Cinema of the Software Cinema: Lev Manovich

2. WHO IS LEV MANOVICH? Our world, media, economy, and social relations all run on software. ~ LEV MANOVICH, SOFTWARE TAKES CONTROL -- RHIZOME MAGAZINE

3. DATABASE AS SYMBOLIC FORM Following art historian Ervin Panofsky’s analysis of linear perspective as a ’symbolic form’ of the modern age, we may even call the database a new symbolic form of the computer age (or, as … Lyotard called it in … The Postmodern Condition, ‘computerised society’), a new way to structure our experience of ourselves and of the world.

4. DATABASE AS MODEL OF REALITY Indeed, if, after the death of God (Nietzche), the end of grand Narratives of Enlightenment (Lyotard) and the arrival of the web (Tim Berners- Lee), the world appears to us as an endless and unstructured collection of images, texts, and other data records, it is only appropriate that we will be moved to model it as a database.

5. LIVING THE DREAM But it is also appropriate that we would want to develop a poetics, aesthetics, and ethics of this database.

6. SOFT CINEMA Photorealistic 3-D computer animation (that uses a database] http://www.softcinema.net/index.htm?reload

7. THE •20th century filmakers are children of a machine vision • Live action narrative is the 20th century cinema norm

8. PERFECT •Soft cinema is true “art” : • involves the painterly & the graphic (symbolic] • maintains the discrete nature of space & vision [3-D] • improves upon cinema’s convincing illusion of dynamic reality [special effects, etc.]

9. MOVIE •Live action narrative is an historical accident •Soft cinema will take its place in history as the proper - logical - form of cinema

10. COUNTER-ARGUMENT Soft cinema +capitalist logic = flatties, organics & soft fuzzies X bad What do you think are the long term consequences for structuring our experience of ourselves and of the world as “plastic art”?

11. BRIEFLY MCLUHAN CULTURAL EFFECTS OF TECHNOLOGY Cinema Camera lens – eye, hand, leg microphone – ear, voice Electronic Media Nervous system - McLuhan Imagination - Manovich New Media Software – world, media, economy & social relations Database – memory A technology extends one of our faculties The effect of that extension changes [the scope] of our perception MECHANICAL DIGITAL

12. Enhances Design Process VALUE: Quality of Image Reverses Into 100% Digital Fabrication VALUE: The Plastic Image Retrieves Discrete Nature of Space & Vision VALUE: Manual Art (painterly & graphic] Obsolesces Camera & Live Action VALUE: Record of Life [naturalism] Software Cinema

13. VALUES? I think Manovich’s article is a good example of human impoverishment when art is equated with technique. But maybe I’m wrong. What values and methods {from 20th century cinema} should we preserve in the digital age?

Notes de l'éditeur

Post-structuralist – he’s bad post-modernist
Poetics – cybernetics Neuromancer
He’s after the Hollywood movie with its “linear perspective” and mechanical logic. And it needs to be gotten rid of because it’s the paradigm of modernity Whereas his VISION for cinema is avant garde and post-modern, which means its mutable, flexible But just so we’re clear he tears apart the photograph Behind even the most stylized cinematic images, we can discern the bluntness, sterility, and banality of early 19th century photographs Cinema is based in deposits of reality, these samples obtained by a methodical and prosaic process Cinema is the art of the index; it is an attempt to make art out of a footprint
Cinematic is simple vectors charted across still fields – the uniformity of machine vision Soft cinema is moving, breathing, plastic art
Represents a teleological approach to history We are going to take the great leap forward to the next stage of human development

Cinema of the Software Cinema: Lev Manovich

Recommandé

Recommandé

Contenu connexe

Similaire à Cinema of the Software Cinema: Lev Manovich

Similaire à Cinema of the Software Cinema: Lev Manovich (20)

Dernier

Dernier (20)

Cinema of the Software Cinema: Lev Manovich

Notes de l'éditeur