectival window allows the user to see the world through a singular eye. Now, let us break that down. If you were only able to view the world with one eye, wouldn’t that create a level of dependability? And once you become dependent on something, you require it to function properly. In a sense, this creates a fence. Therefore, we have become prisoners within the fence of the screen.

“With the perspectival machines, the imprisonment of the subject also happens in a literal sense” (p. 105). With early photography, subjects voluntarily put themselves in positions where they could not move for extensive periods of time. Fast forward and we come to the cinematic adventure (movie houses: aka large prisons). During this virtual journey, subjects’ movements were restricted and communication (except from screen to subject) was prohibited.

It is interesting to note that today in a movie theater if a person is talking everyone around shushes and becomes agitated. Look at what the screen has done to society. Is it a positive or negative influence on how we view our physical world?

Check this out

http://pando.com/2014/02/16/convergence-what-happens-when-virtual-realities-take-over/

-JMG

My crack at a MEME

Although this is LOL cheezburger cat lingo, this feline”Doodle” is my cat and would never speak such improper english. However, the assignment was to create a MEME (a form of humorous visual expression through an electronic medium) appropriate with today’s MEME’s semantics. Lev Manovich’s style of writing, in my opinion, is truly dry.

Today, MEMEs are taking over the internet. People have stressful lives, and being able to relieve stress through humor makes their lives more pleasant. MEMEs play a major role in today’s technology explosion . Anyone, anywhere, at anytime can express themselves (and their culture) through a MEME. This only furthers our communication and tightens our connection with the world.

Three Messages to “Un-Like”

This picture is worth more than a thousand words. It signified the struggle that millions suffered with during the Singapore crisis.

The denoted message includes the focal point (a young girl) holding on to a fallen tree branch, while standing in an unknown substance with hopelessness in her eyes. In addition to the other civilians struggling in the muck behind, there are twelve hands with the “thumbs up” gesture surrounding the focal point.

The conotated message involves the all to well-known “liking” on Facebook. Although this provides many helping hands, these hands  never physically help.  This only points out how careless the world really is, regardless of how “connected” that we feel we are. “Liking” a photo on Facebook does not mean that you are actually helping.  It just makes you feel better (like you contributed somehow), and you may go about your day as if nothing tragic is happening in anther country. Deep down inside you know that there is something more you should do than “like” the photo, but you don’t.

The words on this picture solidify our false sense of reality. “Liking isn’t helping.” At the end of the day “liking” is merely calming your mind, not doing what is necessary to help.

This picture describes helplessness, and despite its depressing undertones it truly is beautiful. Not many Americans can experience this fear. It provides a glimpse into the lives of others who have less than we do, and may even be stronger than we are.

-JMG

Chapter 1 The Language of New Media

In Lev Manovich’s chapter one, “The language of new media,” thoroughly describes the evolution of “new media.” August 19, 1939 presented a media revolution when Louis Daguerre (already known for his Diorama) created the daguerreotype. This new process began the first widespread use of the photography that focused on architecture and landscapes, which began the initial “frenzy” of media.

In 1833 Charles Babbage began creating the Analytical Engine. This innovation was similar to that of the modern computer. It required punch cards that provided the engine with data and gave it instructions, which was all stored in the engine’s memory. This creation was more modern than anything of its kind. Babbage’s ingenuity led him to create a processing unit (which he called the mill), where final results were printed out from a printer. (Sounds pretty familiar?) In addition to memory and a processing unit, the engine was designed to “execute instructions next.” However, the computer’s influence was in the making.

Although the development of modern media and computers occurred around the same time, they were necessary for the functionality of the masses. This allowed records to be kept (birth certificates, death certificates, and police records).

In the 1890’s inventiveness pressed on as still photos were put in motion. In 1893 Thomas Edison’s first movie studio “Black Maria” produced twenty second shorts, which were shown in Kinetoscope parlors. In 1895, the Lumiere brothers presented their cinematographic camera/projection hybrid for those willing to pay. These new cinemas provided a dark relaxing getaway from chaotic life of a modern city.

The 1890’s ingenuities did not just influence the general public, but also the government as well. Herman Holerith devised a tabulating machine to help count votes for the 1880 census. The US population at the time: 62,979,766. Today’s US population: 317,457, 658. Businesses soon began adopting these calculating machines, making them standard in accounting, insurance, and railroad offices.

A German engineer Konrad Zuse built a computer that was considered the first working digital computer, were he used punched tape to dictate the computers programs. He actually used 35mm movie film.

In essence, media became new media through the conglomeration of all these creations.

The principles of new media define the key differences between new and old media. To begin, “numerical representation” or the fact that computers are made up of digital code, has two consequences. The first is new media objects can be described formally. The second is a new media object is subject to algorithmic manipulation. While some old media (photography) involves discrete coding, modern media has discrete levels. This is a result of the industrial revolution, where modern media follows the logic of a factory.

“Modularity” or the fractal structure of new media, maintain media elements separate identity. This allows for modification at any time. For example, an HTML document, it consists of separate objects (JPEG images, video clips) that are all stored independently.

“Automation” is only made possible from modular structure and numerical representation. Low level automation is defined as the process of a computer using modified or creating from scratch a template or simple algorithm. A high level automation requires a computer to interpret what is being generated. Today, artificial intelligence (AI) is a prime example of high level automation. Media access is also exposed to increasing automation. Websites created the need to organize information more efficiently, i.e. media access.

“Variation” includes numerous factors. Media database, or the variety of end-user objects, varies in resolution, form, and content. It is important to note, a number of different interfaces can be created from the same data. Also, information about the user can be used by a computer program to customize automatically the media compositions. Branching-type interactivity refers to programs that the users visit creates a branching tree structure. Hypermedia, similar to branching-type interactivity, involves the elements connected through hyperlinks. Periodic updates are different variations of the same media objects generated in computer culture. Lastly, scalability involves different versions of the same media object to be varying sizes or levels of detail.

New media may consist of various concepts/theories, but it is not many things. For instance, new media is analog media converted to a digital representation where the encoded media is discrete. Also, all digital media share the same digital code, which may act as a multimedia device. This is not a new concept. Furthermore, new media allow for random access, this is also a previously used idea. The claim that digitization inevitably involves loss of information is lacking in facts. Digital encoding cannot be encoded endlessly without degradation. Eventually, it will wear out. And new media is most certainly interactive.

The textbook “The new language of media,” by Lev Manovich is anything but a pleasant read. In addition to over sixty page chapters, Manovich enjoys confusing his reader by using various technical terms. More to come.

-JMG

Sick of the cold in J-ville yet?!?!

Okay, so I understand that it is January, but I am running out of socks and warm things to wear. Hard to believe that I braved the frigid Vermont winters, but my blood has apparently thinned. Anyway, here I am complaining and right now in Vermont the high is -10 degrees fahrenheit and the low is -32! Yeah, at that point your eyeball juice freezes, and you can no longer blink. Problem? I think so…

So, if you are tired of the weather here in the River City, just think about those cold hippies in Vermont with their eyes frozen open.

– JMG