Digital
The digital world of today can be understood as a product of late-Victorian construction of the machinery of information organization combined with Modernist visual forms.
The works of Lev Manovich and Dr. Simon Cook use a revisionist approach to examine the past century and a half of visual forms. In his “Late Victorian Reasoning and a Modern History of Vision,” Dr. Cook attempts to prove a link between the late-Victorian visual forms and the “new vision” (including Modernist art) that Manovich observed in the early half of the twentieth century. In his work, Lev Manovich traces the relationship from “new vision” to the computer and new media, claiming a direct connection between the two. Although it is virtually undeniable that late Victorian visual forms, new vision, and new media are related, Manovich’s argument that new vision caused new media is flawed. The greatest error lies in the basic assumption of ceteris paribus (all other things being equal); after his explanation of the synthesis of new vision, he ignores any changes in academia.
What is being neglected is psychology. In the nineteenth century, psychology was still a pseudo-science but many breakthroughs in the field did occur. Then in the twentieth century, the true science of psychology came to fruition. The first stage in the evolution of psychology had a profound effect on late-Victorian work, and the second stage strongly influenced the new media of the late twentieth century. Due to this fact, one should not observe the digital world of today as a product of late-Victorian construction of the machinery of information organization and Modernist visual forms, but rather all three as children of the study of psychology.
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The introduction of the printing press changed society permanently. Along with this invention came the emergence of mass production of texts. Suddenly, information could be efficiently replicated, thus facilitating the dissemination process. Widespread alphabetic literacy, as Havelock states, could finally become a reality. Print media, however, are fundamentally restricted by their physical nature. Enter the Internet, arguably modern society’s greatest technological advancement, with its ability to digitally recontextualize the written word. Again, forever changing the nature of communication. This paper will focus on the web’s functional, social, and cultural remediations of print media. It can be argued that the Internet is a modernized version of the printing press. The web created an explosion in production, self-published content, and new forms of machine art. Through contrasting physical and digital print media, it will be shown that the Internet enhances aspects of the printing press in defining itself.
Marx uses the term ‘postcapitalist appropriation’ to denote not theory, but neotheory. However, Lyotard’s analysis of constructivism holds that the media is part of the collapse of art.
...r impact on World War II and the world. The war ended once Germany surrendered on May 8, 1945 and the Allies took the victory. Their victory however, could not have happened without the impact of airplanes.
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He is blind from the truth even though he has physical insight. A fellow Theban, Tiresias knows the truth, but even when he told Oedipus that he was the murderer of his King Laius, he refused to believe it. Oedipus refuses to believe anything he was told because he believes that he ran away from his true fate. Without knowing anything about his real father or mother, he ends up fulfilling the prophecy. He kills his father, Laius and married his mother, Jocasta. Oedipus displays his arrogance many times throughout the story. In the beginning of the story, he says “Yes, I whom men call Oedipus the great” (Sophocles 23), showing a sign of his arrogance. Oedipus shows off his arrogance again by saying that everyone should know him because of the deed he has done (Sophocles 33). He saved them the Sphinx and gained an enormous amount of confidence because of it and also because he was rewarded the Queens hand in marriage. Oedipus once again shows his arrogance when he tells the people of the Thebes that he can find the murderer of Laius on his own without any help (Sophocles 28). The irony of Oedipus’s hubris is that he even determines what his downfall will look like: “That man, whoever that man be, I, this country’s reigning king, cut off from every fellowship of speech and contact, sacrifice and sacrament, even ritual touch of water, in this realm” (Sophocles 32). Oedipus’s downfall can only be blamed on him because of his
I am sure that we have all, at one time or another, noticed that almost any discussion concerning the merits and demerits of art, if it goes on long enough will come to the qualities of innovation and traditionalism in regards to aesthetic value. As soon as these two qualities are mentioned, there comes an inevitable forming up of those who favor innovation and deride tradition and those who favor tradition and deride innovation. Either side usually admits only enough merit to their opposition, and limitation of their own view, to make themselves seem reasonable and objective: but the bulk of their effort goes into savaging their opponents and extolling the ultimately ascendant nature of their position. I am inclined to take neither view, but to propose a third. It is not enough that we should pursue either innovation or traditionalism simply because we have some sort of aesthetic attraction to them, such as, for example, sentimentality or novelty. There may be those who would respond that there is simply no arguing about taste: that you like what you like and that is that. Certainly such people are right in one sense, but this response seems too simplistic and of a ‘sour grapes’ nature to convince me that this is the end of the matter. Rather, I suggest, it is the purpose to which we apply either innovation or traditionalism which dictates whether or not they have aesthetic merit: too often, our adherence to either of the two qualities becomes a thoughtless habit of our culture rather than anything useful in itself. In order to prove the viability of this qualification, I will first explore the negative and positive qualities of innovation, and the possible causes thereof. Then I will look at the negative and positive qual...
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In the book “Ways of Seeing,” John Berger explains several essential aspects of art through the influence of the Marxism and art history that relate to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power. ”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay.
The wolves’ were hunted in late 1800 s’ and early 1900‘s in the United States because farmers wanted more land for their cattle’s to graze upon. As farmers were moving out west they felt threaten that the wolves would hunt their cattles so the farmers thought that the best solution would be to take them out of the picture. This was possible because at the time there were no government regulations on hunting....
Works Cited The 1920s an Overview. Digital History. N.p., n.d. Web. The Web. The Web.
The industrial revolution created the societal circumstances necessary for photography to be born. The first and most obvious condition is that of technological advancement. Industry was advancing and expanding so rapidly that history appeared to be distancing itself from the present with unusual speed. Up until this time period life had not changed much from decade to decade or even from century to century. Photography’s popularity during the industrial revolution was, in large part, a result of people’s desire to slow down the perceived acceleration of history (McQuire). It has been argued that the acceleration of historical time is “leading to the possible industrialization of forgetting” and that “we will not only miss history…we will also long to go back to space and times past.” (Virilio)
Sophocles’ use of symbolism and irony is shown in Oedipus Tyrannus through his use of the notion of seeing and blindness. This common motif is extended throughout the play and takes on a great significance in the development of the plot. In an effort to escape his god given prophecy, Oedipus tragically falls into the depths of unthinkable crimes as a result of the mental blindness of his character; thus never escaping his lot.
Towards the end of the nineteenth century, around 1860 after man had considerably conquered the machine, a new reality became prevalent in the lives of the newly industrialised world. “Modernism includes more than just art and literature. By now it includes almost the whole of what is truly alive in our culture”(Greenberg 1982:5) This quote can be applied to the earlier days of modernism When jobs had changed from agricultural based employment to corporate and menial based labour. Housing situations had too changed, from rural to urban, as people began to follow the money trail the industrial revolution had left behind. All this change had brought a new way of life for the western world, as things became automated and products were readily available to the con...
Many believed that Modernist works were not “art” because they did not always look like real life. But what is “real life”? A new outlook on reality was taken by Modernists. What is true for one person at one time is not true for another person at a different time. Experimentation with perspective and truth was not confined to the canvas; it influenced literary circles as well.
Societies have evolved over recent centuries from agricultural communities to industrial giants. Sociologists, amongst others, are fascinated by the changes that have occurred in society, particularly since the advent of the industrial revolution to recent times. The last few decades have been referred to as the information era and this essay will be discussing the theories of several prominent authors, such as Daniel Bell, Frank Webster, Fritz Machlup and others, regarding the notion of an ‘information society’. The varying approaches have all have gained some momentum over the past few decades as technology advances. There will be some comment on their interpretations, how the information fits into our society, and the ways it has effect has possibly changed us. It will also see if any or all explain just what an information society is.