By Wendy Hui Kyong Chun
New Media, outdated Media is a finished anthology of unique and vintage essays that discover the tensions of previous and new in electronic tradition. prime overseas media students and cultural theorists interrogate new media just like the web, electronic video, and MP3s opposed to the backdrop of previous media akin to tv, movie, images, and print. The essays supply new benchmarks for comparing all these claims; political, social, moral, made concerning the electronic age. dedicated to old examine and to theoretical innovation, they recommend that during the sunshine of electronic programmability, possible forgotten moments within the heritage of the media we glibly name outdated may be rediscovered and remodeled. the various issues explored in provocative quantity comprise web pages, webcams, the increase and fall of dotcom mania, net journalism, the open resource move, and machine viruses. New Media, previous Media is a foundational textual content for common readers, scholars, and students of recent media around the disciplines. it really is crucial studying for somebody drawn to knowing the cultural impression of latest media.
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Extra resources for New Media, Old Media: A History and Theory Reader
This photoglyphic engraving on paper presents a camera-view of an Edinburgh street and, above it, almost overlapping the street scene, is a reproduction of a contact print of a twig of fern. Both are visibly fixed in place with five pieces of tape. The picture’s means of production are laid bare, and all attempts to create a visual illusion, a window-onto-the-world, are abandoned in favor of the sheer wonder of mechanical reproduction. Flatness and depth, looking down and looking in, touch and sight, the natural and the cultural, here and there, domesticity and travel, the unique and the multiple, collage and montage, photography and mechanical printing: all are merged into a single image screen.
Cinema Futures. Cain Abel or Cable (Amsterdam: Amsterdam University Press, 1996), 201–222. 21. “One of the foremost tasks of art has always been the creation of a demand which could be fully satisfied only later. ” Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, Illuminations (New York: Schocken, 1969), 237. 22. 2, (1984), 16. 23. Tom Gunning, D. W. Griffith and the Origins of American Narrative Film (Urbana: University of Illinois Press, 1991); Noel Burch, Life to Those Shadows (Berkeley: University of California Press, 1990); Charles Musser, Before the Nickelodeon: Edwin S.
It’s no surprise then to find him sometimes combining all three elements in the same print. In at least one undated example, Lace and Grasses, with an Alphabet, he included a scrap of lace pattern, some tiny plant forms, and a complete alphabet in his own hand, all on the one piece of paper. In a 1985 exhibition catalogue, Judith Petite offers the following commentary on the lace imprints made in the 1850s by Victor Hugo. “Musing on these impressions as their author urges us to do, we may . . ”31 Talbot, a noted scholar of both Greek and English etymology, must surely have reflected on this same association, especially given the eventual adoption of the Greek-derived word “photography” (light-writing) for his process.