projecto 2.0

instalação videos

2008-06-06T03:32:00.000-07:00

instalação.fotos

2008-06-05T08:50:00.000-07:00

flyer

2008-05-29T02:32:00.001-07:00

Sinopse “new media”

2008-05-29T02:28:00.000-07:00

“What is new media? We may begin answering this question by listing the categories commonly discussed under this topic in the popular
press: the Internet, Web sites, computer multimedia, computer games, CD-ROMs and DVD, virtual reality. Is this all there is to new media?
(...)The two separate historical trajectories finally meet. Media and computer - (...) - merge into one. All existing media are translated into
numerical data accessible for he computer. The result: graphics, moving images, sounds, shapes, spaces, and texts become computable,
that is, simply sets of computer data. In short, media becomes new media.” Lev Manovich

New media, digital media, multimedia, interactive media, electronic media, loop e apropriação, conceitos dominantes nesta instalação; autores e seus projectos fotografados, filmados, apropriados, reutilizados e reconstruídos. Audiotexto (voz humana), som electrónico (videojogos), som apropriado, editado, reapresentado. Mike Kelley, Tony Oursler, Eija-Liisa Ahtila, Doug Aitken, Jananne Al-Ani, Geneviève Cadiuex, Peter Campus, Douglas Gordon, Dan Graham, Johan Grimonprez, Gary Hill, Thierry Kuntzel, Chris Marker, Bruce Nauman, Nam June Paik, Pierrick Sorin, Janaine Tschape e Bill Viola. O slideshow como a nova pintura que decora paredes em branco como num museu convencional.
"The form of presentation represented by the slide show turns out to be an ideal device for maintaining the dialectic between the pictorical and the photographic, between narrativity and stasis, between the performatory mode and the theatrical mode of language."Benjamin Buchloh

A imagem estática em movimento (fotografia em sequência), a imagem em movimento quase estática (videos de comentadores ou jornalistas que quase só movem os lábios numa fala camuflada com outras não suas originalmente), o loop (não-linearidade) como uma narrativa ilimitada.
"The spectator's physical and mental displacement is also brought on by typical form of video installations: the broadcasting of looped images. Over and above its technical convenience (...) the loop has effects on perception and the representations constructed by the spectator. The loop creates a temporal hiatus in the sense that it breaks the arrow of time and its inexorable advance by reiterating the same movement and the same period of time..." Françoise Parfait
"Where content is concerned, the loop does indeed signify the freeze frame and time frozen, but this does not necessary conjure boredom: the body's monotonous and endless toing and froing in a limited range of movement also relaxes the mind and opens up the inner stage." Bruce Nauman, by Gaby Hartel

A descoordenação no tempo, a assimetria visual e sonora (presente nos três ecrãs) como a desorganização que quebra a monotonia repetitiva, como a excepção dinâmica, a diferença, a particularidade que evita o aborrecimento.
O antigo, o nostálgico (nos vídeos com comentadores e nos sons de videojogos) como uma estética que cativa por ser retro, pela sua carga simbólica e histórica, para contrariar o novo; a oposição new/old media, o contraste como elemento enriquecedor.
Por fim, o minimalismo do espaço através dos três ecrãs principais e da projecção secundária que evita o vazio (o excesso da simplificação pretendida).

"The logic of replacement, characteristic of cinema, gives away to the logic of addition and coexistence. Time becomes spatialized, distributed over the surface of the screen. In spacial montage, nothing is potentially forgotten, nothing is erased.(...)In contrast to the cinema's screen, which primarily functioned as a record of perception, the computer screen functions as a record of memory." Lev Manovich

Joana Oliveira DGM 2.0 2007/08

esquiço sala

2008-05-29T02:24:00.000-07:00

Nam June Paik

2008-05-23T03:31:00.001-07:00

Bubble Bobble

2008-05-23T03:31:00.000-07:00

Gary Hill

2008-05-23T03:30:00.000-07:00

Bruce Nauman

2008-05-23T03:28:00.000-07:00

apresentação

2008-05-13T03:09:00.000-07:00

livro

2008-04-28T10:54:00.000-07:00

MANOVICH, Lev, The Language of New Media, ed.The MIT Press, London, 2001.

What Is New Media?
"What is new media? We may begin answering this question by listing the categories commonly discussed under this topic in the popular press: the Internet, Web sites, computer multimedia, computer games, CD-ROMs and DVD, virtual reality. Is this all there is to new media? (...)The two separate historical trajectories finally meet. Media and computer - (...) - merge into one. All existing media are translated into numerical data accessible for he computer. The result: graphics, moving images, sounds, shapes, spaces, and texts become computable, that is, simply sets of computer data. In short, media becomes new media."
(...)
Principles of New Media:
"...some of the key differences between old and new media.(...)
1.Numerical Representation.
All new media objects, whether created from scratch on computers or converted from analog media sources, are composed of digital code; they are numerical representations.(...)
2. Modularity
This principle can be called the "fractal structure of new media". Just as a fractal has the same structure on different scales, a new media object has the same modular structure throughout. Media elements, be they images, sounds, shapes, behaviors, are represented as collections of discrete samples (pixels, polygons, voxels, characters, scripts). These elements are assembled into larger-scale objects but continue to maintain their separate identities. The objects themselves can be combined into even larger objects - again, without losing their independence.(...)
3.Automation
The numerical coding of media (principle 1) and the modular structure of a media object (principle 2) allow for the automation of many operations involved in media creation, manipulation, and access. Thus human intentionality can be removed from creative process, at least in part. (...)
4.Variability
A new media object is not something fixed once for all, but something that can exist in different, potentially infinite versions. This is another consequence of numerical coding of media (principle 1) and modular structure of a media object (principle 2).
Old media involved a human creator who manually assembled textual, visual, and/or audio elements into a particular composition or sequence. This sequence was stored in some material, its order determined once and for all. Numerous copies could be run off from the master, and, in perfect correspondence with the logical of an industrial society, they were all identical. New media, in contrast, is characterized by variability (...). Instead of identical copies, a new media object typically gives rise to many different versions. And rather than being created completely by a human author, these versions are often in part automatically assembled by a computer. (...) Thus the principle of variability is closely connected to automation.
Variability would also not be possible without modularity. Stored digitally, rather than in a fixed medium, media elements maintain their separate identities and can be assembled into numerous sequences under program control. In addition, because the elements themselves are broken into discrete samples (for instance, an image is represented by an array of pixels), they can be created and customized on the fly.(...)
5.Transcoding
(...)The fifth and the last principle of cultural transcoding aims to describe what in my point of view is the most substantial consequence of the computerization of media. As I have suggested, computerization turns media into computer data. While from one point of view, computerized media still displays structural organization that makes sense to its human users - (...) - from another point of view, its structures now follows the established conventions of the computer's organization of data. (...)"

livro

2008-04-28T10:52:00.000-07:00

MANOVICH, Lev, The Language of New Media, ed.The MIT Press, London, 2001.

Lev Manovich
Spacial Computerization and Film Language
New Temporality: the loop as a narrative engine
"(...) A loop, a repetition, created by the circular movement of the handle, gives birth to a progression of events - a very basic narrative which is also quintessentially modern; a camera moving through space recording whatever is in its way. (...) The history of new media tell us that the hardware limitations never go away: they disappear in on area only to come back in another. (...) Can the loop become a new narrative form appropriate for the computer age? It is relevant to recall that the loop gave birth not only to cinema, but also to computer programming. (...) Steven Neale describes how early film demonstrated its authenticity by representing moving nature: are looped over and over, we see blades of grass shifting slightly back and forth, rhythmically responding to the blow of non-existing wind, which is almost approximated by the noise of a computer reading data from a CD-ROM. "
Spatial Montage and Macromedia
"The logic of replacement, characteristic of cinema, gives away to the logic of addition and coexistence. Time becomes spatialized, distributed over the surface of the screen. In spacial montage, nothing is potentially forgotten, nothing is erased.(...)In contrast to the cinema's screen, which primarily functioned as a record of perception, the computer screen functions as a record of memory."

appropriation (art)

2008-04-28T07:00:00.000-07:00

"To appropriate something involves taking possession of it. In the visual arts, the term appropriation often refers to the use of borrowed elements in the creation of new work. The borrowed elements may include images, forms or styles from art history or from popular culture, or materials and techniques from non-art contexts. Since the 1980's the term has also referred more specifically to quoting the work of another artist to create a new work. The new work does not actually alter the original per se; the new work uses the original to create a new work. In most cases the original remains accessible as the original, without change. "
in http://en.wikipedia.org/wiki/Appropriation_%28art%29

minimalism

2008-04-28T06:58:00.000-07:00

"Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. As a specific movement in the arts it is identified with developments in post-World War II Western Art, most strongly with American visual arts in the late 1960s and early 1970s. Prominent artists associated with this movement include Donald Judd, Carl Andre and Richard Serra. It is rooted in the reductive aspects of Modernism, and is often interpreted as a reaction against Abstract Expressionism and a bridge to Postmodern art practices.

The term has expanded to encompass a movement in music which features repetition and iteration, as in the compositions of Steve Reich, Philip Glass, John Adams, and Terry Riley.

The term "minimalist" is often applied colloquially to designate anything which is spare or stripped to its essentials. It has also been used to describe the plays of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and even the automobile designs of Colin Chapman."
in http://en.wikipedia.org/wiki/Minimalism

conteúdos

2008-04-28T06:46:00.000-07:00

livro

2008-04-28T06:38:00.000-07:00

Collection New Media Installations, Éditions du Centre Pompidou, Paris, 2006.

transcriptions:
"The Term new media encompasses a reality that is forever evolving, since the techniques used by the artists involved in this movement go back some 40 years, in the case of the oldest ones. From the earliest video works to the latest digital developments, these practices now have a history, and at the same time their horizon is constantly either expanding or shrinking." Bruce Racine

Historical and Museological Aspects of the New Media Works
"New Media certainly covers digital media (videotapes and soundtracks, CD-ROMs, hard-disks, websites), and also "old media" such as cinema, which has been converted to digital format for purposes of display."

Installations in Collections, Françoise Parfait
"The form of presentation represented by the slide show turns out to be an ideal device for maintaining the dialectic between the pictorical and the photographic, between narrativity and stasis, between the performatory mode and the theatrical mode of language" Benjamin Buchloh

Installation is a construction in space of space
"By seeking a place in the art arena, video has questioned habits and posited as an artistic problem the relation between outside and in, public and private, light and dark, individual and group, restriction and freedom, attention and consumption."
"Space is not the environment (real or logical) in which things are arranged, but the means whereby the position of things becomes possible." Merleau-Ponty, definitions of Minimalist Space

"The spectator's physical and mental displacement is also brought on by typical form of video installations: the broadcasting of looped images. Over and above its technical convenience (...) the loop has effects on perception and the representations constructed by the spectator. The loop creates a temporal hiatus in the sense that it breaks the arrow of time and its inexorable advance by reiterating the same movement and the same period of time..."
"The video installation absorbs the time-frame of the photo, the film, and television, non forgetting painting and theatre, by getting them to play (...) on the limits of their specific qualities."

Towards a poly-ocular cinema-multi-projection and new narratives
"Multi-projection is not the only model to explore forms of narration: this can be condensed onto a single projection, and it is moreover this path which is being increasingly used by present-day artists. New forms of narration can involve the diversity of genres and media, the manipulation of projection speeds, filming procedures and the internal conduct of the narrative."
"From closed-circuit TV to the cinematographic narrative, the installation has represented a real arena for thought and representation. Occupation of spaces and uses of time have been reorganized in accordance with editing plans which are now presented in new forms of exhibitions.
The shared time of installations gives rise to an awareness of our schedules and timetables, as we construct them and as they are imposed upon as by current economic and social models: work time, leisure time, free time, public time and private time, physic time and time for thought."

Video an Publishing Economics, François Michaud
"The blank, white space of the museum has managed to incorporate the video installation, as one type of installation among others, and the monitors earmarked for the broad-casting of videotapes have been easily accommodated in the exhibition rooms."
"In the communication and publication system of animated images, the separation between visibility and invisibility should rather be perceived as a complex gradation, for which the adoption of one device to the detriment of another undoubtedly plays a decisive part, but one where the particular adaptability of video creates above all a state of constant mutation."

authors: Eija-Liisa Ahtila; Doug Aitken; Jananne Al-Ani; Geneviève Cadiuex; Peter Campus; Douglas Gordon; Dan Graham; Johan Grimonprez; Gary Hill; Mike Kelley e Tony Oursler; Thierry Kuntzel; Chris Marker; Bruce Nauman; Nam June Paik; Pierrick Sorin; Janaine Tschape; e Bill Viola.

Eija-Liisa Ahtila, by Michael Rush
"Ahtila's early work clearly emerged from the Conceptual practices dominant in the art in the mid to late 1980's. Her methods have evolved into elaborate re-examinations of cinema itself, re-forming the language of narrative and the space of film presentation. Her installations are as psychologically constructed as the abstract stories of her troubled female protagonists. In her multi-screen presentations she physicalizes the split mental states of her subjects while at the same time inviting viewers to experience a truly expanded, destabilized cinema, one that more accurately reflects the conscious and unconscious states that comprise everyday reality."

Doug Aitken, by Françoise Parfait
"As is more often than not the case in Doug Aitken's work, New Skin challenges the way of looking and vision based on the logical ordering of two factors: a filmed and edited narrative and a complex projection device. Image and perception are closely connected in a process of recollection which the onlooker experiences.
(...)
A narrative loops back about every ten minutes in a discreet dissolve to black. The continuity of this narrative is provided by the soft, calm voice of a female narrator which mingles with various acoustic chords."

Jananne Al-Ani, by Marianne Lanavère
"The video installation A Loving Man (1996) is based on a text by Jananne Al-Ani which draws on interviews she conducted with her mother and three sisters about their memories of their husband/father, who remained in Iraq when they left their homeland for England in 1980. Each of the women are filmed individually reciting the text which describes their relationship with describes the absent man, marked by the geographical, cultural and emotional separation."

Geneviève Cadiuex, by Jacinto Lageira
"In producing what is essentially photographic work, which may at times take the form of sculptural objects, whose subject is the human body (...) Geneviève Cadiuex has cleverly achieved certain shifts with regard to issues of the photographic and the filmic understood as trace, imprint and reinstatement of the body captured by cameras."

Peter Campus, by Fréderique Baumgartner
"(...)Campus defines video as a "function of reality", that is to say, a medium encouraging a questioning of the subject/object, interior/exterior, conscious/unconscious categories, which have concerned him ever since his studies in experimental psychology in the late 1950's. These research projects are, incidentally, inseparable from the technical possibilities offered by the video. From this point of view, Campus's work comes across as an investigation of the capacities of his bourgeoning art medium."

Douglas Gordon, by Michael Rush
"(...)There is no dialogue, no sequential narrative. Best known for appropriating other's films and manipulating them for his own conceptual purposes(...). Problematic mental states such as psychological splitting and anxiety (including hysteria) often become materials for his art."

Dan Graham, by Jacinto Lageira
"(...)Dan Graham does not offer us the chance to be the subject of our own experience; he pushes us in a way despite ourselves - whence a relative physical and psychic violence felt by some - towards the exploration of other ways of seeing ourselves and learning about ourselves as subjects. Dan Graham shows us that what we are or think we are is never closed and defined, but rather shifting and unfinished."

Johan Grimonprez, by Gaby Hartel
"(...)after the umpteenth repetition of shocking, in-your-face imagery, chance playing its part, emotion is no longer very far removed from the banality that we can "choose" on the screen. This is precisely what Grimonprez shows with what he calls his "poetics of zapping": sausages being barbecued right beside absolute horror. (...) And thus it is that from the artist's subjective way of looking at television images, and even by means of television, a critique of the media originates."

Gary Hill, by Jacinto Lageira
"(...)Gary Hill shows objects and actions which may refer either directly or metaphorically to what we see, while giving evident priority to writing and its symbolization. (...) Vision can only be conceived because it reads, and words only exist in so much as they are seen. (...) Through writing, we see meaning taking shape in characters, words, and sentences, whereas by voice we hear it. Writing has the advantage that it may be a phonetic transcription of the voice at the same time as it is visually and no longer vocally spatialized."

Mike Kelley and Tony Oursler, by Paul Ardenne
"(...) Beyond being an expression an expression of an experience, the work is an open review by two actors of their own careers, including their regrets (the punk stars we never became). Heritage value and the rendering of the past are eroded by the assumption of creation, a sublimated poiesis giving Kelley and Oursler the chance to recreate, or even invent, themselves. It could be regarded as fraud, but it is moreover the ability to transform art. As Kelley said, by way of confirmation, If you don't create your own history, someone will."

Thierry Kuntzel, by Anne-Marie Duguet
"Through bits of personal histories, even when they refer to film history, it is the composition of the history that is involved - the way memory and recollection operate. And it falls to video to show the process of the sign and work of inscription. It is capable of quoting other reproducing techniques, and also reveals the alteration of the recording.(...) It is the process of abstraction, it is the emergence and absorption in their duration which matter..."

Chris Marker, by Raymond Bellour
"He imports onto his computer as many images as he wants from the photo-cinema-video channel, and works and re-works them, attempting to mix them with other images that he conceives more directly from programmes. (...) But it is this modesty that makes the gesture all the important, insofar as a private gesture in the domain of research and art may be so."

Bruce Nauman, by Gaby Hartel
"Art must strike the visitor like a blow to the nape of the neck, Bruce Nauman declared one day, in such a way that there is an intensity which grabs the onlooker's whole being - body and mind alike. And the fact is that even those who are forever visiting museums are nowadays perplexed when they suddenly find themselves standing in front of a simple white room which they can absolutely not go in to. What are they supposed to do with it? (...) Ideally, as he used to say in that period, he would like the endless sequence os those movements to be a continuous loop. Where content is concerned, the loop does indeed signify the freeze frame and time frozen, but this does not necessary conjure boredom: the body's monotonous and endless toing and froing in a limited range of movement also relaxes the mind and opens up the inner stage."

Nam June Paik, by Barbara London
"(...) Paik furnished viewers with magnets and encouraged them to make their own TV show. The magnets they slid along the sides of the TV console interfered with the electronic innards of the picture tube.(...)The signature image-blitz style of his videos took form on crowded city streets."

Pierrick Sorin, by Pierre Giquel
"Six monitors repeatedly show the same film whose flow of narrative is disturbed by its constant repetition, creating juxtapositions, leading to improbable interpretations, breaking the linearity in order to allow an undisciplined succession of movements to be seen and muffled words to be heard. An intentionally syncopated rhythm incites total disorder in the organization of a narrative that attempts to make itself understood. The viewer is thus invited to reinvent a story from the fragment offered, as if trying to reassemble his or her own image using broken shards of a mirror."

Janaina Tshcape, by Chantal Pontbriand
"Strange, dreamlike forms on four large screens float in space, turning the gallery into an aquarium where the onlooker joins these nymphs appearing on the screens.(...) It reverses our relation to he world which is so guided by gravity, permitting a suspension of the body which recalls the suspension of too often over-defined meaning."

Bill Viola, by Michael Rush
"Since his earliest videos in the 1970's, Bill Viola has been engaged in an identity quest that involves a spiritual and psychological journey through his own consciousness and, by extension, the universe. Religion and art have been his guides. (...) Viola, now with access to high-speed cameras, film crews, elaborate sets, actors, etc. is still investigating the most fundamental ingredients of life, including breath, water, air, movement, death. His colors may be richer, his waters may be deeper, but his passions remain the same."

auto-proposta

2008-04-26T10:43:00.000-07:00

Conteúdos:
Neste projecto proponho-me a explorar os seguintes conceitos: new/old media, digital media, multimedia, interactive media, electronic media (videogames); e os seguintes autores: Mike Kelley, Tony Oursler; Eija-Liisa Ahtila; Doug Aitken; Jananne Al-Ani; Geneviève Cadiuex; Peter Campus; Douglas Gordon; Dan Graham; Johan Grimonprez; Gary Hill, Thierry Kuntzel; Chris Marker; Bruce Nauman; Nam June Paik; Pierrick Sorin; Janaine Tschape; Bill Viola, entre outros. Com isto pretendo absorver alguns conhecimentos relacionados com arte moderna e instalações multimédia. Pretendo, também, construir uma instalação que explore estes autores e estes conceitos de forma criativa; e , ao mesmo tempo, que explore os vários media, permitindo a interacção destes com o observador.

Metodologia:
Exploração multimédia: fotografia (imagem estática), vídeos, som e texto (audiotexto).
Construção de 3 vídeos iguais em loop, descoordenados no tempo.
Cada vídeo (+-5 min até repetir) consiste em sequências de imagens estáticas apropriadas de autores relacionados com o tema "new media", imagens em movimento (pessoas a falar, comentadores sem som; barras coloridas do início da programação televisiva e "no signal" televisivo _ imagens do "static" televisivo (nostalgia e história dos media).
Som de videojogos (antigo, nostálgico), audiotexto de citações, excertos de textos ou entrevistas dos autores "new media" já referidos. Som coordenado com as imagens em movimento (fotografia ou vídeos), som stereo (lado direito citações, lado esquerdo videojogos, respectivamente, o hemisfério racional e o emocional, mais intuitivo_música).
Uma projecção sem som de um video constituído por dois frames (duas imagens) que se repetem em loop. Imagens que preenchem o espaço da sala (uma das paredes, não comprometendo o minimalismo pretendido), quase como pinturas, na parede de um museu (em slideshow).

Objectivos:
Construir narrativas visuais sobre estes "new media".
Explorar os conteúdos de forma minimalista, absorver a história dos media (multimédia), alargar conhecimentos nesta área, nomeadamente, ficar a par de autores relevantes e dos seus trabalhos. Pesquisar e apresentar pesquisa feita de forma criativa, explorando múltiplos media.
Explorar relações entre tempo e espaço, entre objecto e espaço.
Explorar interactividade entre criador e observador.
Compreender conceitos de não-linearidade (loop), multimédia, digital media, interactive media, electronic media, new/old media e a apropriação como método de aprendizagem.
Desenvolver capacidades de forma, composição e relação.
Desenvolver metodologia e ritmo de trabalho individual.
Desenvolver capacidades de conceptualização e reflexão.

Forma:
Instalação.
Sinopse (+-300 palavras).

Materiais/espaços:
3 ecrãs (televisões)
3 leitores de dvds
3 headphones
1 projector
1 sala (com 1 parede branca lisa sem janelas)

Livros:
Collection New Media Installations, Éditions du Centre Pompidou, Paris, 2006.
MANOVICH, Lev, The Language of New Media, ed.The MIT Press, London, 2001.
RIESER, Martin, ZAPP, Andrea, New Screen Media Cinema/Art/Narrative, ed.British Film Instituition, London, 2004.

Links:
Eija-Liisa Ahtila http://www.paolocurti.com/ahtila/ahtila.htm
Doug Aitken http://www.dougaitkenworkshop.com/
Jananne Al-Ani http://www.daniellearnaud.com/jananne.htm
Geneviève Cadiuex http://images.google.pt/images?hl=pt-PT&rls=GGLR,GGLR:2005-45,GGLR:en&resnum=0&q=genevieve%20cadieux&um=1&ie=UTF-8&sa=N&tab=wi
Peter Campus http://www.tonkonow.com/campus.html
Douglas Gordon http://images.google.pt/images?sourceid=navclient&ie=UTF-8&rls=GGLR,GGLR:2005-45,GGLR:en&q=douglas%20gordon&um=1&sa=N&tab=wi
Dan Graham http://images.google.pt/images?um=1&hl=pt-PT&rls=GGLR,GGLR:2005-45,GGLR:en&q=dan%20graham&ie=UTF-8&sa=N&tab=wi
Johan Grimonprez http://www.essorgallery.com/Artists/Grimonprez,%20Johan/grimonprezbiogra.html
Gary Hill http://www.garyhill.com/
Mike Kelley and Tony Oursler http://www.mikekelley.com/
http://www.tonyoursler.com/
Thierry Kuntzel http://www.newmedia-art.org/cgi-bin/show-art.asp?ID=D010580&LG=GBR&DOC=IDEN&na=KUNTZEL&pna=THIERRY
Chris Marker http://www.sensesofcinema.com/contents/directors/02/marker.html
Bruce Nauman http://images.google.pt/images?q=bruce+nauman&hl=pt-PT&rls=GGLR,GGLR:2005-45,GGLR:en&um=1&ie=UTF-8&sa=X&oi=images&ct=title
Nam June Paik http://www.paikstudios.com/
Pierrick Sorin http://www.pierricksorin.com/
Janaina Tshcape http://www.janainatschape.net/
Bill Viola http://images.google.pt/images?q=bill+viola&hl=pt-PT&rls=GGLR,GGLR:2005-45,GGLR:en&um=1&ie=UTF-8&sa=X&oi=images&ct=title

videogames

2008-04-24T07:58:00.000-07:00

"A video game is a game that involves interaction with a user interface to generate visual feedback on a video device.[1] The word video in video game traditionally referred to a raster display device.[2] However, with the popular use of the term "video game", it now implies any type of display device. The electronic systems used to play video games are known as platforms; examples of these are personal computers and video game consoles. These platforms are broad in range, from large computers to small handheld devices. Specialized video games such as arcade games, while previously common, have gradually declined in use.

The input device normally used to manipulate video games is called a game controller, which varies across platforms. For instance, a dedicated console controller might consist of only a button and a joystick, or feature a dozen buttons and one or more joysticks. Early personal computer based games historically relied on the availability of a keyboard for gameplay, or more commonly, required the user to purchase a separate joystick with at least one button to play. Many modern computer games allow the player to use a keyboard and mouse simultaneously.

Beyond the common element of visual feedback, video games have utilized other systems to provide interaction and information to the player. Chief examples of these are sound reproduction devices, such as speakers and headphones, and an array of haptic peripherals, such as vibration or force feedback."

in http://en.wikipedia.org/wiki/Video_game

new media

2008-04-24T07:47:00.000-07:00

"Origins
New media can be seen to be a convergence between the history of two separate technologies: media and computing.

Old media and new media
Old media are, for example, typewriters, vinyl record albums and eight-track magnetic tapes.[16] These media involve analog processes - ones which directly sample a continuous recording onto a physical medium, as opposed to new media which sample media as a numerical representation in binary code.
The distinction between "new media" and old media is often indistinct due to the homogeneity of the term, which can conflate media where computers are the transmission medium and media where digitisation occurs to facilitate a new way of distributing a pre-existing medium. Whereas the Internet clearly marks a departure in terms of user experience and possibility, transferring a betamax tape onto DVD involves a far less dramatic change as the content of the media remains either identical, or slightly enhanced through digital manipulation of - for example - colour.

The term 'new media' gained popular currency in the mid 1990s as part of a marketing pitch for the proliferation of interactive educational and entertainment CD-ROMs. One of the key features of this early new media was the implication that corporations, not individual creators, would control copyright.[17]

The term then became far more widely used as the mass consumer internet began to emerge from 1995 onwards. The term 'new media' can be traced back to the 70s when it was described more as an impact on cultural studies of different aspects such as economic as well as social, it is only within the last 25 years that the term has taken on a more advanced meaning.

Some examples that usually fall within new media
What counts as new media is often debated, and is dependent on the definitions used. However, there are a few that have been widely accepted as forms of New Media. The following are fairly firmly established, or at least referenced by some companies that claim to deal in new media:

* Mashup
* Internet Art
* Video games and virtual worlds as they impact marketing and public relations.
* Multimedia CD-ROMs
* Software
* Web sites including brochureware
* blogs and wikis
* Email and attachments
* Electronic kiosks
* Interactive television
* Mobile devices
* Podcasting
* Hypertext fiction
* Graphical User Interfaces"

in http://en.wikipedia.org/wiki/New_media

interactive media

2008-04-24T07:45:00.000-07:00

"Interactive media refers to media that allows for active participation by the recipient, hence interactivity. Traditional information theory would describe interactive media as those media that establish two-way communication. In media theory, interactive media are discussed along their cultural implications. The field of Human Computer Interaction deals with aspects of interactivity and design in digital media. Other areas that deal with interactive media are new media art, interactive advertising and video game production.
While much traditional analog electronic media and print media qualifies as interactive media, the term is sometimes misunderstood as exclusive to digital media. The significant increase in possibilities for interactivity (especially over vast distances) brought by the internet boosted the availability of digital interactive media. Still, e.g. language in face-to-face communication would formally belong to the category of interactive media.

Interactive media are often designed by information designers. As all media they rely on communication. In the case of e.g. computer games this is visual, acoustic, and haptic communication between the user (player) and the game. In Mobile telephony, the communication happens between two people and is purely acoustic at the first glance. Yet, according to media theory the cultural implications of the medium have to be taken into account. Thus, aspects like constant availability, customization of the mobile phone and Short Message Service are also part of the interactive medium called Mobile telephony. Media restrain from being translated to technological entities."

in http://en.wikipedia.org/wiki/Interactive_media

electronic media

2008-04-24T07:42:00.000-07:00

"Electronic media are media that utilize electronics or electromechanical energy for the end user (audience) to access the content. This is in contrast to static media (mainly print media), which are most often created electronically, but don't require electronics to be accessed by the end user in the printed form. The primary electronic media sources familiar to the general public are better known as video recordings, audio recordings, multimedia presentations, slide presentations, CD-ROM and Online Content. Most new media are in the form of digital media. However, electronic media may be in either analog or digital format.

Although the term is usually associated with content recorded on a storage medium, recordings are not required for live broadcasting and online networking.

Any equipment used in the electronic communication process (e.g. television, radio, telephone, desktop computer, game console, handheld device) may also be considered electronic media."

in http://en.wikipedia.org/wiki/Electronic_media

digital media

2008-04-24T07:35:00.000-07:00

"Digital media (as opposed to analog media) usually refers to electronic media that work on digital codes. Today, computing is primarily based on the binary numeral system. In this case digital refers to the discrete states of "0" and "1" for representing arbitrary data. Computers are machines that (usually) interpret binary digital data as information and thus represent the predominating class of digital information processing machines. Digital media ("Formats for presenting information" according to Wiktionary:Media) like digital audio, digital video and other digital "content" can be created, referred to and distributed via digital information processing machines. Digital media represents a profound change from previous (analog) media.

Digital data is per se independent of its interpretation (hence representation). An arbitrary sequence of digital code like "0100 0001" might be interpreted as the decimal number 65, the hexadecimal number 41 or the glyph "A". See also: ASCII, Code.

Florida's digital media industry association, Digital Media Alliance Florida, defines digital media as "the creative convergence of digital arts, science, technology and business for human expression, communication, social interaction and education"."

in http://en.wikipedia.org/wiki/Digital_media

multimedia

2008-04-24T07:30:00.000-07:00

"Multimedia is media that utilizes a combination of different content forms. The term can be used as a noun (a medium with multiple content forms) or as an adjective describing a medium as having multiple content forms. The term is used in contrast to media which only utilize traditional forms of printed or hand-produced text and still graphics. In general, multimedia includes a combination of text, audio, still images, animation, video, and interactivity content forms.

Multimedia is usually recorded and played, displayed or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia (as an adjective) also describes electronic media devices used to store and experience multimedia content. Multimedia is similar to traditional mixed media in fine art, but with a broader scope. The term "rich media" is synonymous for interactive multimedia. Hypermedia can be considered one particular multimedia application."

in http://en.wikipedia.org/wiki/Multimedia