Interfaceless interface

Bolter discuss the indication of computer interface and how society is able to interact with graphical user interface, as the ionic tools sure as buttons are starting to become more invisible. This indicates that this is not a real concern, with mass culture is growing up with these changes of interface the user adapt quickly. The fact is that society is aware of how to browse repeatedly throughout various transparent interfaces, without clear indication of navigation.

'Immediacy is supposed to make this computer interface "natural" rather than arbitrary." (Bolter, 2000, p.23)

Alberti's window theory is an opening window to allow the user to view the  subject, for instance video games that are played on the Wii, acquires the user interacting with the virtual self. This is so user would interact with objects on screen the same way that they would in the real world, allowing the user to move natural around the interface through the platform, by controlling their own input from the controls. The games are noticeably assembled with programming although creating a cyberspace of ourselves, however the transparent interface leaves the user unsure of what is real.

'technology is taking people beyond and through the display screen into virtual world' (Rheingold, 2000, p.29)

As society involvement through new media which allows the user to be interacting all the time, through new devise such as mobile phones. Often such as paintings that are place in new digital format give raise on creating a different set of meaning through the convention of how the content is display. Therefore the content is not interpreted the same.

'the representation of one medium in another'(Bolter, 2000. p.45)

Jenkins discussion media convergence of 'multiple black boxes', number of devices that society access information, whereas Bolter view on how the user of the devices is able to interact to technology that the interface takes the user into the cyberspace that is much similar to the real world. New media such as second screen experience blurs the line of what is real and unreal, where the user can interact more with the characters' lives on primary text through various interaction interfaces that seem real.

'Media convergence is more than simply a technological shift' (Jenkins, 2006, p.15) 


Bibliography

Bolter. J.D. (2000)  Remediation: Understanding New Media New Ed. MIT Press.

Jenkins. H . (2006) Convergence Culture: Where Old and New Media Collide Revised. NYU Press.

The unnatural interface

Today's generation have developed and 'updated' alongside the computer screen interface. By learning the functions of the window interface from a young age, users integrate with the technology until the point where interaction becomes second nature. Debra Shaw notes this connection between the body and interface, "My computer and I constitute a cybernetic system"(Shaw, 2008,pg.90). How we automatically know when to click, scroll, drag, how to search and select the content we want though the interface design, " making the interfaces "transparent" and therefore more "natural""(Bolter, 2000,pg.32). Through constant "contact with the interface" the user "learns to read, just as she would read any hypertext", the language and shared knowledge that makes up the interface experience (Bolter, 2000,pg.33)

This however identifies that though we are automated within the technological interface, we are aware it is unnatural. The "obviously mediated" functionality of the interface, the buttons, the links, the irritating Microsoft animated paperclip clearly defines the computer window from the real world. The interface is constricted by the physicality of the technological medium it is contained in. Although this lack of "the real" only furthers our desires for "immediacy", as mediation "tries to reproduce the rich sensorium of human experience" (Bolter, 2000,pg.34). There is a constant negotiation of the "visual space as mediated and as "real", a conflict between the surface and the deeper cultural meaning (Bolter, 2000,pg.41). A real life example is that of as the Disney World theme park, where fictional media content clashes with physical reality.

As Huthtamo notes "hypermediacy can also provide an authentic experience", the audience may acknowledge the unnaturalness of the medium and yet it doesn't diminish the experience (Bolter, 2000,pg.42). This is illustrated in the rise of online worlds such as "WoW" (World Of Warcraft), although the game is obviously constructed through programming and is contained within the material screen of the medium. Users still recognise it as an authentic experience, some have argued that the line between reality and the game interface has been blurred by the users "point of view". Shaw notes how we try to escape "the meat", our body's through cyberspace but we can't yet escape the reality of the medium (Shaw, 2008,pg.86).

Bolter, J.D. (2000) Remediation: Understanding New Media (Cambridge, Mass.; London: MIT Press)

Shaw, D, (2008) Technoculture: The key Concepts (Oxford: Berg Press)

Techno Culture and Human Bodies

It has been suggested by Debra Shaw that humans have a correlation to machines, rather than two different entities. Using the of the body's circulatory system as an example Shaw compares it to working with medical tools to create our 'natural' understand of the human body. Shaw tells us about William Harvey building upon Galen's findings how the heart served its purpose. Shaw continues to say "produced by technology in the simple sense that Harvey had necessarily to use tools to examine the workings of the heart."(Shaw, 2008, p.82) This suggestion allows us to make correlations between machines and the human bodies being repaired and reassembled using tools. 

There is a fixation among individuals to create ideological embodiments of there perfect self using technologies which have only advanced because of our understand of the human body. The example used within Shaw's Technoculture is that of Bruce Springsteen and the modern geek. Bruce Springsteen used in the consumer society to relate towards those of the working class by doing so creating a body that was enhanced with technologies within a gym.

"He thus signifies the passage from the body of the industrial worker, marked by social class, to the body of the late capitalist consumer" (Shaw, 2008, p.85). 

 

Emphasizing Shaw's notion of Bruce Springsteen, the modern geek, as the machine driven body can be constructed to fit the ideological stance within their cyberspace. With the emergence of Web 2.0, the computer literate can create new identities, to enhance properties of themselves otherwise unknown outside of cyberspace. This allows a "construction of a wide variety of private worlds and, through them, for self-exploration". (Turkle, 1984, p.21). With the technology allowing us to use pseudonyms, and be annoymous within cyberspace, the reality creates convergence between collective intelligence and its participatory culture. Do we live as a machine or in a machine?

Bibliography

Shaw, D. (2008). Technoculture: The Key Concepts. Oxford: Oxford Berg Press.

Turkle, S. (1984) The Second Life: Computers & The Human Spirit 

Jenkins, H. (2006). Convergence Culture, where old and new media collide. New York: New York University Press. 

Humans and technology

"In other words, the concept of 'human' is unthinkable without technology but we act as if it is." (Shaw, 2008: p.81)

Have we been overcome by machines or are still human? Without technology the human race wouldn't get on very well. Think about how many times you use technology, we are always using are phones and iPods and laptops we couldn't live without these appliances. Try for one day leave your phone down and not use it, I bet u struggle. This shows how new media has overcome and that we can't live without them this shows how new media revolution has took over. This is basically meaning that we aren't being ourselves and that new media and technology has become an extension from ourselves and that we actually need them instead of want them.

Although new media wouldn’t have come about if it wasn’t for us we wouldn’t have evolved if it wasn’t for technology. We have developed a lot over the pasts due to the revolution of technology I would say that we have got smarter but also that we have got lazier as we no longer find the need to do maths we just use a calculator on our phones or we don’t remember history we just google it.

Shaw looks at William Harvey's circulatory system this is telling us that the body is "produced by technology in the simple sense that Harvey had necessarily to use tools to examine the workings of the heart"(Shaw, 2008: p.82) Now a days we don't need tools to look at the heart but that we can actually use technology to look at the heart beat and to do blood pressure and all things like that.

So overall we find ourselves turning into cyborgs as we are no longer ourselves but that we are just a form of media and that we find that humans wouldn't have evolved that fast if it wasn't for technology but also that technology wouldn't have evolved that quick if it wasn't for us.

Bibliography
Shaw, D (2008) Technoculture: The Key Concepts (Oxford: Berg Press)

Computerization

Computing and Media Technologies begin as two separate entities converging together overtime through, film, photography and binary information. These technologies are developing through experimentation and the format in which the cultural collective forms for the needs of mass.
New media can be broken down into two distinct layers, Cultural Layer and Computer layer. The understanding of the cultural layer is to be known as the input information (user generated), whereas the computer layer is generated from the input information through automation and variations of the same. This transition from the user generated information to the media form and the transcoding for computer or digital information.

During the text of 'Language of New Media' as Manovich speaks of transcoding he states that "computerization turns media into computer data"  (Manovich, 2002, p.63). The computer storing and re distributing the media that it has been given. "In new media lingo, to “transcode” something is to translate it into another form." (Manovich, 2002 p.64)


Transcoding doesn't happen without another 4 principles of new media such as numerical representation, modulation, automation, variability. Each of which cross one path or another. Computerization requires numerical or coded information, binary or otherwise, Modulation through mixed mediums being digitized, automation, the process of creating the binary and coding into a visual or piece of spectral information. Variability the changing of the medium e.g. photograph into a video format. Although suggesting that all within the cultural layer has to be of human origin Manovich states a database "originally a computer technology to organize and access data, is becoming a new cultural form of its own" (Manovich, 2002 p.64), can be consequence of the principle transcoding. 

Manovich suggests that the "computer layer and media/culture layer influence each other" (Manovich, 2002 p.64) rather than have computer layer overpowering the cultural layer, they converge to develop each other further. With the development of computer and digital technology, new media continues to grow along side rather than being the technology. Is it suggestible that transcoding is changing the development of software and the skills required?


Bibliography

Manovich, L., The Language of New Media (Cambridge, Mass.: The MIT Press, 2001)

Automated media, rise of the machines?

Lev Manovich has identified how factors, such as computerisation, have changed medias function and social significance while new media takes its place as the staple of the digital age. Manovich "reduces all principles of new media to five: numerical  representation, modularity, automation, variability and cultural transcoding", identifying the key factors which differentiate old and new media (Manovich, 2002, pg.44). All new media is now made up of "digital code" and so "becomes programmable", allowing computers to store, produce and distribute our media (Manovich, 2002, pg.49). Before technology was just a tool for media, just a calculator which aided us but with technological advancements it now shares in the creative production process.

Manovich notes how "human intentionally can be removed from the creative process, at least in part", software such as Photoshop, creates, edits and filters our content for us at the click of a button, taking most human interaction out of new media (Manovich, 2002, pg.53). Are we being limited by computers? By relying on automated technology, we take a back seat in creating media compared to the manual processes of old media. We live in a society "now concerned as much with accessing and re-using existing media as with creating new one" (Manovich, 2002, pg.55). If everyone is re-using existing media, this may stunt the creative possibility's of new media, leaving us with ideas that will never be imagined.

Artificial intelligence becomes ever more real, as computerised controls such as "software agents" filters our media for what it deems relevant, using our information and profiles to adapt new media around us (Manovich, 2002, pg.55). Creating a Big Brother mentality, as we are being monitored, controlled and restricted by computer technology. Although as seen in video games, this control is merely an illusion  by "AI engines" which "use a variety of approaches to simulate human intelligence", restricting our own choices to fit within the rules of its own digital world (Manovich, 2002, pg.54). Though digitization has also given the user more control over time and media, such as through "random access"(Manovich, 2002, pg.67). By rejecting the "human-centered" order of old media such as the fixed order of videotapes, it allows time to be "managed, analysed and manipulated more easily"(Manovich, 2002, pg.67).

Bibliography
Manovich, L. (2002) The Language Of New Media, (Cambridge, Mass, :London MIT Press)

Going Down The River in a Cardboard Box

"In contrast to analog media where each successive copy loses quality, digitally encoded media can be copied endlessly without degradation" (Manovich, 2001, 69)

Manovich begins by looking at William J. Mitchell's 'The Reconfigured Eye' (1982), In which Mitchell talks about how analog media "cannot be transmitted or copied without degradation" (Mitchell, 1982: 6) At the time of writing, Mitchell was living in a world where digital media was a break through in technology and it was looking like it was about to completely revolutionise the way media artefacts where accessed, developed and broadcast. It looked like nothing could destroy digital media and that anything which was digitally accessed was safe from complete destruction.

Mitchell goes on to refer to his view of digital media and how he believes it is completely lossless, "a digital image that is a thousand generations away from the original is indistinguishable in quality from any one of its progenitors".

He believes that digital media is invincible through generations of being passed down. For example. An old photograph will stain of the years with age and use, but if a digital image is stored on a hard drive for the same amount of time, it will be in the same condition and quality as when it was taken.

However, Manovich, speaking nearly twenty years after Mitchell, and being in the middle of the digital revolution, knows how digital media can be just as short-termed as analog media. "A single digital image consists of millions of pixels. All this data requires considerable storage" (Manovich, 2001: 70)

Even another decade later and we still cannot say that we have confidence in how computers store our media files. With technologies like DropBox, GoogleDrive and SkyDrive, surely we are just bypassing the problem instead of eliminating the problem which we built. 


Bibliography
Mitchell, W.J., The Reconfigured Eye (Cambridge, Mass.: The MIT Press, 1982)
Manovich, L., The Language of New Media (Cambridge, Mass.: The MIT Press, 2001)