THE LANGUAJE OF NEW MEDIA.LEV MANOVICH
As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices–«windows» full of moving images, texts, and icons–how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen.In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti’s metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective–Alberti’s metaphorical window–has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple «windows» coexist and overlap, perspective may have met its end.In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier’s mandates for the architectural window, Eisenstein’s opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
Drawing on the latest research from the fields of psychology, neuroscience, and biology, writer and broadcaster Claudia Hammond explores the mysteries of our perception of time in her book Time Warped.
Why does life seem to speed up as we get older? Why does the clock in your head move at a different speed from the one on the wall? Why is it almost impossible to go a whole day without checking your watch? Is it possible to retrain our brains and improve our relationship with it?
In Time Warped, Claudia Hammond offers insight into how to manage our time more efficiently, how to speed time up and slow it down at will, how to plan for the future with more accuracy, and she teaches how to use the warping of time to our own benefit.
Eschewing the traditional focus on object/viewer spatial relationships, Timothy Scott Barker’s Time and the Digital stresses the role of the temporal in digital art and media. The connectivity of contemporary digital interfaces has not only expanded the relationships between once separate spaces but has increased the complexity of the temporal in nearly unimagined ways. Invoking the process philosophy of Whitehead and Deleuze, Barker strives for nothing less than a new philosophy of time in digital encounters, aesthetics, and interactivity.
Of interest to scholars in the fields of art and media theory and philosophy of technology, as well as new media artists, this study contributes to an understanding of the new temporal experiences emergent in our interactions with digital technologies.