The-language-of-new-media

71p New representational style of semi-abstraction which, along with photography, became the “international style” of modern visual culture, required the viewer to reconstruct the represented objects from the bare minimum — a contour, few patches of colour, shadows cast by the objects not represented directly.

International style and organical culture have a different direction. To describe organic culture, Manovich uses a notion of an idea from metaphor as a remix. First, based on Post Modernism’s style and remix with traditional sensibility as a second. Finally, global remix creates new layers of perspective.

Man with a Movie Camera. (1929)

Computer became a space or a tool to bring the user into the data, connect and interact each other. Space became a tool is not a new phenomenon. But compare with previous way, which the idea and actual object coexisted in same space, in new space, idea or concept became a space, and the interface or numeric language space remixed with traditional concept provide a new tool. Lev Manovich once again brings the camera perspective, explain as cinema perception.

p88 I will begin with probably the most important case of cinema’s influence on cultural interfaces — the mobile camera.

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As computer culture is gradually spatializing all representations and experiences, they become subjected to the camera’s particular grammar of data access. Zoom, tilt, pan and track: we now use these operations to interact with data spaces, models, objects and bodies.

New vision Movement [Neues Sehen – Wikipedia]

Editing a and montage make fabrication and fantasy. If documentary limited editing and instantaneity, time montage – put different reality into linear perspective – and editing the image within the frame – shot – not only for make to smooth fake space, also present active distance by the mark of the editing.

p IX “Editing, or montage, is the key twentieth technology for creating fake realities. Theoreticians of cinema have distinguished between many kinds of montage but, for the purposes of sketching the archeology of the technologies of simulation leading to digital compositing,

Each layer can maintain each identity, rather remixed into one space. However, once image contact with the audience, image’s identity disassembled and that instantaneous construct cinema perspective. Compare with the paper frame, which was a group of physical spaces, now moved on to the electronic frame, insisted equal position and frame equality.

p 228 Even more relevant is the tradition of “paper architecture” — the designs which were not intended to be built and whose authors therefore felt unencumbered by the limitations of materials, gravity and budgets. Another highly relevant tradition is film architecture. As discussed in the “Theory of Cultural Interfaces” section, the standard interface to computer space is the virtual camera modeled after a film camera, rather than a simulation of unaided human sight. After all, film architecture is The architecture designed for navigation and exploration by a film camera.

However, audiences’ sight is mediated by the other type of the layer. Each frame formed by smaller frames’ particles, which is similar to the square frame. Each frame starts from sub-frame and became the big frame. Eventually forming one big frame.

p89 Of course, the camera is now controlled by the user and in fact is identified with his/her own sight. Yet, it is crucial that in VR one is seeing the virtual world through a rectangular frame, and that this frame always presents only a part of a larger whole. This frame creates a distinct subjective experience which is much more close to cinematic perception than to unmediated sight.

p51 The objects themselves can be combined into even larger objects — again, without losing their independence. For example, a multimedia “movie” authored in popular Macromedia Director software may consist from hundreds of still images, QuickTime movies, and sounds which are all stored separately and are loaded at run time. Because all elements are stored independently, they can be modified at any time without having to change Director movie itself.

Then, how these fractals formulated? The man with the Movie Camera shows three different spaces into a connection. First space, describe cameraman himself.  Second, the present audience who is watching finished cinema. Finally, documenting one day’s of Moscow, Kiev, and Riga’s narrative and is arranged according to a progression of one day: waking up — work — leisure activities. If this third level is a text, the other two can be thought of as its meta-texts.

p210 Therefore, in contrast to standard film editing which consists in selection and ordering of previously shot material according to a pre-existent script, here the process of relating shots to each other, ordering and reordering them in order to discover the hidden order of the world constitutes the film’s method. Man with a Movie Camera traverses its database in a particular order to construct an argument. Records drawn from a database and arranged in a particular order become a picture of modern life — but simultaneously an argument about this life, an interpretation of what these images, which we encounter every day, every second, actually mean.

Vertov’s cinema is claiming that camera’s eye – editing or new technology can use to decoding the cipher of the world vision. Through Vertov, objective photograhy descriptive image shifted to dynamic and subjective narration. Is this what now designers should aim for?

As past cinema theorist studied 10 years of the cinema language, the designer should pursuit new-media or new design language.