By Gunnar LiestÃ¸l, Andrew Morrison, Terje Rasmussen
Arguing that "first encounters" have already utilized conventional theoretical and conceptual frameworks to electronic media, the participants to this e-book demand "second encounters," or a revisiting. electronic media should not purely gadgets of research but in addition tools for the advance of leading edge views on either media and tradition. Drawing on insights from literary idea, semiotics, philosophy, aesthetics, ethics, media stories, sociology, and schooling, the participants build new positions from which to monitor electronic media in clean and significant methods. all through they discover to what quantity interpretation of and experimentation with electronic media can tell conception. It additionally asks how our knowing of electronic media can give a contribution to our knowing of social and cultural change.The ebook is prepared in 4 sections: schooling and Interdisciplinarity, layout and Aesthetics, Rhetoric and Interpretation, and Social thought and Ethics. the subjects comprise the consequences on interpreting of the multimodal and multisensory facets of the electronic atmosphere, the effect of perform at the medium of conception, how electronic media are dissolving the bounds among rest and paintings, and the effect of our on-line world on demonstrated moral ideas.
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Additional resources for Digital Media Revisited: Theoretical and Conceptual Innovations in Digital Domains
Popular mass media forms have therefore been suspect on two counts: as promoters of both capitalist ideology and visual representation. Although certain new media forms (the World Wide Web and computer games) do share some of the characteristics of mass media, they are not so relentlessly unidirectional, nor are they capital intensive to the same degree. The World Wide Web draws people into the production process on a much larger scale than television or film has ever done. Millions of people participate in the creating of Web pages and the planning and maintaining of Web sites.
In fact, hypertext creates an almost embarrassingly literal embodiment of both concepts, one that in turn raises questions about them and their interesting combination of prescience and historical relations (or embeddedness)” (32). For Landow and others, hypertext became the electronic realization of poststructuralist theory. Many of the qualities that the poststructuralists had been claiming for print—the instability and the intertextuality of the text, the loss of authority of the author, and the changed relationship between author, text, and reader—were realized in a literal or operational way in the computer.
Whether qualitative or quantitative, formal theories focus on aspects that are by definition under the control of the designer or producer. Cultural theories place their focus elsewhere. In showing how the weight of global capital defines new media production, a cultural theory seems to be taking control away from the individual designer or producer. In showing how sexual or racial stereotypes are reproduced in cyberspace, the critic seems to be suggesting that the individual producer or production team is reinscribing larger cultural values.
Digital Media Revisited: Theoretical and Conceptual Innovations in Digital Domains by Gunnar LiestÃ¸l, Andrew Morrison, Terje Rasmussen