scholarly journals The Beauty of the Fragment Reconstituted in the Great Wall

2021 ◽  
Vol 6 (2) ◽  
pp. 42-62
Author(s):  
Dirk De Bruyn ◽  
Keyword(s):  
Pattern Recognition ◽  
Hong Kong ◽  
Digital Image ◽  
Information Overload ◽  
Marshall Mcluhan ◽  
Technological Environment ◽  
Acoustic Space ◽  
Media Environments ◽  
Great Wall

Max Hattler’s short abstract animations demonstrate an awareness of the form’s historic 1920’s European Abstract Animation precedents, is informed by the structurally focused minimalism of the 60’s and re-tools pre-cinema toys. Yet his work speaks to the contemporary technological environment he occupies and experiences directly. His move to Hong Kong and his recent Serial Parallels is also a predictive probe into future media environments. Hattler’s digital architectures are designed to make sense of the technological situation of speed and information overload which Vilem Flusser marks as amnesic and Marshall McLuhan identifies as an acoustic space readable through pattern recognition. His practice makes productive use of the flexible and modular qualities of contemporary digital image-making technologies for both production and publication purposes.

Digital image analysis around isotropic points for photoelastic pattern recognition

2015 ◽  
Vol 54 (8) ◽  
pp. 081209 ◽  
Author(s):  
Kamadi Vara Naga Surendra ◽  
K. R. Yogendra Simha
Keyword(s):  
Pattern Recognition ◽  
Image Analysis ◽  
Digital Image ◽  
Digital Image Analysis

Solace in sound: Glenn Gould’s electronic solitude

2021 ◽  
Vol 20 (1) ◽  
pp. 19-32
Author(s):  
Steven Hicks
Keyword(s):  
Twentieth Century ◽  
Social Systems ◽  
Media Ecology ◽  
Marshall Mcluhan ◽  
Media Environment ◽  
Musical Tradition ◽  
General Systems ◽  
The Media ◽  
Musical Traditions ◽  
Media Environments

Inspired by Marshall McLuhan, pianist Glenn Gould dedicated his career to polemics against the concert hall tradition. Through radio/television broadcasts, written works and contentious recorded catalogue, Gould advocated adoption of the new electric media environment of the mid-twentieth century, challenging musical traditions of centuries past. Gould also used telephonic technology to mediate contact with the outside world. Gould has been acknowledged by such authors as Paul Théberge as putting into practice the ideas of Marshall McLuhan. In this study, I follow Robert Logan’s work in media ecology and general systems and investigate Gould’s polemics through systems theory. In particular, I employ Niklas Luhmann’s theory of social systems, offering a model of society through which we may observe the effects of electric technology via the notion of functional de-differentiation of social systems as discussed by authors such as Erkki Sevänen. I suggest that Gould’s polemics are not just commentary on musical tradition but the media environments in which those traditions arose and show how we too can find solace in sound.

scholarly journals Spatial Metaphor in the Work of Marshall McLuhan

2001 ◽  
Vol 26 (4) ◽  
Author(s):  
Gordon Gow
Keyword(s):  
Alternative Model ◽  
Cognitive Linguistics ◽  
Marshall Mcluhan ◽  
Spatial Metaphor ◽  
Acoustic Space

Abstract: Spatial metaphor is central to the layout and development of McLuhan's thought on culture and technology. This paper adapts a framework drawn from cognitive linguistics to describe how McLuhan's concepts of visual and acoustic space serve as structural, orientational, and ontological metaphors. In its ontological role, spatial metaphor provides the metaphysics for McLuhan's tetrad, which he came to regard as an alternative model for studying culture and technology. Résumé : La métaphore spatiale est centrale à la disposition et au développement de la pensée de McLuhan sur la culture et la technologie. Cet article a adapté une approche tirée de la linguistique cognitive pour décrire comment des concepts de McLuhan sur l'espace visuel et acoustique servent de métaphores structurelles, orientationnelles et ontologiques. Dans son rôle ontologique, la métaphore spatiale fournit une métaphysique pour la tétrade de McLuhan, qu'il en est venu à considérer comme modèle alternatif pour étudier la culture et la technologie.

Ethics and the study of media as environments1

2020 ◽  
Vol 19 (1) ◽  
pp. 5-22 ◽  
Author(s):  
Lance Strate
Keyword(s):  
Hannah Arendt ◽  
Common Ground ◽  
Electronic Media ◽  
Human Condition ◽  
Media Ecology ◽  
Marshall Mcluhan ◽  
Ethical Evaluation ◽  
Media Environments ◽  
The Human Condition

Despite the different positions that Marshall McLuhan and Neil Postman took in regard to moral or ethical judgements, common ground can be found in the insistence that we first need to work towards understanding media, and only then can we take part in their ethical evaluation. Media ecology, as the study of media as environments and the study of environments as media, is also the study of the conditions we live under, that in turn condition us. Based in part on the philosophy of Hannah Arendt, the human condition can be divided into three basic categories, the symbolic, the technological and the biophysical, with the possible addition of a fourth, the spiritual. As part of the human condition, ethics can be considered a medium with a message of its own, a medium that is altered as we move from oral to chirographic, typographic and electronic media environments. Building on this understanding, we can develop a media ecology ethics, and to that end, some basic elements of a media ecology ethics are introduced.

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