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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.
|List of Figures|
|1||Between Body and Image: On the "Newness" of New Media Art||21|
|2||Framing the Digital Image: Jeffrey Shaw and the Embodied Aesthetics of New Media||47|
|3||The Automation of Sight and the Bodily Basis of Vision||93|
|4||Affect as Interface: Confronting the "Digital Facial Image"||127|
|5||What's Virtual about VR? "Reality" as Body-Brain Achievement||161|
|6||The Affective Topology of New Media Art||197|