Bill Viola and the Cinema of Indefinite Bodily Experience

2017 ◽  
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
New Media ◽  
Digital Media ◽  
High Speed ◽  
Digital Video ◽  
Digital Technologies ◽  
High Speed Camera ◽  
Bodily Experience ◽  
The Uncanny ◽  
Sense Of Time

This chapter examines ghostly gestures that we cannot consciously experience, but only perceive through digital technologies. Internationally recognized as a leading video artist, Viola’s work focuses on the intersections of new media and experiences like death, consciousness, spirituality, and emotion. Many of his recent installations manipulate our sense of time by using a special high-speed camera. Uncanny gestures (those that are embodied but unreadable) emerge as the film is transferred to digital video and slowed down. The emergence of gestures that we can recognize once visualized through digital media as our own, but we cannot recall – that is, we cannot reenact or remember – points to something uncanny about gesture and its relation to affect. Rather than offering us a new understanding of human interiority or an opportunity to make sense of the uncanny, Viola’s work leaves us only with uncertainty as a visceral affect.

scholarly journals Will the Future Be Aquatic? Underwater Cartography, Verticality and Leonardo’s Submarine by Hito Steyerl

2021 ◽  
pp. 375-386
Author(s):  
Karolina Kolenda
Keyword(s):  
Virtual Reality ◽  
New Media ◽  
Digital Media ◽  
Digital Technologies ◽  
Present Condition ◽  
Geographical Imagination ◽  
Underwater Environment ◽  
The Future ◽  
The Media ◽  
Venice Biennale

This text explores the uses of water metaphors in the discourse of digital media on the example of Leonardo’s Submarine, a three-channel AI-generated video work by the artist and writer Hito Steyerl, presented at the Venice Biennale in 2019, as well as its subsequent installation in a purposefully built virtual reality underwater gallery in winter 2020/2021. The two venues for staging the work are discussed in the context of Steyerl’s writings on the change of the European geographical imagination from the Renaissance up to the present day and the role played in this change by digital technologies. Steyerl’s ideas about the shift from the horizontal to vertical perspective and the present condition of groundlessness are “submerged” in a watery context of the ocean to test how verticality and groundlessness behave in an underwater environment. Drawing on selected concepts developed in the field of blue humanities, this text seeks to investigate Steyerl’s practice as an artist and new media theorist to show how it employs water metaphors to challenge rather than perpetuate our habitual thinking about the ocean and the media used to represent it.

scholarly journals The Communication of Capital: Digital Media and the Logic of Acceleration

2012 ◽  
Vol 10 (2) ◽  
pp. 214-229
Author(s):  
Vincent R. Manzerolle ◽  
Atle Mikkola Kjøsen
Keyword(s):  
New Media ◽  
Digital Media ◽  
Digital Technologies ◽  
Point Of View ◽  
Marxist Theory ◽  
Circulation Time ◽  
Media And Communication

This paper argues that questions concerning the circulation of capital are central to the study of contemporary and future media under capitalism. Moreover, it argues that such questions have been central to Marx’s analysis of the reproduction of capital vis-à-vis the realization of value and the reduction of circulation time. Marx’s concepts of both the circuit and circulation of capital implies a theory of communication. Thus the purpose of our paper is to outline the logistical mechanisms that underlie a Marxist theory of media and communication and thereby foregrounding the role new media plays in reducing circulation time. We argue that the necessity of theorizing communication from a circuit and circulation-centric point of view stems from the emergence of a number of new technological phenomena that intensify, but sometimes undermine, the capitalist logic of acceleration. For the purposes of understanding the evolution of digital technologies, ostensibly employed to accelerate the circulation of capital—or put differently, to reduce circulation time—we need to pay attention to volume 2 of Capital, and key sections in the Grundrisse.

Considering Chronos and Kairos in Digital Media Rhetorics

2014 ◽  
pp. 227-247 ◽  
Author(s):  
Ashley Rose Kelly ◽  
Meagan Kittle Autry ◽  
Brad Mehlenbacher
Keyword(s):  
New Media ◽  
Digital Media ◽  
Digital Technologies ◽  
Careful Analysis ◽  
Digital Rhetoric ◽  
Rhetorical Situation ◽  
Media Technologies ◽  
Digital Spaces ◽  
New Media Technologies

Any account of the rhetoric of digital spaces should begin not with the provocation that rhetoric is impoverished and requires fresh import to account for new media technologies, but instead with a careful analysis of what is different about how digital technologies afford or constrain certain utterances, interactions, and actions. Only then might one begin to articulate prospects of a digital rhetoric. This chapter examines the importance of time to an understanding the rhetoric of digital spaces. It suggests that rhetorical notions of kairos and chronos provide an important reminder that it is the rhetorical situation, along with rhetorical actors at individual to institutional levels, that construct the discursive spaces within which people participate, even in digitally-mediated environments.

Uncanny Affect

2019 ◽  
pp. 59-96
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
New Media ◽  
Installation Art ◽  
Digital Technologies ◽  
Slow Motion ◽  
Embodied Perception ◽  
High Definition ◽  
Art Works ◽  
Normal Speed ◽  
Sense Of Time ◽  
Motion Effect

“Uncanny Affect” examines ghostly gestures that we cannot consciously experience but only perceive through digital technologies. The work of Bill Viola, one of today’s best-known video artists, focuses on the intersections of new media and the metaphysics of human experiences like death, consciousness, spirituality, and emotion. Many of his recent installations manipulate our sense of time by using a “Phantom camera” that is able to create an extreme slow-motion effect when played back at normal speed. These high-definition installation art works produce the simultaneous disappearance of the readable (intentional movements, iconic gestures, and performative emotions) and the appearance of previously imperceptible micro-movements (facial tics and gestural twitches). They visualize what we cannot experience as embodied perception. This generates uncanny visceral affects. Rather than offering us a new understanding of human interiority (suffering, elation, anger and spirituality), Viola’s work leaves us only with uncertainty as a visceral affect.

scholarly journals The Communication of Capital: Digital Media and the Logic of Acceleration

2012 ◽  
Vol 10 (2) ◽  
pp. 214-229 ◽  
Author(s):  
Vincent R. Manzerolle ◽  
Atle Mikkola Kjøsen
Keyword(s):  
New Media ◽  
Digital Media ◽  
Digital Technologies ◽  
Point Of View ◽  
Marxist Theory ◽  
Circulation Time ◽  
Media And Communication

This paper argues that questions concerning the circulation of capital are central to the study of contemporary and future media under capitalism. Moreover, it argues that such questions have been central to Marx’s analysis of the reproduction of capital vis-à-vis the realization of value and the reduction of circulation time. Marx’s concepts of both the circuit and circulation of capital implies a theory of communication. Thus the purpose of our paper is to outline the logistical mechanisms that underlie a Marxist theory of media and communication and thereby foregrounding the role new media plays in reducing circulation time. We argue that the necessity of theorizing communication from a circuit and circulation-centric point of view stems from the emergence of a number of new technological phenomena that intensify, but sometimes undermine, the capitalist logic of acceleration. For the purposes of understanding the evolution of digital technologies, ostensibly employed to accelerate the circulation of capital—or put differently, to reduce circulation time—we need to pay attention to volume 2 of Capital, and key sections in the Grundrisse.

scholarly journals Editorial Volume 6 (2)

2010 ◽  
Vol 6 (2) ◽  
Author(s):  
Christopher Moore ◽  
Ruth Walker
Keyword(s):  
Social Media ◽  
New Media ◽  
Web 2.0 ◽  
Digital Media ◽  
Digital Technologies ◽  
Educational Institutions ◽  
Special Issue ◽  
Continuity And Change ◽  
Teaching Learning ◽  
The Relationship

Introduction to the special issue: "Digital technologies and educational integrity" When Roger Silverstone (1999, p.10) asked "what is new about new media?" more than a decade ago at the launch of the first edition of the journal New Media and Society, he framed the question as an inquiry about the relationship between continuity and change. To address the issues relating to the interest and reliance on technologies in educational contexts - whether we are talking about web 2.0, digital media, social media, new media, or even next media - requires us to consider what is most important about the standards, traditions and practices that we hold as crucial to teaching, learning and research, as well as their relationship to change. This special issue broaches these issues to consider how changes in technologies used by teachers and learners - both in and out of educational contexts - has impacted on our understandings of educational integrity. To do this, we have had to ask questions about the integrity of the educational enterprise itself: just as the expanding research and writing capacities of digital media have complicated notions of authorship, so too does the increasing reliance on technologies in educational settings complicate expectations about the open or gated nature of educational institutions. However, it is not so much the digital technologies themselves, but how they are used, regarded, implemented and positioned by institutions, that offer a new twist to our interpretation of education as both 'borderless' and 'gatekeeping'. Download PDF to view full editorial

scholarly journals Det medialiserede museum: digitale teknologiers transformation af museernes formidling

2013 ◽  
Vol 29 (54) ◽  
pp. 22 ◽  
Author(s):  
Maja Rudloff
Keyword(s):  
New Media ◽  
Digital Media ◽  
User Experience ◽  
Digital Technologies ◽  
Museum Collection ◽  
The Past ◽  
The Media ◽  
The Relationship ◽  
Social Act ◽  
General Perspective

<p>Over the past two decades, digital technologies have gained a greater and more important role in communication and dissemination of knowledge by museums. This article argues that the digitization of museum communication can be viewed as a result of a mediatization process that is connected to a cultural-political and museological focus on digital dissemination, in which user experience, interactivity, and participation are central concepts. The article argues that the different forms of communication, representation, and reception offered by digital media, together with the interactive and social possibilities for action they facilitate for their users, contribute to a transformation of the museum as an institution. It is concluded that the relationship between museum, collection, and users has undergone a number of changes caused by the intervention of the media and that the traditional social act of museum visiting has been transformed and somewhat adapted to new media-created forms of communication and action. From a more general perspective, the article may be regarded as a contribution to a continuous discussion of the role museums must play in a mediatized society.</p>

Digital and Technical Developments in the Amblyopia Therapy

2020 ◽  
Vol 237 (10) ◽  
pp. 1172-1176
Author(s):  
Charlotte Schramm ◽  
Yaroslava Wenner
Keyword(s):  
New Media ◽  
Digital Media ◽  
Technical Progress ◽  
Therapy Monitoring ◽  
Everyday Lives ◽  
Technical Developments ◽  
The Future

AbstractThe digital media becomes more and more common in our everyday lives. So it is not surprising that technical progress is also leaving its mark on amblyopia therapy. New media and technologies can be used both in the actual amblyopia therapy or therapy monitoring. In particular in this review shutter glasses, therapy monitoring and analysis using microsensors and newer video programs for amblyopia therapy are presented and critically discussed. Currently, these cannot yet replace classic amblyopia therapy. They represent interesting options that will occupy us even more in the future.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

Making the Most of the Internet for Failure Analysis

1998 ◽  
Author(s):  
Dan J. Bodoh
Keyword(s):  
New Media ◽  
Failure Analysis ◽  
Digital Media ◽  
Optimization Theory ◽  
The Internet ◽  
Digital Medium ◽  
Production Distribution ◽  
Digital Production ◽  
Computer Monitors ◽  
And Storage

Abstract The growth of the Internet over the past four years provides the failure analyst with a new media for communicating his results. The new digital media offers significant advantages over analog publication of results. Digital production, distribution and storage of failure analysis results reduces copying costs and paper storage, and enhances the ability to search through old analyses. When published digitally, results reach the customer within minutes of finishing the report. Furthermore, images on the computer screen can be of significantly higher quality than images reproduced on paper. The advantages of the digital medium come at a price, however. Research has shown that employees can become less productive when replacing their analog methodologies with digital methodologies. Today's feature-filled software encourages "futzing," one cause of the productivity reduction. In addition, the quality of the images and ability to search the text can be compromised if the software or the analyst does not understand this digital medium. This paper describes a system that offers complete digital production, distribution and storage of failure analysis reports on the Internet. By design, this system reduces the futzing factor, enhances the ability to search the reports, and optimizes images for display on computer monitors. Because photographic images are so important to failure analysis, some digital image optimization theory is reviewed.

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