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Data Drift Archiving Media and Data Art in the 21st Century

Lev Manovich
Lev Manovich — How to analyze culture using social networks.jpg

Professor Lev Manovich
at Strelka Plant in 2015
Built-in 1960 [1]

Moscow, Russia

Notable work

 The Language of New Media
Website www.manovich.net

Lev Manovich ( MAN-ə-vitch [two]) is an author of books on digital culture and new media, and professor of Computer science at the Graduate Heart, Urban center University of New York. Manovich's current inquiry and teaching focuses on digital humanities, social computing, new media fine art and theory, and software studies.[three]

Manovich is also the founder and director of the Cultural Analytics Lab (chosen Software Studies Initiative 2007-2016),[4] which was described in an associated press release as computational analysis of massive collections of images and video (cultural analytics).[5] His lab was deputed to create visualizations of cultural datasets for Google,[6] New York Public Library,[7] and New York'due south Museum of Modernistic Art (MoMA).[viii]

1 of his books, The Linguistic communication of New Media, has been translated into 13 languages.[9] Manovich's latest academic book Cultural Analytics was published in 2020 past the MIT Press.[10]

Biography [edit]

Manovich was born in Moscow, USSR, where he studied painting, architecture, reckoner science, and semiotics.[xi] Later on spending several years practicing fine arts, he moved to New York in 1981. His interests shifted from all the same prototype and concrete 3D space to virtual space, moving images, and the use of computers in media. While in New York he received an M.A. in Experimental Psychology (NYU, 1988) and additionally worked professionally in 3D estimator animation from 1984 to 1992. He then went on to receive a Ph.D. in Visual and Cultural Studies from the University of Rochester in 1993 under the supervision of Mieke Bal. His Ph.D. dissertation The Engineering of Vision from Constructivism to Computers traces the origins of computer media, relating it to the avant-garde of the 1920s.[12]

Manovich has worked with computer media as an artist, computer animator, designer, and programmer since 1984. His art projects include Trivial Movies,[13] the first digital picture show projection designed for the Web (1994-1997), Freud-Lissitzky Navigator,[fourteen] a conceptual software for navigating twentieth century history (1999), and Anna and Andy,[15] a streaming novel (2000). He is also well known for his insightful articles, including "New Media from Borges to HTML" (2001)[16] and "Database as Symbolic Form" (1998).[17] In the latter commodity, he explains why the databases have become and so popular, while juxtaposing them to concepts such equally algorithms and narrative. His works take been included in many key international exhibitions of new media art. In 2002, Manovich presented his mini-retrospective at the ICA in London under the title Lev Manovich: Adventures of Digital Cinema.

Manovich has taught new media art since 1992. He has also been a visiting professor at California Establish of the Arts, UCLA, Academy of Amsterdam, Stockholm University, and University of Art and Design Helsinki. In 1993, students of his digital movie making classes at the UCLA Lab for New Media founded the Post-Cinematic Society which organized some of the starting time digital motion-picture show festivals based on his ideas most new media such as database movie theatre.[eighteen]

In 2007 Manovich founded the research lab Software Studies Initiative, which was afterwards renamed as the Cultural Analytics Lab in 2016.[19]

On November 8, 2012, it was announced that Manovich would be joining the faculty of the City Academy of New York's Graduate Center in January 2013, with the goal of enhancing the graduate schools' digital initiatives.[20]

Selected books and projects [edit]

The Language of New Media [edit]

His book, The Language of New Media (2001), covers many aspects of cultural software: for example, he identifies a number of key tools or processes (he calls them 'operations') that underpin commercial software from word processing to video editing programs. These include the conventions of 'cut and paste' copy, find, delete, transform, etc. The extracts nosotros take chosen highlight significant 'new' aspects of the new media Manovich is concerned with. He is often concerned with visual culture and particularly with moving image, so the first sections, 'The Database' and 'Database and Algorithm', explore something of the distinct ways in which computers shop and manipulate information (hither, for case, moving image footage). He compares this with traditional techniques of manipulating and editing movie stock. The 'Navigable Infinite' excerpt is also concerned with the moving image, but this is the moving image every bit a mapping or modeling of virtual space. From architectural 'fly-throughs' to the visceral and violent pleasures of exploring the corridors of the videogame Doom, virtual space is discussed as a significant new cultural course that draws on pre-digital visual and cinematic civilisation.[9]

In "New Media from Borges to HTML" (2001), Manovich describes the eight definitions of "new media":[16]

  1. New Media versus Cyberculture
  2. New Media as Computer Technology Used as a Distribution Platform
  3. New Media as Digital Data Controlled past Software
  4. New Media as the Mix Between Existing Cultural Conventions and the Conventions of Software
  5. New Media every bit the Aesthetics that Accompanies the Early on Stage of Every New Modern Media and Communication Technology
  6. New Media as Faster Execution of Algorithms Previously Executed Manually or through Other Technologies
  7. New Media as the Encoding of Modernist Avant-Garde; New Media as Metamedia
  8. New Media as Parallel Articulation of Similar Ideas in Post-WWII Art and Modern Computing

Soft Movie theatre [edit]

His digital art project Soft Cinema[21] was commissioned past ZKM for the exhibition Future Cinema (2002–03); traveling to Helsinki, Finland, and Tokyo, Japan, in Apr 2003. "Although the films resemble the familiar genres of movie theater, the process by which they were created demonstrates the possibilities of soft(ware) movie theatre. A "cinema," that is, in which human subjectivity and the variable choices made by custom software combine to create films that can run infinitely without ever exactly repeating the same image sequences, screen layouts and narratives. Each Soft Movie theater run offers a unique viewing experience for the audition; the software works with a set of parameters that allow for almost every part of a film to modify."[22]

Soft Cinema projects mine the creative possibilities that exist at the intersection of software culture, movie theatre, and compages. Its manifestations include films, dynamic visualization, computer-driven installations, architectural designs, print catalogs, and DVDS.[23]

Software Takes Control [edit]

Software Takes Control was published in 2013 past Bloomsbury Academic.[24] The volume analyses in particular software applications such equally Photoshop and After Effects, and how their interfaces and tools shape the visual aesthetics of contemporary media and design. This analysis is framed by a history of media's softwarization in the 1960's and 1970'south ('the transfer of techniques and interfaces of all previously existing media technologies to software'[24] : 180 ). The volume includes a theoretical discussion of whether we tin can notwithstanding speak nigh media as 'a relatively small number of distinct mediums',[25] given software's propensity to hybridize previously separate media and multiply.

Manovich develops the concept of metamedia that was originally proposed by Alan Kay. Metamedia refers to our use of digital computers to both simulate most previous artistic media and ascertain endless new media. Manovich explains the differences between metamedia, multimedia, and remediation.[26] The book uses a number of classical new media artworks every bit examples to illustrate how artists and designers create new metamedia.

The championship is a reference to Mechanization Takes Control (1948) by Sigfried Giedion. Information technology is part of the series International Texts in Disquisitional Media Aesthetics,[27] founded by serial editor Francisco J. Ricardo. An earlier typhoon version of the book was released under a Creative Commons license.[28]

Instagram and Contemporary Prototype [edit]

Manovich's Instagram and Contemporary Image was released under a Creative Commons license in 2017.[29] The book's four parts were written during 2016. Each part was posted online after information technology was finished. The parts were then subsequently edited and combined into a single PDF.

The commencement half of the book develops a typology of images shared on Instagram, dividing them into 'casual',[xxx] 'professional' and 'designed'.[31] In the latter one-half of the volume, Manovich focuses on how Instagram allows its users to plant and develop their identities through their photos' subjects, compositions, palettes, contrast levels, edits, filters, and presets.[32] He identifies Instagram as an example of the 'aesthetic guild', in which various tribes emerge and sustain themselves through their aesthetic choices.[33]

This work was both the start academic volume about Instagram, and the kickoff book in the then emerging field of digital art history. It is based on enquiry carried out by the writer, his lab and collaborators in 2012-2015. During this menses, the lab created a number of projects that used 17 million geo-located Instagram images from 18 cities. These projects included Phototrails,[34] Selfiecity,[35] The Exceptional and The Everyday,[36] and On Broadway.[37] Each projection used figurer vision, machine learning and data visualization to analyze different patterns in content and visual aesthetics across large numbers of publicly shared Instagram images.

In 2018, the book was translated into Japanese and published in a special edition with contributions from nine Japanese authors.[38]

Cultural Analytics [edit]

Manovich'due south nigh recent book Cultural Analytics was published by The MIT Press in October 2020.[10] Situated at the intersection of data scientific discipline, cultural studies and media theory, the book introduces key concepts for the analysis of culture using computational and data visualization methods. In contrast to many works in digital humanities that focus on analysis of text, the book pays particular attention to visual media.

The book argues for the necessity of using computational methods to be able to "see" contemporary culture given its immense scale. If traditional methods of analysis such as 'close readings of small samples'[39] were adequate to study smaller communities of creators in previous centuries, they evidently practice not permit for representative studies of digital civilisation, where millions of cultural artifacts are created and shared daily. Manovich develops the concept of 'exploratory media analysis' - the utilise of special visualization techniques to explore large visual collections without formulating a particular hypothesis beforehand.[10] : 207 While exploratory information assay is a standard exercise in data science, similar methods did not exist until recently in media studies, art history and other fields dealing with visual civilisation.

The volume's conclusion discusses the advantages and limitations of cultural analytics, beyond its ability to clarify cultural artifacts on a large scale. Cultural analytics resembles the humanities of the 20th century in that it looks for patterns. However, it does not start with already accepted cultural categories.[ten] : 249 Instead information technology analyses 'raw' cultural data to find new patterns. However, Manovich as well points out that 'any cultural blueprint…captures similarities among a number of artifacts on simply some dimensions, ignoring their other differences'.[10] : 250 This is an important limitation of a research image that measures diverse characteristics in big collections of artifacts, then looks for patterns in these characteristics. However, despite this limitation, Manovich remains optimistic about both the theoretical and applied potential of computational paradigms. In contrast to 20th century structuralism and related programs that aimed to reduce diversity of culture to a pocket-sized number of patterns, cultural analytics in Manovich'south view should aim to fully describe contemporary culture's global diverseness without reduction: 'that is, to focus on what is dissimilar among numerous artifacts and not just on what they share'.[x] : 251

Books [edit]

  • Tekstura: Russian Essays on Visual Culture, editor, together with Alla Efimova (Chicago: University of Chicago Printing, 1993).[40]
  • Info Aesthetics, a semi-open source volume/Web site in progress. Project started Baronial 2000, last update October 2001.[41]
  • Metamediji (in Serbian) (Belgrade: Center for Gimmicky Arts: 2001).[42]
  • Soft Movie theater, with contributions by Andreas Angelidakis, Jason Danziger, Andreas Kratky, and Ruth M. Lorenz (Karlsruhe: ZKM Middle for Art and Media Karlsruhe, 2002).
  • The Language of New Media (Cambridge, Massachusetts: MIT Printing, 2001).[9]
  • Blackness Box - White Cube (in German) (Berlin: Merve Verlag, 2005).[43]
  • Soft Movie theater: Navigating the Database, together with Andreas Kratky (Cambridge, Massachusetts: MIT Printing, 2005).[22]
  • Software Culture (in Italian) (Milano: Edizioni Olivares, 2010).[44]
  • Software Takes Command (New York: Bloomsbury Academic, 2013).[24]
  • The Illusions (Cambridge, Massachusetts: MIT Press, 2014).[45]
  • Information Drift: Archiving Media and Data Art in the 21st Century, editor, together with Rasa Smite and Raitis Smits (Riga: RIXC, LiepU MPLab, 2015).[46]
  • Instagram and Contemporary Image (New York, 2017).[29]
  • Theories of Software Cultures (in Russian) (Nizhny Novgorod: Krasnaya Lastochka, 2017).[47]
  • Instagram and Contemporary Image (in Japanese), with contributions by Kiritorimederu, Akihiro Kubota, Yoshiaki Kai, Kouichiro Shibao, Junya Tsutsui, Kosuke Nagata, Barbora, Osamu Maekawa, Nobuhiro Masuda (Tokyo: BNN, 2018).[38]

Run across also [edit]

  • Cultural analytics
  • Data mining
  • Information Visualization
  • Digital humanities
  • New Media Art
  • Electronic literature
  • Software studies
  • Estimator vision
  • Artificial intelligence

References [edit]

  1. ^ "Lev Manovich". Monoskop. Retrieved 20 July 2018.
  2. ^ "// MECS // profiles // Lev Manovich //". YouTube. Archived from the original on 2021-12-12. Retrieved vi September 2020.
  3. ^ Lev Manovich Archived 2010-06-25 at the Wayback Auto faculty contour at European Graduate School, Saas-Fee.
  4. ^ "Cultural Analytics Lab". Retrieved ii March 2021.
  5. ^ The Graduate Center of the Metropolis Academy of New York (November 28, 2017). "New Report from Graduate Centre, CUNY, Cultural Analytics Lab Is First to Clarify Global Growth of Prototype Sharing Around the Earth". PR Newswire . Retrieved July 20, 2018.
  6. ^ Phototrails. "Google Zeitgeist 2014 conference". Retrieved July twenty, 2018.
  7. ^ Gopnik, Blake (December 22, 2015). "At the NYPL, 'On Broadway' Portrays the Globe'south Greatest Street". Artnet News . Retrieved July 20, 2018.
  8. ^ Hochman, Nadav; Manovich, Lev (2014). "A View from Above: Exploratory Visualizations of the Thomas Walther Collection" (PDF). Object:Photograph. Modern Photographs: The Thomas Walther Collection 1909–1949. An Online Project of The Museum of Modern Art . Retrieved July 20, 2018.
  9. ^ a b c The Language of New Media (Cambridge, Massachusetts: MIT Press, 2001).
  10. ^ a b c d eastward f Manovich, Lev (2020). Cultural Analytics. The MIT Printing. ISBN9780262037105.
  11. ^ "Biography. Lev Manovich". Medien Kunst Netz / Media Fine art Internet . Retrieved July 20, 2018.
  12. ^ Manovich, Lev (1993). The Engineering science of Vision from Constructivism to Virtual Reality. Ph.D. Thesis. University of Rochester. Department of Art and Art History.
  13. ^ Manovich, Lev. "Little Movies". Rhizome . Retrieved July twenty, 2018.
  14. ^ Klein, Norman M.; Manovich, Lev (2002). "The Freud-Lissitzky Navigator". Leonardo. 35 (ane): viii – via Project MUSE.
  15. ^ Manovich, Lev (2000). "Anna and Andy". Archive of Digital Art . Retrieved July 20, 2018.
  16. ^ a b Manovich, Lev (2003). "New Media from Borges to HTML". In Noah Wardrip-Fruin and Nick Montfort (ed.). The New Media Reader. Cambridge and London: The MIT Press.
  17. ^ Manovich, Lev (1999). "Database every bit Symbolic Form". Convergence. 5 (2): 80–99. doi:10.1177/135485659900500206. S2CID 784026.
  18. ^ "Mac OS X Server". Archived from the original on 2017-12-11. Retrieved 2007-04-02 .
  19. ^ "Cultural Analytics Lab". Retrieved July 20, 2018.
  20. ^ "Renowned Digital Humanities Expert Lev Manovich Joining Graduate Heart (CUNY) Kinesthesia". BusinessWire. 8 Nov 2012. Retrieved 27 December 2013.
  21. ^ Manovich, Lev. "Soft Cinema". Medien Kunst Netz / Media Art Internet . Retrieved July twenty, 2018.
  22. ^ a b Manovich, Lev; Kratky, Andreas (2005). Soft Cinema: Navigating the Database (DVD-video with 40 page colour booklet). Cambridge, Massachusetts: MIT Printing. ISBN9780262134569.
  23. ^ Wang, Zhe (2009). "The Hope of Database Cinema: A Review of Lev Manovich and Andreas Kratky's 'Soft Cinema: Navigating the Database'". Periodical of Media Practice. 10 (2–three): 289–294. doi:10.1386/jmpr.ten.2-3.289_4. S2CID 194037548.
  24. ^ a b c Manovich, Lev (2013). Software Takes Command. Bloomsbury Academic. ISBN9781623567453.
  25. ^ Wark, McKenzie (xv September 2015). "On Manovich". Public Seminar . Retrieved May xv, 2021.
  26. ^ David Bolter, Jay; Grusin, Richard (1998). Remediation. The MIT Press. ISBN9780262024525.
  27. ^ "International Texts in Critical Media Aesthetics". Bloomsbury Academic . Retrieved July 20, 2018.
  28. ^ Manovich, Lev (2013). Software Takes Command (Open Admission). Bloomsbury Academic. ISBN9781472544988.
  29. ^ a b Manovich, Lev (2017). Instagram and Contemporary Image. Released under Attribution-NonCommercial-NoDerivatives 4.0 International Creative Eatables license. New York.
  30. ^ "Instagram and Contemporary Prototype Part 1". Retrieved May 19, 2021.
  31. ^ "Instagram and Gimmicky Image Part 2". Retrieved May nineteen, 2021.
  32. ^ "Instagram and Contemporary Paradigm Part 3". Retrieved May xix, 2021.
  33. ^ "Instagram and Contemporary Prototype Part 4". Retrieved May 19, 2021.
  34. ^ "Phototrails". Retrieved May 19, 2021.
  35. ^ "Selfiecity". Retrieved May 19, 2021.
  36. ^ [h http://www.the-everyday.net "The Exceptional and The Everyday"]. Retrieved May 19, 2021.
  37. ^ "On Broadway". Retrieved May 19, 2021.
  38. ^ a b Manovich, Lev (2018). Instagram and Contemporary Paradigm (in Japanese). with contributions by Kiritorimederu, Akihiro Kubota, Yoshiaki Kai, Kouichiro Shibao, Junya Tsutsui, Kosuke Nagata, Barbora, Osamu Maekawa, and Nobuhiro Masuda. Tokyo: BNN. ISBN978-4-8025-1101-8.
  39. ^ Fong, Byron (2021). "Review: Cultural Analytics, by Lev Manovich". Afterimage. 48: 80–85. doi:x.1525/aft.2021.48.ane.80. S2CID 233825533. Retrieved May 24, 2021.
  40. ^ Efimova, Alla; Manovich, Lev, eds. (1993). Tekstura: Russian Essays on Visual Culture . Chicago: The University of Chicago Press. ISBN9780226951249.
  41. ^ Manovich, Lev. "Info-Aesthetics" (semi-open source book/Spider web site in progress). Retrieved 2018-07-31 .
  42. ^ Manovich, Lev (2001). Metamediji (pick of previously published manufactures). Translated into Serbian by Đorđe Tomić, Dejan Sretenović, and Vladimir Tupanjac. Beograd: Centar za savremenu umetnost.
  43. ^ Manovich, Lev (2005). Black Box - White Cube. Translated into German by Ronald Voullié. Berlin: Merve Verlag. ISBN978-3-88396-197-2.
  44. ^ Manovich, Lev (2010). Software Culture (in Italian). Translated into Italian past Matteo Tarantino. Milano: Edizioni Olivares.
  45. ^ Manovich, Lev (2014). The Illusions (Digital Original Edition. A BIT of The Language of New Media. Ebook). Cambridge, Massachusetts: MIT Printing.
  46. ^ Manovich, Lev; Smite, Rasa; Smits, Raitis, eds. (2015). Data Drift: Archiving Media and Information Art in the 21st Century. Riga: RIXC, LiepU MPLab.
  47. ^ Манович, Лeв (2017). Теории софт-культуры. Нижний Новгород: Красная ласточка. ISBN978-5-9908655-2-5.

External links [edit]

  • Official site
  • Cultural Analytics Lab
  • Selfie City
  • On Broadway
  • Lev Manovich's page on The Graduate Heart, CUNY

winspearwhost1955.blogspot.com

Source: https://en.wikipedia.org/wiki/Lev_Manovich