New Philosophy for New Media (MIT Press)

New Philosophy for New Media (MIT Press)

Mark B. N. Hansen

Language: English

Pages: 361

ISBN: 026258266X

Format: PDF / Kindle (mobi) / ePub


In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position -- as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the digital era.Hansen examines new media art and theory in light of Henri Bergson's argument that affection and memory render perception impure -- that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it. To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision. The book includes over 70 illustrations (in both black and white and color) from the works of these and many other new media artists.

Redeeming Words: Language and the Promise of Happiness in the Stories of Döblin and Sebald (SUNY series, Intersections: Philosophy and Critical Theory)

The Rules of Art: Genesis and Structure of the Literary Field (Meridian: Crossing Aesthetics)

Aesthetic Theory (Athlone Contemporary European Thinkers)

Stanley Kubrick: A Narrative and Stylistic Analysis (2nd Edition)

Deleuze and Space (Deleuze Connections)

Aesthetics (Fundamentals of Philosophy)

 

 

 

 

 

 

 

 

 

 

 

 

 

experimentations unpack, in an impressive variety of directions, the constitutive contribution of the body and the shift from a predominantly perceptual aesthetic to an affective one. And Shaw’s attention to the materiality of media interfaces—to their significance as ciphers of bodily affect whose significance becomes paramount in today’s digital environment—furnishes an important precedent for younger artists as they seek to deploy digital technologies toward aesthetic ends that neither retreat

of the center of indetermination from Deleuze’s effort to generalize it into a theory of cinematic framing, and specifically to rescue Bergson’s embodied conception of affection—in which affection forms a phenomenological mode autonomous from perception—from subsumption into a mere effect or transmutation of the image. To carry out such a redemption, I shall interweave discussions of aesthetic experimentations with the DFI and theoretical arguments concerning the potential of bodily affectivity and

made. Accordingly, as a catalyst for an essentially creative process of affective attunement, the DFI furnishes a way back into the body that need not be understood as a simple “return to” the body.8 More specifically still, the experience triggered by the DFI invests in the affective bodily response to facialization and thus directly counters the overcoding of the body on the face that constitutes facialization in its capitalist mode. In this sense, aesthetic experimentations with the DFI can be

faciality, what we find is precisely the fundamental aesthetic difference introduced above. Whereas Deleuze’s examples subsume bodily activity into the expressive quality of the close-up, new media artworks turn attention back on the bodily activity through which we perceive and interact with the face—the process of affective attunement in which facial signals spontaneously trigger an affective bodily response. Rather than following Deleuze’s trajectory toward the transcendence of the bodily basis

on their own account,” passing from “one quality to another, to emerge on to a new quality” or rather a “pure Power.”26 This cinematographic epoche¯ of the bodily basis of affect reaches its apex in Eisenstein’s intensive series, insofar as this latter directly unites “an immense collective reflection with the particular emotions of each individual” and thus expresses “the unity of power and quality.”27 By so doing, Eisenstein’s practice exemplifies the status of the close-up not as “partial

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