NMP 14 - Quotes

The Term

We therefore end up with the term “New Media” There are a lot of issues with this term: it introduces a somewhat arbitrary split between “old” and “new”, it overlooks that “new” media such as the internet already has a 40 year history. Understanding New Media (Siapera p xi)

Archives

For today user generated archives of photographs, music, videos and texts are taking up less space in our physical lives are at the same time structuring our personal memories

New Media (Gane and Beer, p 82)

Time based/ Web 2.0

The photographs in the storefront exhibition “here is new york: a democracy of photographs” given later manipulations can be seen as a form of resistance (and as an intelligent predecessor to the “user”-generated work of Web 2.0)

After Photography (Ritchin)

Simplification – Movie poster

The move poster images (itself a somewhat neglected genre in academic study)

The poster functions as advertising: to communicate what the film is, whom it is for and also the type of experience to be gained from seeing it, if all this explanation sounds rather laborious, it is because we tend to ‘read’ such things automatically and instantly (without thinking) that it is almost painful to think about it.

Photography (Bate)

Democratisation of image making

The little screen at the back of a digital camera made it possible to see intuitively as the lens/camera sees without years of training, dramatically narrowing the gap between the professionals and the amateur

Photography cultures Reader (Wells)

Historical context and narrative

Defined as an autonomous entity, “The Ballard” began to reach audiences beyond the original context of it’s construction and reception. It remained, however, a highly mobile narrative work, with a different soundtrack accompanying every performance until 1987, and Goldin still edited and presented the images. 

Phototextualities (Hughes and Noble p 108)

Advancement

As we look back over Wiebel’s eight stages we see that the ‘advances’ all concern the increasing dematerialisation of images and visual signs, their separation from the material vehicle which carries them. 

New Media Critical Introduction (Lister)

Images: Stills vs Moving

When a designer produces a piece of clothing it is to be seen in movement. Over the years, I think designers have had to accept that's not how their clothes would be seen. Hitherto, fashion has almost solely been represented by the still image. To some degree, I would argue, this has compromised the representation of fashion. But with the advent of the Internet, the garment can now be shown in the way that it was intended.

Nick Knight – ShowStudio

A basis of dialogical Aesthetic

This represents an attempt to think outside, or beyond, immediate self-interest (and also to actualise the anticipatory appeal to a viewer yet to be in the avant-garde tradition outlined earlier)

Conversation Pieces Grant H Kester p68