What we understand determines what we see. In the published essay Remediation, Bolter and Grusin define remediation and its double logic, its course in digital media within our culture, immediacy and hypermedia, and its paradox. Looking back the last decade's technology gave us access for experiencing the world to more than rather looking out a window. With this, our experiences have shifted with digital media. Photography has been greatly technologically enhanced throughout its course of history and the course of remediation, hypermediacy, and immediacy. During my visit to the San Jose Art Museum for This is Not a Selfie I chose Ilse Bing’s work. I found it to be reflective in terms of remediation and her use of photography. Immediacy is the desire to attain transparency. Currently …show more content…
Remediation is definite in contemporary digital media culture. An example of remediation is from the reading was Strange Days, a futuristic film. The wire is a device in which the access to experience is “This is not like TV only better,” says Lenny Nero The user of the wire is able to hear, feel, see, and produce action; resulting in a real-life experience. Remediation can split up into three categories, literal, aggressive, and absorptive. Literal remediation involves an old medium is reprocessed without blatant irony or critique to be portrayed digitally. Examples of this include digitized photos or illustrations, in-depth a literal remediation of Vincent Van Gogh, Starry Night on a google image search. Aggressive remediation rehashing the old medium maybe even its entirety, while still having a sense of the older medium in it, leading to layers of mediums, otherwise known as hypermediacy. The final is absorptive remediation, the process of taking in the whole old medium, however, by the definition of remediation shows a constant dependence with the new medium onto the older medium in ways purposeful or
For my museum selection I decided to attend Texas State University’s Wittliff Collection. When I arrived, there was no one else there besides me and the librarian. To be honest, I probably would have never gone to an art museum if my teacher didn’t require me to. This was my first time attending the Wittliff Collection, thus I asked the librarian, “Is there any other artwork besides Southwestern and Mexican photography?” She answered, “No, the Wittliff is known only for Southwestern and Mexican photography.” I smiled with a sense of embarrassment and continued to view the different photos. As I walked through Wittliff, I became overwhelmed with all of the different types of photography. There were so many amazing pieces that it became difficult to select which one to write about. However, I finally managed to choose three unique photography pieces by Alinka Echeverria, Geoff Winningham, and Keith Carter.
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 remediation of print media. It can be argued that the Internet is a modernized version of the printing press.
The reader can disconnect the work of art from its past uses and new combinations can be brought. The liberation of art gains ‘entirely new functions’.
In this work of art, Walter Benjamin discusses a shift in opinion and its affects in the awakening of the advent of photography as well as film in the twentieth century. He writes of the sense changes within humanity’s entire manner of existence. He gives importance to the way we see the visual work of art. The insightful piece of writing provides a general history of alterations in art in the modern age. Walter Benjamin’s main and central claim is that our human sensory perspective is not intrinsic or natural in any
Sontag, Susan. "Essay | Photography Enhances Our Understanding of the World." BookRags. BookRags. Web. 15 Apr. 2014.
A picture is more than just a piece of time captured within a light-sensitive emulsion, it is an experience one has whose story is told through an enchanting image. I photograph the world in the ways I see it. Every curious angle, vibrant color, and abnormal subject makes me think, and want to spark someone else’s thought process. The photographs in this work were not chosen by me, but by the reactions each image received when looked at. If a photo was merely glanced at or given a casual compliment, then I didn’t feel it was strong enough a work, but if one was to stop somebody, and be studied in curiosity, or question, then the picture was right to be chosen.
Morris, J (2013, October). Digitizing difference. Communication Arts 346. Lecture conducted from University of Wisconsin-Madison, Madison WI.
"Speed up the film, Montag, quick. Click? Pic? Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline!” (Bradbury 55). Beatty lectures to Montag in Bradbury’s dystopian novel, Fahrenheit 451. Bradbury’s exaggeration of media from 1953 may not be entirely far from the nature of electronic media today. From the invention of the Internet, the forms of mass media have evolved through the years. The shift towards the use of electronic media appears to be an unavoidable occurrence. Fahrenheit 451 depicts the state of a future society that ominously shows similarities
Virtual and digital technologies are rampant in American culture and thoroughly utilized in entertainment mediums like television, movies, magazines, and video games. Our capitalist economy creates a fertile environment for these mediums to prosper by feeding off the public's hunger for entertainment. Because these industries are in such high demand and accrue billion dollar revenues, new technologies are often conceived in and funded by these trades: "For, in essence, all socially relevant new image media, from classical antiquity to the revolution of digital images, have advanced to serve the interests of maintaining power and control or maximizing profits" (Grau 339). That being the case, new technologies "hardly ever…advanced solely for artistic purposes" (Grau 339). Because "power" and "profits" are the central means of motivation in our culture; art, in the classical sense, is often an afterthought. In an age where entertainment and art intertwine, however, distinctions between the two based upon their creation are impossible. With advances in technology and, in turn, art, our ideas and traditions of comparison should also develop to justly analyze new media: "Although art history and the history of the media have always stood in an interdependent relationship and art has commented on, taken up, or even promoted each new media development, the view of art history as media history…is still underdeveloped" (Grau 4). In order to embrace virtual art as a valid outlet of artistic expression, its relationship to media and unique position in the history of art must first be acknowledged.
Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of art, communication and entertainment ever since Thomas Edison successfully invented the first Kinetoscope in 1894. Photography itself, as well as the photographical aspects of cinema (cinematography), have influenced our society for decades and have literally shaped the pacing of our lives, changed what we think about and even what we think with.
Baron, Dennis. “From Pencils to Pixels: The Stages of Literary Technologies.” Writing Material. Ed. Evelyn Tribble. New York. 2003. 35- 52.
A work of literature is not complete until it is presented and critiqued by the reader. Over the years, the means of presentation of the literature has evolved with the availability of new technologies. One of the single most important developments over the past 100 years is electronic media. Electronic media has allowed for literature to be presented not only though a bound book but also audio and video. Electronic media has also allowed for easier, less time consuming authoring and publishing. This new media is still developing today and will continue at a fast pace as long as new technological breakthroughs occur.
In Sontag’s On Photography, she claims photography limits our understanding of the world. Though Sontag acknowledges “photographs fill in blanks in our mental pictures”, she believes “the camera’s rendering of reality must always hide more than it discloses.” She argues photographs offer merely “a semblance of knowledge” on the real world.
Photography has created an outlet for the masses to story tell. It has a way of speaking without words like most art forms and is a manner of expression in itself. To eradicate photography from humans would be equivalent to taking away a limb from humankind. Our society has grown an immense amount of dependency on it. Photography has become almost a daily menial task such as brushing your teeth; where we must take pictures of the things we deem important or equally unimportant, even more so with the invention of social media outlets such as Instagram and Snapchat, where photography is the main source of communication between people who use them. Susan Sontag offers the basis of what taking pictures can undertake in both our daily lives and moments that are not part of our daily lives, such as travel. Traveling to places where one is not accustomed can flare pent up anxiety. A way to subdue that anxiety could be through taking pictures, since it’s the only factor that we have total control over in a space where we don’t have much, or, any control of our surrounding environment. On the other hand, taking photos can also be a tool of power in the same sense as it allows for it to be a defense against anxiety. With the camera in our hands, we have the power to decide who, what, where, when, and why we take a picture. This in turn also gives the person who took the picture power over those who later analyze the photos, letting them decide the meaning of the photo individually, despite the intended or true meaning.
By the late 1990’s, the potential of Visual Culture was growing with enthusiasm by academics from a cultural studies background, and it moved from its art history background into the area of media and cultural studies. This is evident through publications such as Walker and Chaplin’s Visual Culture: an introduction (1997) and Evans and Hall Visual Culture: The Reader (1999). The Visual Culture: an introduction, has chapters on: institutions, the gaze, pleasure, and new technology. The Evans and Hall reader contains a wide array of authors from Barthes, Benjamin and Foucault, to the influential work of Tagg, Silverman, and Dyer (Evans & Hall, 1999). As Visual Culture progresses, it is no longer “art history with a difference” in these texts of Cultural and Media Studies, concepts which have been refined and argued through since the 1960’s, are now being developed in a new way. Some might argue from a different premise of visual culture of what it was thought to be originally. The range of visual concepts analyzed was broad. In prominent position and defending new approaches for what was to be termed Visual Culture: film, television, ...