Final project - Watching TV all the time
30 second street music
Superstar Smackdown - Nam June Paik

Tuesday, April 12, 2005

Final project – Story Board

Major Studio2 - Interactivity / Ji Sun Lee (Sun) 04/11/2005
Final project – Story Board

#01 P
Rather than being a neutral medium of presenting information, the screen is aggressive. It functions to filter, to screen out, to take over, rendering nonexistent whatever is outside its frame.
- Lev Manovich, The Language of New Media, 96p

#01 P & F
In this sense, the possibility of simultaneously observing a few images that coexist within one screen can be compared with the phenomenon of zapping-the quick switching of television channels that allows the view on longer concentrates on a single image.
- Lev Manovich, The Language of New Media, 97p

#1 F
For example, digital media of liner-media machines such as Windows 98 media Player or RealPlayer emulate the interfaces of liner-media machines such as VCRs. They provide such commands as play, stop, eject, rewind, and fast forward. In this way, they make new media simulate old media, all the while hiding new properties such as random access.
- Lev Manovich, The Language of New Media, 117-118p

#02 P & F
Today, coupled with the computer, the screen is rapidly becoming the main means of accessing any kind of information, be it still images, moving images, or text. We are already using it to read the daily newspapers; to watch movies; to communicate with co-workers, relatives, and friends; and, most important, to work. We may debate whether our society is a society of spectacle or of simulation, but undoubtedly, it is a society of the screen. What are the different stages of the screen’s history? What are the relationships between the physical space where the viewer is located, her body, and the screen space? What are the ways in which computer displays both continue and challenge the tradition of the screen?
- Lev Manovich, The Language of New Media, 94-95p

#1 F
New media objects are rarely created completely from scratch; usually they are assembled from ready-made pars. Put differently, in computer culture, authentic creation has been replaced by selection from a menu.
- Lev Manovich, The Language of New Media, 124p

#03 F
New media is interactive. In contrast to old media where the order of presentation is fixed, the user can now interact with a media object. In the process of interaction the user can choose which elements to display or which paths to follow, thus generating a unique work. In this way the user becomes the coauthor of the work.
- Lev Manovich, The Language of New Media, 55p

#03 F
First, the idea of temporality – the classical screen displays a static, permanent image; the dynamic screen displays a moving image of the past; and finally, the real-time screen shows the present. Second relationship between the space of the viewer and the space of representation.
- Lev Manovich, The Language of New Media, 103p

#03 F
The producers define the basic structure of an object, and release a few examples as well as tools to allow consumers to build their own versions, to be shared with other consumers.
- Lev Manovich, The Language of New Media, 245p

#04 F
New media does not radically break with the past; rather, it distributes weight differently between the categories that hold culture together, foregrounding what was in the background, and vice versa. As Fredrick Jameson writes in his analysis of another shift, that from modernism to postmodernism: “Radical breaks between periods do not generally involve complete changes but rather the restructuration of a certain number of elements already given: features that in an earlier period of system were subordinate become dominant, and features that had been dominant again become secondary.”
- Lev Manovich, The Language of New Media, 229-230p

#5 F
With new media, “malleability” becomes “variability”; that is, while the analog television set allowed the viewer to modify the signal in just a few dimensions such as brightness and hue, new media technologies give the user much more control. A new media object can be modified in numerous dimensions, and these modifications can be expressed numerically. … More radically, a number of completely different interfaces can be constructed form the same data, from a database to a virtual environment. In short, the new media object is something that can exist in numerous versions and numerous incarnations.
… Finally, the example of the DJ also makes it clear that selection is not an end in and of itself. The essence of the DJ’s art is the ability to mix selected elements in rich and sophisticated ways. In contrast to the “cut and paste” metaphor of modern GUI that suggests that selected elements can be simply, almost mechanically, combined, the practice of live electronic music demonstrates that true art lies in the “mix.”
- Lev Manovich, The Language of New Media, 134-135p

#5 F
Following art historian Ervin Panofsky’s analysis of linear perspective as a “symbolic form” of the modern age, we may even call database a new symbolic form of the computer age, a new way to structure our experience of ourselves and of the world.
- Lev Manovich, The Language of New Media, 219p

Characteristically, many new media products, whether cultural objects or software use loops in their design, while treating them as temporary technological limitations. I, however, want to think about them as a source of new possibilities for new media.
- Lev Manovich, The Language of New Media, 315p

Similarly, we may expect that when digital video appear on small displays in our cellar phones, personal managers such as Palm Pilot, or other wireless communication devices, they will once again be arranged in short loops because of bandwidth, storage, or CPU limitations.
- Lev Manovich, The Language of New Media, 317p

As the narrative activates different parts of the screen, montage in time gives way to montage in space, Put differently, we can say that montage acquires a new spatial dimension. In addition to montage dimensions already explored by cinema (differences in images’ content, composition, and movement), we now have a new dimension – the position of images in space in relation to each other. In addition, as images do not replace each other (as in cinema) but remain on the screen throughout the movies, each new image is juxtaposed not just with the image that preceded it but with all the other images present on the screen.
The logic of replacement, characteristic of cinema, gives way to the logic of addition and coexistence. Time becomes spatialized, distributed over the surface of the screen. In spatial montage, nothing need be forgotten, nothing is erased. Just as we use computers to accumulate endless texts, messages, notes, and data, and just as a person, going through life, accumulates more and more memories, with the past slowly acquiring more weight than the future, spatial montage can accumulate events and images as it progresses through its narrative. In contrast to the cinema’s screen, which primarily functions as a record of perception, here the computer screen functions as a record of memory.
- Lev Manovich, The Language of New Media, 404-405p

Mr Robertson spoke as BBDO released a report that said consumers are now more willing to live without television than without mobile phones or home computers.
The agency asked nearly 3,000 typical consumers in 15 countries to choose the communications device they would most want to keep. Forty-five per cent said their home computers, 31 per cent their mobile phones and 12 per cent their televisions. In China, 61 per cent opted for mobile phones, compared with 30 per cent for home computers and 4 per cent for televisions.
The survey found that mobile phones users like to stay connected even while they are asleep. More than 60 per cent said they kept their phones on and within reach 21 to 24 hours a day, and 15 per cent said that figure was 16 to 20 hours a day.
Mobiles to ‘replace TV as prime ad medium’,,ft_acl=,s01=1.html


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