The document discusses several texts and authors related to research in audiovisual media, including Lev Manovich's "Media Visualization" and Mark B. Hansen's "New Philosophy for New Media". It outlines topics and guiding questions for how these texts apply to the discipline of audiovisual research. Specific techniques from Manovich and Hansen around exploring large media collections through computational analysis and visualization are summarized. Key concepts from the readings around embodiment, affectivity, and framing are also highlighted in relation to audiovisual research.

1. CARTOGRAFIAS DOS NOVOS
MEIOS E ANALÍTICA CULTURAL:
Lev Manovich - Media Visualization: Visual Techniques for Exploring
Large Media Collections
Mark B. Hansen – New Philosophy for New Media (introdução)
Pesquisa em Audiovisual, PPGCC UNISINOS, 2014.

2. Tópicos/Questões orientadoras
1. O que estes textos/autores/procedimentos fazem na disciplina de
Pesquisa em Audiovisual?
2. Hansen
2.1 - pesquisador, objeto, objetos empíricos, problema, metodologia.
3. Manovich
3.1 – pesquisador, objeto, objetos empíricos, problema, metodologia.
4. Como estas ideias se relacionam com conceitos/temas
desenvolvidos na disciplina? E as nossas pesquisas?

3. Construção da problematização
• Benjamin [aura]
• Bolter e Grusin [remediação]
• Kittler [“end” of media]
• Deleuze – imagem-tempo/cinema
• Bergson -> imagem-corpo, afecção e memória
“ o corpo funciona como um tipo de filtro que seleciona, a partir do
universo de imagens circulantes ao seu redor e de acordo com suas
próprias capacidades [de embodiment], precisamente aquelas que
para ele são relevantes.” (p.3, segundo parágrafo, New philosophy for new media)

4. • Affectivity: a capacidade do corpo experienciar a si mesmo como
“mais que si mesmo” e portanto implantar seu poder sensório-motor
para criar o imprevisível, o experimental o novo.
• A fotografia, a imagem cinematográfica, o sinal de vídeo, etc
refletem uma historicamente negociação entre capacidades técnicas
e a contínua “evolução” do embodied (human) perception. Abaixo de
qualquer imagem “técnica” concreta ou frame/quadro está o que eu
chamo da função de framing do corpo humano como centro de
indeterminação. (p.7, terceiro parágrafo, New philosophy for new media)

5. • Para resumir, a imagem não deve ser restrita ao nível da sua
aparência de superfície, mas precisa ser estendida para englobar o
processo inteiro pelo qual a informação é tornada perceptível através
da experiência embodied. Isto é o que eu proponho chamar de
imagem digital. (p.9, segundo parágrafo, New philosophy for new media)

6. Objetos/objetivos
• Este relato de como o corpo enquadra (enframes) informação e cria
imagens compreende o projeto teórico em jogo no corpus de new
media art que eu analiso neste livro. (p.11, New philosophy for new media)
• Meu estudo objetiva teorizar a correlação entre novas mídias e
embodiment
• Enquanto estes artistas catalizam um despertar de seus espectadores
para esta questão fundante do corpo, os trabalhos que criam podem
inclusive ser entendidos como esforços para especificar o que
permanece de distintamente “humano” neste era de convergência
digital. (p.11, New philosophy for new media)

7. Fotografia da página 11, New philosophy for new media.

8. Página 16, New philosophy for new media.

9. Página 17, New philosophy for new media.

11. Capítulo 1
• Com a flexibilidade trazida pela digitalização ocorre um deslocamento
of the framing function of medial interfaces back onto the body
from which they themselves originally sprang. (p.21)
• It is this displacement that makes new media art “new”. (p.21, New
philosophy for new media)

12. Waliczky’s animations call
into play a haptic or tactile
production of space in which the
body itself, deprived of
“objective” spatial referents,
begins to space or to spatialize,
that is, to create space within
itself as a function of its own
movement.
http://www.artcom.de/book/invisible/
They compel us to explore what it is about the tactilely and kinesthetically active body
that allows it to synthesize the imaging capacities (the medial conventions) of divergent
media interfaces into a coherent, complex experience of the digital image. (p.45, New
philosophy for new media)

13. By short-circuiting our habitual experience of the space of the image, for
example, Waliczky’s animations call into play a haptic or tactile production of
space in which the body itself, deprived of “objective” spatial referents, begins to
space or to spatialize, that is, to create space within itself as a function of its own
movement. (p.41, New philosophy for new media)

14. Capítulo 2
[A]ll my works are a discourse, in one way or another, with the cinematic
image, and with the possibility to violate the boundary of the cinematic
frame—to allow the image to physically burst out towards the viewer, or
allow the viewer to virtually enter the image.
—Jeffrey Shaw (p.47, New philosophy for new media)

15. In fact, Shaw’s work might be said to fuse the major
insights of Matter and Memory and Creative
Evolution, making technology a supplement to the
body and thus a means of expanding both the body’s
function as a center of indetermination and its
capacity to filter images. (p.50, New philosophy for
new media)
Shaw’s work thereby introduces a crucial techno-
historical dimension into the body’s selective
function that corresponds to the change in the
“ontology” of the contemporary technosphere—to
the fact that it is no longer (preconstituted)
images, so much as inchoate information, that the
technologically extended body is now called on to
filter. (p.52, New philosophy for new media)

16. Como ver o que Hansen olha
“It is as though these skulls refused to return your gaze, or better, as
though they existed in a space without any connection to the space
you are inhabiting, a space from which they simply cannot look back
at you. And yet they are looking at you, just as surely as you are
looking at them!”
(NFFNM, p. 198)

17. Cultural Analytics
• “Cultural Analytics is the use of computational and visualization methods
for the analysis of massive cultural data sets and flows.
Digitization of large sets of cultural artifacts from the past and the rise of
social media in 2000s open new possibilities for the study of cultural
processes. We can create more comprehensive and inclusive
understanding of human cultural evolution and dynamics using all
available digitized and born-digital cultural artifacts in any media from all
of human history. We can map changing cultural patterns around the
world in real time using all available web data (social media, blogs,
creators web sites, etc. Reaching these goals will require not ony solving
many technical problems but also developing new methodologies and
concepts for data-driven cultural analysis.”

18. Questões de pesquisa – Cultural
Analytics
- How do we explore patterns in massive visual collections
which may contain billions of images and video?
- How do we research interactive media processes and experiences (evolution of
web design, playing a video game, etc.)?
- What theoretical concepts and models do we need to deal with the new scale
of born-digital culture?
- How can we combine computational techniques and analysis of massive cultural
data with more traditional humanities methodologies?
- what would "science of culture" driven by massive data look like, and what will
be its limitations?

19. Media Visualization envolve traduzir um conjunto de imagens
em uma nova imagem, na qual se podem relevar padrões do
conjunto. Em resumo, figuras são traduzidas em figuras. (p.5,
Media Visualization )
Ou
Criando novas representações visuais a partir de objetos
visuais em uma coleção.

20. p. 7
Exploring a visualization of one million manga pages on HIPerSpace
visual supercomputer.

21. P. 9
Image plot of 4535 covers of Time magazine. Jeremy Douglass and Lev Manovich,
2009. Xaxis: publication dates. Y-axis: average saturation of each cover (mean value).
Red borders are placed around the covers tagged as “compositions.”
Imagem
Recorte da imagem

22. P.10
Montage of all 4535 covers of Time magazine organized by publication date (1923 to 2009) from left to right and
top to bottom. Jeremy Douglass and Lev Manovich, 2009. The large percentage of the covers included red borders.
We cropped these borders and scaled all images to the same size to allow a user see more clearly the temporal
patterns across all covers.
Imagem Recorte da imagem

23. Temporal and spatial sampling
Left figure Right figure
Kingdom Hearts video game play visualizations. William Huber and Lev Manovich, 2010. Left image: Kingdom
Hearts (2002, Square Co., Ltd.). Right image: Kingdom Hearts II (2005, Square-Enix, Inc.).
p. 12 p.13
Imagem
Recorte
da
imagem

24. p. 14
Slice of 4535 covers of Time magazine organized by publication date (from 1923 to 2009, left to right). Jeremy
Douglass and Lev Manovich, 2009. Every one-pixel wide vertical column is a sampled from a corresponding
cover.
Imagem
Recorte da imagem

25. P.15
Visualization of The Eleventh Year (Dziga Vertov, 1928). The film is sampled at 1 frame per second. The resulting
3507 frames are organized left to right and top to bottom following their order in the film.
Imagem
Recorte da imagem

26. p.15
Visualization of The Eleventh Year (Dziga Vertov, 1928). Every shot in the film is represented by its first frame.
Frames are organized left to right and top to bottom following the order of shots in the film.
Imagem
Recorte da imagem

27. http://www.artcom.de/en/projects/project/detail/the-invisible-shape-of-things-past/

28. p. 17
Every shot is represented by its first frame. Shots order: left to right.
Every shot was analyzed by software to measure average amount of movement across all frames in this shot. These
measurements are plotted below the frames. Longer bars - more motion; shorter bars - less motion.
Imagem
Recorte 3
Recorte 2
Recorte 1

29. Gustavo D.
Fischer