Inleiding: hoe media worden Rick Dolphijn. Paranoimia…

Presentatie over: "Inleiding: hoe media worden Rick Dolphijn. Paranoimia…"— Transcript van de presentatie:

1 Inleiding: hoe media worden Rick Dolphijn

2 Paranoimia… http://www.youtube.com/watch?v=dPVsTcdydPI

3 Media Ecology Het bestuderen van media, niet als in zichzelf bestaande (onveranderlijke) entiteiten, maar als communicatietechnologieen die voortdurend in ontwikkeling zijn en alleen maar vanuit hun relatie met andere technologieen, met sociale, politieke en culturele ontwikkelingen, met hun eigen geschiedenis en met hun voorziene toekomst, begrepen kunnen worden.

4 McLuhan: we live in a message •Orale communicatie •Geschreven communicatie •The Gutenberg Galaxy •The Electronic Age •The Digital Age

5 McLuhan: we live in a message •Orale communicatie •Geschreven communicatie •The Gutenberg Galaxy •The Electronic Age •The Digital Age

6 Rodowick: the Virtual Life of Film

7 What happened? 1999: the Matrix, Thirteenth Floor, eXistenZ draaien allen om the digital. “Technology had effectively become nature, wholly replacing our complex and chaotic world with an imaginary simulation in which social control was nearly complete.” http://www.youtube.com/watch?v=KnJWQtK2lgI

8 Film and Cinema •Met de komst van televisie had cinema al eerder onder deze druk gestaan. •Nieuwe technologie van representatie EN in de narratieve structuur. •Maar: the digital had het analoge al lang vervangen…

9 The Digital: What is cinema? •“This transformation in the concept of materiality is the key to understanding some basic distinctions between the analog and the digital” •Photography and analog arts are literally etched and sculpted by light forming a mold of the object’s reflected image. Computer generated images, alternatively, are wholly created from algorithmic functions.

10 Is er cinema na film? •Is film celluloid? Zelfde optische geometrie. •Er is nog nooit consensus geweest over de vraag wat film is. “The difficulty of placing film as an object grounding an area of study does not begin with the digital ‘virtualization’of the image. Indeed one might say that he entire history of the medium, and of the critical thought that has accompanied it, has returned incessantly to film’s uncertain status.”

11 Cinematic codes Christian Metz: “A code is a constructed rather than an inherent unity, and it does not exist prior to analysis… [Codes] are… units which aim at formalization. Their homogeneity is not a sensory one, but rather one of logical coherence, of explanatory power, of generative capacity” (19)