Sunday, August 31, 2014

New Media : Definition; - Sound -> guitar -> into PC

New media refers to on-demand access to content anytime, anywhere, on any digital device, as well as interactive user feedback, and creative participation. Another aspect of new media is the real-time generation of new and unregulated content.
Most technologies described as "new media" are digital, often having characteristics of being manipulated, networkable, dense, compressible, and interactive.[1] Some examples may be theInternet, websites, computer multimedia, video games, augmented reality, CD-ROMS, and DVDs. New media does not include television programs (only analog broadcast), feature films,magazines, books, or paper-based publications – unless they contain technologies that enable digital interactivity.[2] Wikipedia, an online encyclopedia, is an example, combining Internetaccessible digital text, images and video with web-links, creative participation of contributors, interactive feedback of users and formation of a participant community of editors and donors for the benefit of non-community readers. Facebook is an example of the social media model, in which most users are also participants. Wikitude is an example for augmented reality. It displays information about the users' surroundings in a mobile camera view, including image recognition, 3d modeling and location-based approach to augmented reality.

Definition[edit]

Although there are several ways that New Media may be described, Lev Manovich, in an introduction to The New Media Reader, defines New Media by using eight propositions:[2]
  1. New Media versus Cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas New Media is concerned more with cultural objects and paradigms (digital to analog television, iPhones).
  2. New Media as Computer Technology Used as a Distribution Platform – New Media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers.
  3. New Media as Digital Data Controlled by Software – The language of New Media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc.
  4. New Media as the Mix Between Existing Cultural Conventions and the Conventions of Software – New Media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation.
  5. New Media as the Aesthetics that Accompanies the Early Stage of Every New Modern Media and Communication Technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period.
  6. New Media as Faster Execution of Algorithms Previously Executed Manually or through Other Technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device.
  7. New Media as the Encoding of Modernist Avant-Garde; New Media as Metamedia – Manovich declares that the 1920s are more relevant to New Media than any other time period. Metamedia coincides with postmodernism in that they both rework old work rather than create new work. New media avant-garde is about new ways of accessing and manipulating information (e.g. hypermedia, databases, search engines, etc.). Meta-media is an example of how quantity can change into quality as in new media technology and manipulation techniques can recode modernist aesthetics into a very different postmodern aesthetics.
  8. New Media as Parallel Articulation of Similar Ideas in Post-WWII Art and Modern Computing – Post WWII Art or "combinatorics" involves creating images by systematically changing a single parameter. This leads to the creation of remarkably similar images and spatial structures. This illustrates that algorithms, this essential part of new media, do not depend on technology, but can be executed by humans.

Definition[edit]

Although there are several ways that New Media may be described, Lev Manovich, in an introduction to The New Media Reader, defines New Media by using eight propositions:[2]
  1. New Media versus Cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas New Media is concerned more with cultural objects and paradigms (digital to analog television, iPhones).
  2. New Media as Computer Technology Used as a Distribution Platform – New Media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers.
  3. New Media as Digital Data Controlled by Software – The language of New Media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc.
  4. New Media as the Mix Between Existing Cultural Conventions and the Conventions of Software – New Media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician. e.g. In film, software is used in some areas of production, in others are created using computer animation.
  5. New Media as the Aesthetics that Accompanies the Early Stage of Every New Modern Media and Communication Technology – While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period.
  6. New Media as Faster Execution of Algorithms Previously Executed Manually or through Other Technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. Dramatically speeding up the execution makes possible previously non-existent representational technique. This also makes possible of many new forms of media art such as interactive multimedia and video games. On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device.
  7. New Media as the Encoding of Modernist Avant-Garde; New Media as Metamedia – Manovich declares that the 1920s are more relevant to New Media than any other time period. Metamedia coincides with postmodernism in that they both rework old work rather than create new work. New media avant-garde is about new ways of accessing and manipulating information (e.g. hypermedia, databases, search engines, etc.). Meta-media is an example of how quantity can change into quality as in new media technology and manipulation techniques can recode modernist aesthetics into a very different postmodern aesthetics.
  8. New Media as Parallel Articulation of Similar Ideas in Post-WWII Art and Modern Computing – Post WWII Art or "combinatorics" involves creating images by systematically changing a single parameter. This leads to the creation of remarkably similar images and spatial structures. This illustrates that algorithms, this essential part of new media, do not depend on technology, but can be executed by humans.

Globalization and new media[edit]

The rise of new media has increased communication between people all over the world and the Internet. It has allowed people to express themselves through blogs, websites, pictures, and other user-generated media.  (Virtual Worlds, sl etc)
Flew (2002) stated that, "as a result of the evolution of new media technologies, globalization occurs." Globalization is generally stated as "more than expansion of activities beyond the boundaries of particular nation states".[4] Globalization shortens the distance between people all over the world by the electronic communication (Carely 1992 in Flew 2002) and Cairncross (1998) expresses this great development as the "death of distance". New media "radically break the connection between physical place and social place, making physical location much less significant for our social relationships" (Croteau and Hoynes 2003: 311).
However, the changes in the new media environment create a series of tensions in the concept of "public sphere".[5] According to Ingrid Volkmer, "public sphere" is defined as a process through which public communication becomes restructured and partly disembedded from national political and cultural institutions. This trend of the globalized public sphere is not only as a geographical expansion form a nation to worldwide, but also changes the relationship between the public, the media and state (Volkmer, 1999:123).[6]
"Virtual communities" are being established online and transcend geographical boundaries, eliminating social restrictions.[7] Howard Rheingold (2000) describes these globalised societies as self-defined networks, which resemble what we do in real life. "People in virtual communities use words on screens to exchange pleasantries and argue, engage in intellectual discourse, conduct commerce, make plans, brainstorm, gossip, feud, fall in love, create a little high art and a lot of idle talk" (Rheingold cited in Slevin 2000: 91). For Sherry Turkle "making the computer into a second self, finding a soul in the machine, can substitute for human relationships" (Holmes 2005: 184). New media has the ability to connect like-minded others worldwide.
While this perspective suggests that the technology drives – and therefore is a determining factor – in the process of globalization, arguments involving technological determinism are generally frowned upon by mainstream media studies.[8][9][10] Instead academics focus on the multiplicity of processes by which technology is funded, researched and produced, forming a feedback loop when the technologies are used and often transformed by their users, which then feeds into the process of guiding their future development.
While commentators such as Castells[11] espouse a "soft determinism"[12] whereby they contend that "Technology does not determine society. Nor does society script the course of technological change, since many factors, including individual inventiveness and entrpreneurialism, intervene in the process of scientific discovery, technical innovation and social applications, so the final outcome depends on a complex pattern of interaction. Indeed the dilemma of technological determinism is probably a false problem, since technology is society and society cannot be understood without its technological tools." (Castells 1996:5) This, however, is still distinct from stating that societal changes are instigated by technological development, which recalls the theses of Marshall McLuhan.[13][14]
Manovich[15] and Castells[11] have argued that whereas mass media "corresponded to the logic of industrial mass society, which values conformity over individuality," (Manovich 2001:41) new media follows the logic of the postindustrial or globalized society whereby "every citizen can construct her own custom lifestyle and select her ideology from a large number of choices. Rather than pushing the same objects to a mass audience, marketing now tries to target each individual separately." (Manovich 2001:42).

Interactivity and new media[edit]

Interactivity has become a term for a number of new media use options evolving from the rapid dissemination of Internet access points, the digitalization of media, and media convergence. In 1984, Rice defined new media as communication technologies that enable or facilitate user-to-user interactivity and interactivity between user and information.[24] Such a definition replaces the "one-to-many" model of traditional mass communication with the possibility of a "many-to-many" web of communication. Any individual with the appropriate technology can now produce his or her online media and include images, text, and sound about whatever he or she chooses.[25] Thus the convergence of new methods of communication with new technologies shifts the model of mass communication, and radically reshapes the ways we interact and communicate with one another. In "What is new media?" Vin Crosbie[26] (2002) described three different kinds of communication media. He saw Interpersonal media as "one to one", Mass media as "one to many", and finally New Media as Individuation Media or "many to many".
When we think of interactivity and its meaning, we assume that it is only prominent in the conversational dynamics of individuals who are face-to-face. This restriction of opinion does not allow us to see its existence in mediated communication forums. Interactivity is present in some programming work, such as video games. It's also viable in the operation of traditional media. In the mid 1990s, filmmakers started using inexpensive digital cameras to create films. It was also the time when moving image technology had developed, which was able to be viewed on computer desktops in full motion. This development of new media technology was a new method for artists to share their work and interact with the big world. Other settings of interactivity include radio and television talk shows, letters to the editor, listener participation in such programs, and computer and technological programming.[27] Interactive new media has become a true benefit to every one because people can express their artwork in more than one way with the technology that we have today and there is no longer a limit to what we can do with our creativity.
Interactivity can be considered a central concept in understanding new media, but different media forms possess different degrees of interactivity,[28] and some forms of digitized and converged media are not in fact interactive at all. Tony Feldman[29] considers digital satellite television as an example of a new media technology that uses digital compression to dramatically increase the number of television channels that can be delivered, and which changes the nature of what can be offered through the service, but does not transform the experience of television from the user's point of view, and thus lacks a more fully interactive dimension. It remains the case that interactivity is not an inherent characteristic of all new media technologies, unlike digitization and convergence.
Terry Flew (2005) argues that "the global interactive games industry is large and growing, and is at the forefront of many of the most significant innovations in new media" (Flew 2005: 101). Interactivity is prominent in these online video games such as World of Warcraft, The Sims Online and Second Life. These games, which are developments of "new media," allow for users to establish relationships and experience a sense of belonging that transcends traditional temporal and spatial boundaries (such as when gamers logging in from different parts of the world interact). These games can be used as an escape or to act out a desired life. Will Wright, creator of The Sims, "is fascinated by the way gamers have become so attached to his invention-with some even living their lives through it".[30] New media have created virtual realities that are becoming virtual extensions of the world we live in. With the creation of Second Life and Active Worlds before it, people have even more control over this virtual world, a world where anything that a participant can think of can become a reality.[31]
New Media changes continuously because it is constantly modified and redefined by the interaction between users, emerging technologies, cultural changes, etc.

Industry[edit]

The new media industry shares an open association with many market segments in areas such as software/video game design, television, radio, mobile and particularly movies, advertisingand marketing, through which industry seeks to gain from the advantages of two-way dialogue with consumers primarily through the Internet. As a device to source the ideas, concepts, and intellectual properties of the general public, the television industry has used new media and the Internet to expand their resources for new programming and content. The advertising industry has also capitalized on the proliferation of new media with large agencies running multi-million dollar interactive advertising subsidiaries. Interactive websites and kiosks have become popular. In a number of cases advertising agencies have also set up new divisions to study new media. Public relations firms are also taking advantage of the opportunities in new media throughinteractive PR practices. Interactive PR practices include the use of social media[32] to reach a mass audience of online social network users.
The new media industry is noted as cool, creative and egalitarian. The working environments are thought of as relaxed and non-hierarchal. When depicted in television shows and films, standard tropes are used to show how workers are creative, hip and come from diverse backgrounds. They are usually living in an urban setting. As depicted in the HBO series, Silicon Valley, workers are from all different nationalities and follow the alluring dorky, yet endearing personality types. What are often overlooked in these portrayals are the stresses and gender inequalities in this field. Most workers face job instability. The industry is also predominately filled with young white males.
With the rise of the Internet, many new career paths were created. Before the rise, many technical jobs were seen as nerdy. The Internet led to creative work that was seen as laid-back and diverse amongst sex, race, and sexual orientation. Web design, gaming design, webcasting, blogging, and animation are all creative career paths that came with this rise. At first glance, the field of new media may seem hip, cool, creative and relaxed. What many don’t realize is that working in this field is tiresome. Many of the people that work in this field don’t have steady jobs. Work in this field has become project-based. Individuals work project to project for different companies. Most people are not working on one project or contract, but multiple ones at the same time. Despite working on numerous projects, people in this industry receive low payments, which is highly contrasted with the techy millionaire stereotype. It may seem as a carefree life from the outside, but it is not. New media workers work long hours for little pay and spend up to 20 hours a week looking for new projects to work on.[33]
Women are also underrepresented. They make up less than a quarter of the information and communication technology workforce and this percentage in on a decline, according the Baroness Margaret Jay, MP, Minister of Women. She believes that women need to be encouraged to enter the ICT (Information and Communication Technology) industry. When they do hold jobs in this field, they are paid considerably less.
The ideology of new media careers as an egalitarian and stress-free environment is a myth. It is a game of networking and thriving at what you are capable of. Many workers face job instability. Inequality within this field exists due to the informality and flexibility of this career path.
Digital art is an artistic work or practice that uses digital technology as an essential part of the creative or presentation process. Since the 1970s, various names have been used to describe the process including computer art and multimedia art, and digital art is itself placed under the larger umbrella term new media art.[1][2]
After some initial resistance,[3] the impact of digital technology has transformed activities such as painting, drawing, sculpture and music/sound art, while new forms, such as net art, digital installation art, and virtual reality, have become recognized artistic practices.[4] More generally the term digital artist is used to describe an artist who makes use of digital technologies in the production of art. In an expanded sense, "digital art" is a term applied to contemporary art that uses the methods of mass production or digital media.[5]

Computer generated animated imagery[edit]

Main article: Computer-generated imagery
See also: Computer animation
Computer-generated animations are animations created with a computer, from digital models created by the 3D artists or procedurally generated. The term is usually applied to works created entirely with a computer. Movies make heavy use of computer-generated graphics; they are called computer-generated imagery (CGI) in the film industry. In the 1990s, and early 2000s CGI advanced enough so that for the first time it was possible to create realistic 3D computer animation, although films had been using extensive computer images since the mid-70s. A number of modern films have been noted for their heavy use of photo realistic CGI.[14]

An art game (or arthouse game[1] or less commonly auteur game[2]) is a work of interactive new media digital software art as well as a member of the "art game" subgenre of the serious video game. The term "art game" was first used academically in 2002 and it has come to be understood as describing a video game designed to emphasize art or whose structure is intended to produce some kind of reaction in its audience.[3] Art games are interactive[4] (usually competitive against the computer, self, or other players[5]), and they are the result of artistic intent by the party offering the piece for consideration.[6] They also typically go out of their way to have a unique, unconventional look, often standing out for aesthetic beauty or complexity in design.[7] The concept has been extended by some art theorists to the realm of modified ("modded") gaming when modifications have been made to existing non-art-games to produce graphic results intended to be viewed as an artistic display, as opposed to modifications intended to change game play scenarios or for storytelling. Modified games created for artistic purposes are sometimes referred to as "video game art."
Art games are often considered a means of demonstrating video games as works of art.


New media art is a genre that encompasses artworks created with new media technologies, including digital art, computer graphics, computer animation,virtual art, Internet art, interactive art, video games, computer robotics, and art as biotechnology. The term differentiates itself by its resulting cultural objects and social events, which can be seen in opposition to those deriving from old visual arts (i.e. traditional painting, sculpture, etc.). This concern with medium is a key feature of much contemporary art and indeed many art schools and major Universities now offer majors in "New Genres" or "New Media"[1] and a growing number of graduate programs have emerged internationally.[2] New Media Art often involves interaction between artist and observer or between observers and the artwork, which responds to them. Yet, as several theorists and curators have noted, such forms of interaction, social exchange, participation, and transformation do not distinguish new media art but rather serve as a common ground that has parallels in other strands of contemporary art practice.[3] Such insights emphasize the forms of cultural practice that arise concurrently with emerging technological platforms, and question the focus on technological media, per se.
New Media concerns are often derived from the telecommunications, mass media and digital electronic modes of delivering the artworks involve, with practices ranging from conceptual to virtual art, performance to installation.

Presentation and preservation[edit]

As the technologies used to deliver works of new media art such as film, tapes, web browsers, software and operating systems become obsolete, New Media art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects into New media art preservation are underway to improve the preservation and documentation of the fragile media arts heritage (see DOCAM - Documentation and Conservation of the Media Arts Heritage).
Methods of preservation exist, including the translation of a work from an obsolete medium into a related new medium,[12] the digital archiving of media (see Internet Archive), and the use of emulators to preserve work dependent on obsolete software or operating system environments.[13][14]
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Sound -> guitar -> into PC

http://www.youtube.com/watch?v=xihR7aaD7eY

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