{"id":6460,"date":"2005-12-02T18:30:00","date_gmt":"2005-12-02T18:30:00","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/"},"modified":"2005-12-02T18:30:00","modified_gmt":"2005-12-02T18:30:00","slug":"manovich-the-la","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/","title":{"rendered":"Manovich – The Language of New Media<\/i> (2001)"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 6<\/span> mins<\/span><\/span>

Notes on Lev Manovich’s The
\nLanguage of New Media<\/i> (2001). In the prologue, Manovich gives us what he
\ncalls a Vertov Dataset–full-passage selections from elsewhere in the book
\nmatched up with frames from Vertov.   It’s a distinctive and memorable
\nway to open onto the project–self-sampling and re-associating, which emphasizes
\n(paradoxically?) the relational and modular qualities of new media objects, the
\nintertwined historical-theoretical trajectories of cinema and computing that now
\nconstitute new media, the logics of selection, association and assemblage
\ndriving new media, and the evolving lexicon of new media, from database, loops
\nand micronarratives to transcoding, [var]<\/i>-montage and the tele-<\/i>. 
\nIt’s all in the Vertov Dataset, then explained more fully elsewhere.  <\/p>\n

<\/p>\n

Manovich’s method depends on "digital materialism": extrapolating from new
\nmedia objects<\/i> the generalizable principles (characteristics, properties,
\nqualities, albeit with a false neatness acknowledged here and there by M.):
\nnumerical representation, modularity, automation, variability (a truism?) and
\ntranscoding (27-48).  In introducing the project, Manovich says he wants to
\nobserve the bottom-up organization of new media while also relating the layers
\nof historical and theoretical precedents.  Still, new media–especially in
\nlight of transcoding or the code-layering of computing and culture–must make
\nroom for those objects unmarked by historical precedent–the innovations. 
\nThis is somewhat less deterministic-seeming than remediation; new media’s
\nprogrammability (numerical representation, the anxiety-producing shift from
\nconstant to variable) can dissociate the new from older forms. The "new"
\ncelebrate\/mourn the obsolescence of the older forms; they also tend to flow
\nsolubly in streams of digital information (the same ductwork that heightens the
\nbody as medial). And yet, Manovich folds the cinematic-computing complexities of
\nnew media back into the history of cinema (this, one of Hansen’s critiques of
\nManovich).  At the end of the first chapter, Manovich explains his
\nrationale for avoiding "digital" and "interactivity" in LNM<\/i>. 
\nBriefly, he refutes "digital" because it is commonly mistaken to suggest
\nperfectible data (no loss, degradation, noise) and "interactivity" because it is
\nmeaningless to restate "the most basic fact about computers" (55).<\/p>\n

Something to be said for Manovich’s writing: super-organized.  His
\nchapters and sub-heads make LNM<\/i> easy to navigate; the chapters are
\ntightly partitioned and he involves just enough repetition to assist each
\nsection’s coherence with the aims of the broader project.  No need to
\ntrumpet on about the structure, but I want to observe the book’s structuring as
\none factor contributing to its landmark status and the promise of future returns
\nto these ideas. Following chapter one, which concerns "the properties of
\ncomputer data" (117), the middle chapters, 2-5 present four more aspects of new
\nmedia: c. 2, "The Interface" on human-computer interface; c. 3, "The
\nOperations," on application software; c. 4, "The Illusions," on computers as
\nillusion-makers and new media "at the level of appearance" (178);  and c.
\n5, "The Forms," on modularity and interactivity or database, narratology and
\nnavigation.  To each chapter, a few sentences.<\/p>\n

2. Human-computer interface, a key concept for Manovich and a primary concern
\nin Hansen’s critique of LNM<\/i>, "describes the ways in which the user
\ninteracts with a computer" (69).  The trouble, for Hansen, is that the user
\nis ambiguous; LNM<\/i> tips toward disembodied, non-affective notions of mind
\nand cognition.  Nonetheless, Manovich develops an insightful (basic,
\nuseful) trajectory of three interfaces: cinema, print and general purpose HCI
\n(71).  These, Manovich writes, are the "three main reservoirs of metaphors
\nand strategies for organizing information which feed cultural interfaces" (72),
\nand it follows–unsurprisingly–that they contend and co-operate with one
\nanother. The cinematic is most aggressively transformed into a computer-based
\ncultural interface in computer games involving dynamic points of view (83-84). 
\nManovich ends by touting the presence of the screen, and he regards the screen
\nas completely separate from the body, perhaps even as something that imprisons,
\nconstrains or immobilizes the body (114-115).  This is considerably
\ndifferent from Hansen’s emphasis on affect; Manovich does little to acknowledge
\nintegrative-affective HCI.<\/p>\n

3. Next, software development has followed a trajectory defined by
\nabstraction and automation [I’m not sure whether this characterization holds up
\nwith open source projects and some of the stackable apps developed since 2001]. 
\nHere Manovich explains three varieties of operations that are akin to
\ntranscoding (121): selection, compositing and teleaction.  Selection is,
\njust as it seems, choice among options.  "New media objects are rarely
\ncreated from scratch; usually they are assembled from ready-made parts" (124). 
\nSelection names the re-made\/ready-made logics of practicing new media;
\nauthorship becomes a technology of selection. Examples of selection range from
\neffects plugins to customizable gaming (level editors, build your own team) to
\nweb-in-a-box CMS and build-a-site control panels.  Other theoretical and
\nhistorical origins of selection trace to photomontage (125) and signal
\nmodification or filtering (132).  In selection, variability replaces a more
\nphysical-material notion of malleability; the cultural figure illustrative of
\nselection in new media: the DJ (134-35).  The second term, compositing,
\ninvolves a rhetoric of arrangement: assembling.  The flatten image function
\nin Photoshop is an example, according to Manovich [better examples?]. 
\nSeamlessness comes in on compositing, too: "Digital compositing exemplifies a
\nmore general operation of computer culture–assembling together a number of
\nelements to create a single seamless object" (139).  The possibility of
\nseamlessness sustains the designer’s wish for convincing virtual reality. 
\nContrast and edge is replaced by a desire for aesthetics of "smoothness and
\ncontinuity" (142).  [Within montage, though, seamlessness and edge contrast
\nare at odds.]
\n"The examples of ‘methods of montage’ include metric montage, which uses
\nabsolute short lengths to establish a ‘beat,’ and rhythmic montage, which is
\nbased on a pattern of movements within the shots" (157). In the final
\nsection of this chapter, on teleaction, Manovich plays with the prefix tele- and
\nnotions of distance.  He calls telepresence more radical than VR or visual
\nsimulation because "you take your body with you" (qtd. Laurel, 165). Teleaction in new media complicates Benjamin’s arguments about aura and remove
\nor distance (171).  This also relates to a problem I want to return to, one
\nrestated by Virilio: 
\n"He [Virilio] mourns the destruction of distance, geographic grandeur, the
\nvastness of natural space, the vastness of guaranteed time delay between events
\nand our reactions, giving us time for critical reflection necessary to arrive at
\na correct decision" (173).  I also want to come back to Bettman’s Archive: a stockpile of various media (130)
\nand Potemkin’s facades for Catherine the Great (146, 148).<\/p>\n

4. The illusions chapter covers the problem of new media and appearances. 
\nBeginning with VR’s "quest for a perfect simulation of reality" (178), Manovich
\naccounts for the evolution of 2D and 3D graphics, conceptions of the real in
\ncinema and computing, and broader pursuits of mimesis.  Pursuits of realism
\ndiverge along two lines for Manovich: cinema and computer animation.  In
\nthis chapter, Manovich also articulates what I take to be a controversial claim
\nabout the problem in the mix of photorealism and the digital: "Synthetic photos are more real than traditional photographs.  The synthetic
\nare ‘too real’" (199).  Realistic representative media are pushed by
\nthe entertainment industry (re-recoloring of B&W films) (192-193) and also by
\ninitiatives to perfect simulation. Interactivity and navigability shift the
\nencounter from viewer to user.  Manovich briefly mentions that the
\n(re)combination of real and illusory objects necessitates "different mental
\nsets–different kinds of cognitive activity" (210). Now a possible
\nillusion, the represented real is no longer secure (if it ever was).<\/p>\n

5. New media make use of indexing and database logics that are distinctive
\nfrom traditional forms of documentation. Manovich suggests that "information
\naccess and psychological engagement with an imaginary world" influence the
\ninvention of new media objects (216).  Furthermore, although they run
\ntogether, often mix-mashing into conglomerations (234), database and narrative can be
\nunderstood as distinctive trajectories in new media.  Whereas narrative
\nlogics (syntagmatic) are primary to database logics (paradigmatic)  before
\nthe information age, new media reverse their relationship and pit database
\nlogics at the fore.  Consequently, "montage is the default visual language
\nof a composite organization of an image" (229).  The second half of this
\nchapter takes up navigation–the spatial journeys (245) and diagesis<\/i> (246)
\ninvolved with narrative action and exploration. Manovich draws on the figures of
\nGibson’s data cowboy (250) and Charles Baudelaire’s flaneur<\/i> (268) to
\naccount for the variety of axes we select when moving at\/through the
\nspace-medium of new media. The connections to de Certau (245), Virilio (278) and
\nAuge (279) ring with other stuff I’ve heard\/read\/thought through lately, too. 
\nThere are several promising returns in this chapter.<\/p>\n

6.  Following a restatement of the intersection of cinema and
\ncomputing–its ~junction, new media–and a list of arguments from the book so
\nfar (287), the final chapter, "What Is Cinema?", reconfirms the blend of
\nillusionistic and real brought together in computer images and new media
\nobjects. For all that the cinematic real did to displace animation in the
\nmid-20th century, new media has (con)fused them, thereby relegating animation to
\n"a subgenre of painting" (295) and cinema to "one particular case of animation"
\n(302).  Hansen’s critique takes issue with Manovich’s historical assertions
\nhere; these arguments sound more like Bolter and Grusin in Remediation <\/i>
\nthan some of the more nuanced spots in LNM<\/i>.  In the concluding
\nsection, Manovich asks, "Can the loop be a new narrative form appropriate for the computer age?" (317). 
\nI found this section on loops and micronarrative to be especially striking,
\nespecially for its potential to incorporate narrative and database logics rather
\nthan treating them as incompatible. <\/p>\n

LNM<\/i> presents a whole lot more than this, but this is all I have to
\nblog about it for now.  <\/p>\n

Terms: new media objects (14), cinematograph or "writing movement" (24),
\ndigitization (28), lossy compression (54), viewing regime (96), dioptric arts
\n(104), photomontage (125), "tissue of quotations" (127), "authorship as
\nselection" (130), "digital compositing" (136), montage (158), tele-<\/i> (161),
\nphatic function (206), metarealism (208), diagesis (246), kybernetikos (251),
\nhaptic\/optic (253), space-medium (255), flaneur (268), loop (315), "database
\nnarrative" (319), micronarratives (322)<\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 6<\/span> mins<\/span><\/span>Notes on Lev Manovich’s The Language of New Media (2001). In the prologue, Manovich gives us what he calls a Vertov Dataset–full-passage selections from elsewhere in the book matched up with frames from Vertov.   It’s a distinctive and memorable way to open onto the project–self-sampling and re-associating, which emphasizes (paradoxically?) the relational and modular qualities…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[167],"tags":[522,423,520,410,441,523,521,478,525,524,210,318],"class_list":["post-6460","post","type-post","status-publish","format-standard","hentry","category-reading_notes","tag-cinema","tag-database","tag-digital","tag-form","tag-image","tag-loop","tag-manovich","tag-media","tag-medium","tag-montage","tag-narrative","tag-new-media"],"yoast_head":"\nManovich - The Language of New Media (2001) - Earth Wide Moth<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Manovich - The Language of New Media (2001) - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 6 minsNotes on Lev Manovich’s The Language of New Media (2001). 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In the prologue, Manovich gives us what he calls a Vertov Dataset–full-passage selections from elsewhere in the book matched up with frames from Vertov.   It’s a distinctive and memorable way to open onto the project–self-sampling and re-associating, which emphasizes (paradoxically?) the relational and modular qualities...","og_url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/","og_site_name":"Earth Wide Moth","article_publisher":"https:\/\/www.facebook.com\/derek.mueller","article_author":"https:\/\/www.facebook.com\/derek.mueller","article_published_time":"2005-12-02T18:30:00+00:00","og_image":[{"url":"https:\/\/www.earthwidemoth.com\/blog\/img\/lnm.jpg","type":"","width":"","height":""}],"author":"Derek Mueller","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Derek Mueller","Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/#article","isPartOf":{"@id":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/"},"author":{"name":"Derek Mueller","@id":"http:\/\/www.earthwidemoth.com\/blog\/#\/schema\/person\/66fc5e80a62f53057760790b1cfeb24b"},"headline":"Manovich – The Language of New Media (2001)","datePublished":"2005-12-02T18:30:00+00:00","mainEntityOfPage":{"@id":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/"},"wordCount":1722,"publisher":{"@id":"http:\/\/www.earthwidemoth.com\/blog\/#\/schema\/person\/66fc5e80a62f53057760790b1cfeb24b"},"image":{"@id":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/#primaryimage"},"thumbnailUrl":"https:\/\/www.earthwidemoth.com\/blog\/img\/lnm.jpg","keywords":["cinema","database","digital","form","image","loop","Manovich","media","medium","montage","narrative","new media"],"articleSection":["Reading Notes"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/","url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/02\/manovich-the-la\/","name":"Manovich - 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The talk is relevant to my work because Manovich wants to create visualizations that deliberately alter the default scale at\u2026","rel":"","context":"In "Methods"","block_context":{"text":"Methods","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/method\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6915,"url":"https:\/\/www.earthwidemoth.com\/blog\/2008\/03\/17\/manovich-data-v\/","url_meta":{"origin":6460,"position":1},"title":"Manovich, "Data Visualization as New Abstraction and as Anti-Sublime"","author":"Derek Mueller","date":"March 17, 2008","format":false,"excerpt":"\u00a0Manovich, Lev. \"Data Visualization as New Abstraction and as Anti-Sublime.\" Small Tech: The Culture of Digital Tools. Eds. Byron Hawk, David Reider, and Ollie Oviedo. Electronic Mediations Ser. 22. Minneapolis: U of Minnesota P, 2008. Why render data visually? Lev Manovich, in \"Data Visualization as New Abstraction and as Anti-sublime,\"\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6455,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/11\/22\/among-the-short\/","url_meta":{"origin":6460,"position":2},"title":"Among the Shortcomings of New Media","author":"Derek Mueller","date":"November 22, 2005","format":false,"excerpt":"New media is no help with forming a voting bloc when the family is reduced to democratic channel-flipping.\u00a0 Texas vs. West Virginia or crappy sitcom re-runs? I could've used another vote, NM. packing and taping boxes. carrying and loading boxes, furniture. unloading and carrying boxes, furniture. diffusing the weather system\u2026","rel":"","context":"In "Slouching Toward"","block_context":{"text":"Slouching Toward","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/slouching_toward\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6462,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/12\/06\/the-making-of\/","url_meta":{"origin":6460,"position":3},"title":"The Making of…","author":"Derek Mueller","date":"December 6, 2005","format":false,"excerpt":"Coming back to a passage from Manovich that winked at me when I read it last week: A visible sign of this shift is the new role that computer-generated special effects have come to play in the Hollywood industry in the 1990s.\u00a0 Many blockbusters have been driven by special effects;\u2026","rel":"","context":"In "Methods"","block_context":{"text":"Methods","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/method\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6453,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/11\/16\/hansen-new-phil\/","url_meta":{"origin":6460,"position":4},"title":"Hansen – New Philosophy for New Media (2004)","author":"Derek Mueller","date":"November 16, 2005","format":false,"excerpt":"The foreword by Tim Lenoir, \"Haptic Vision: Computation, Media, and Embodiment in Mark Hansen's New Phenomenology,\" lays out groundwork on the \"deterritorialization of the human subject\" in terms of digital media, detachment and problems of reference.\u00a0 Lenoir touches on Hayles' account of post-humanism (also Bill Joy's \"Why The Future Doesn't\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6498,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/02\/01\/rrove\/","url_meta":{"origin":6460,"position":5},"title":"Rrove","author":"Derek Mueller","date":"February 1, 2006","format":false,"excerpt":"Rrove is one of the latest site-tagging apps making use of Google Maps API (via & credit). I signed up for an account this morning and tested it with a link to the Palmer House in Chicago, site of the '06 CCCC late next month. Rrove also has a community\u2026","rel":"","context":"In "Distances"","block_context":{"text":"Distances","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/distances\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/img\/rrove.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"jetpack_likes_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6460","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/comments?post=6460"}],"version-history":[{"count":0,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6460\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/media?parent=6460"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/categories?post=6460"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/tags?post=6460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}