CARTOGRAFIAS DOS NOVOS MEIOS E ANALÍTICA

CULTURAL:Lev Manovich - Media Visualization: Visual Techniques for Exploring

Large Media CollectionsMark B. Hansen – New Philosophy for New Media (introdução)

Pesquisa em Audiovisual, PPGCC UNISINOS, 2014.

Tópicos/Questões orientadoras

1. O que estes textos/autores/procedimentos fazem na disciplina de Pesquisa em Audiovisual?

2. Hansen

2.1 - pesquisador, objeto, objetos empíricos, problema, metodologia.

3. Manovich

3.1 – pesquisador, objeto, objetos empíricos, problema, metodologia.

4. Como estas ideias se relacionam com conceitos/temas desenvolvidos na disciplina? E as nossas pesquisas?

Construção da problematização

• Benjamin [aura]• Bolter e Grusin [remediação]• Kittler [“end” of media]• Deleuze – imagem-tempo/cinema• Bergson -> imagem-corpo, afecção e memória“ o corpo funciona como um tipo de filtro que seleciona, a partir do

universo de imagens circulantes ao seu redor e de acordo com suas próprias capacidades [de embodiment], precisamente aquelas que para ele são relevantes.” (p.3, segundo parágrafo, New philosophy for new media)

• Affectivity: a capacidade do corpo experienciar a si mesmo como “mais que si mesmo” e portanto implantar seu poder sensório-motor para criar o imprevisível, o experimental o novo.

• A fotografia, a imagem cinematográfica, o sinal de vídeo, etc refletem uma historicamente negociação entre capacidades técnicas e a contínua “evolução” do embodied (human) perception. Abaixo de qualquer imagem “técnica” concreta ou frame/quadro está o que eu chamo da função de framing do corpo humano como centro de indeterminação. (p.7, terceiro parágrafo, New philosophy for new media)

• Para resumir, a imagem não deve ser restrita ao nível da sua aparência de superfície, mas precisa ser estendida para englobar o processo inteiro pelo qual a informação é tornada perceptível através da experiência embodied. Isto é o que eu proponho chamar de imagem digital. (p.9, segundo parágrafo, New philosophy for new media)

Objetos/objetivos• Este relato de como o corpo enquadra (enframes) informação e cria

imagens compreende o projeto teórico em jogo no corpus de new media art que eu analiso neste livro. (p.11, New philosophy for new media)

• Meu estudo objetiva teorizar a correlação entre novas mídias e embodiment• Enquanto estes artistas catalizam um despertar de seus espectadores

para esta questão fundante do corpo, os trabalhos que criam podem inclusive ser entendidos como esforços para especificar o que permanece de distintamente “humano” neste era de convergência digital. (p.11, New philosophy for new media)

Fotografia da página 11, New philosophy for new media.

Página 16, New philosophy for new media.

Página 17, New philosophy for new media.

Capítulo 1

• Com a flexibilidade trazida pela digitalização ocorre um deslocamento of the framing function of medial interfaces back onto the body from which they themselves originally sprang. (p.21)• It is this displacement that makes new media art “new”. (p.21, New

philosophy for new media)

Waliczky’s animations callinto play a haptic or tactile production of space in which the body itself, deprived of “objective” spatial referents, begins to space or to spatialize, that is, to create space within itself as a function of its own movement.

http://www.artcom.de/book/invisible/

They compel us to explore what it is about the tactilely and kinesthetically active body that allows it to synthesize the imaging capacities (the medial conventions) of divergent media interfaces into a coherent, complex experience of the digital image. (p.45, New philosophy for new media)

By short-circuiting our habitual experience of the space of the image, for example, Waliczky’s animations call into play a haptic or tactile production of space in which the body itself, deprived of “objective” spatial referents, begins to space or to spatialize, that is, to create space within itself as a function of its own movement. (p.41, New philosophy for new media)

Capítulo 2

[A]ll my works are a discourse, in one way or another, with the cinematic image, and with the possibility to violate the boundary of the cinematic frame—to allow the image to physically burst out towards the viewer, or allow the viewer to virtually enter the image.—Jeffrey Shaw (p.47, New philosophy for new media)

In fact, Shaw’s work might be said to fuse the majorinsights of Matter and Memory and Creative Evolution, making technology a supplement to the body and thus a means of expanding both the body’s function as a center of indetermination and its capacity to filter images. (p.50, New philosophy for new media)

Shaw’s work thereby introduces a crucial techno-historical dimension into the body’s selective function that corresponds to the change in the “ontology” of the contemporary technosphere—to the fact that it is no longer (preconstituted) images, so much as inchoate information, that the technologically extended body is now called on to filter. (p.52, New philosophy for new media)

Como ver o que Hansen olha“It is as though these skulls refused to return your gaze, or better, as though they existed in a space without any connection to the space

you are inhabiting, a space from which they simply cannot look back at you. And yet they are looking at you, just as surely as you are

looking at them!”(NFFNM, p. 198)

Cultural Analytics

• “Cultural Analytics is the use of computational and visualization methods for the analysis of massive cultural data sets and flows.

Digitization of large sets of cultural artifacts from the past and the rise of social media in 2000s open new possibilities for the study of cultural processes. We can create more comprehensive and inclusive understanding of human cultural evolution and dynamics using all available digitized and born-digital cultural artifacts in any media from all of human history. We can map changing cultural patterns around the world in real time using all available web data (social media, blogs, creators web sites, etc. Reaching these goals will require not ony solving many technical problems but also developing new methodologies and concepts for data-driven cultural analysis.”

Questões de pesquisa – Cultural Analytics 

- How do we explore patterns in massive visual collections which may contain billions of images and video?

- How do we research interactive media processes and experiences (evolution of web design, playing a video game, etc.)? - What theoretical concepts and models do we need to deal with the new scale of born-digital culture? - How can we combine computational techniques and analysis of massive cultural data with more traditional humanities methodologies?- what would "science of culture" driven by massive data look like, and what will be its limitations?

Media Visualization envolve traduzir um conjunto de imagens em uma nova imagem, na qual se podem relevar padrões do conjunto. Em resumo, figuras são traduzidas em figuras. (p.5, Media Visualization )

Ou Criando novas representações visuais a partir de objetos visuais em uma coleção.

p. 7Exploring a visualization of one million manga pages on HIPerSpace

visual supercomputer.

P. 9Image plot of 4535 covers of Time magazine. Jeremy Douglass and Lev Manovich,

2009. Xaxis: publication dates. Y-axis: average saturation of each cover (mean value). Red borders are placed around the covers tagged as “compositions.”

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P.10

Montage of all 4535 covers of Time magazine organized by publication date (1923 to 2009) from left to right and top to bottom. Jeremy Douglass and Lev Manovich, 2009. The large percentage of the covers included red borders.

We cropped these borders and scaled all images to the same size to allow a user see more clearly the temporal patterns across all covers.

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Temporal and spatial sampling

Left figure Right figure

Kingdom Hearts video game play visualizations. William Huber and Lev Manovich, 2010. Left image: Kingdom Hearts (2002, Square Co., Ltd.). Right image: Kingdom Hearts II (2005, Square-Enix, Inc.).

p. 12 p.13

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p. 14

Slice of 4535 covers of Time magazine organized by publication date (from 1923 to 2009, left to right). Jeremy Douglass and Lev Manovich, 2009. Every one-pixel wide vertical column is a sampled from a corresponding

cover.

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P.15

Visualization of The Eleventh Year (Dziga Vertov, 1928). The film is sampled at 1 frame per second. The resulting 3507 frames are organized left to right and top to bottom following their order in the film.

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p.15

Visualization of The Eleventh Year (Dziga Vertov, 1928). Every shot in the film is represented by its first frame. Frames are organized left to right and top to bottom following the order of shots in the film.

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http://www.artcom.de/en/projects/project/detail/the-invisible-shape-of-things-past/

p. 17

Every shot is represented by its first frame. Shots order: left to right.

Every shot was analyzed by software to measure average amount of movement across all frames in this shot. These measurements are plotted below the frames. Longer bars - more motion; shorter bars - less motion.

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Gustavo D. Fischer