Digital Illusion

Digital Illusion
Author: Clark Dodsworth
Publisher: Addison-Wesley Professional
Total Pages: 594
Release: 1998
Genre: Computers
ISBN:

Digital Illusion is the future of entertainment. That future, as seen in this book, is at the intersection of show business and interactivity. It is a future where games, theme-park attractions, and networked virtual worlds are built with seamless, interactive, computer technology, and where exciting new kinds of experience and enjoyment are made possible. It's a future that has already begun! Clark Dodsworth has participated for years in this convergence of the computer and entertainment industries. Here, he gathers prominent contributors from both worlds to describe the design and implementation of computer-based entertainment applications. With striking examples, they show what has been accomplished and preview what is yet to come.

Digital Play

Digital Play
Author: Stephen Kline
Publisher: McGill-Queen's Press - MQUP
Total Pages: 379
Release: 2003
Genre: Games & Activities
ISBN: 0773525432

In a marketplace that demands perpetual upgrades, the survival of interactive play ultimately depends on the adroit management of negotiations between game producers and youthful consumers of this new medium. The authors suggest a model of expansion that encompasses technological innovation, game design, and marketing practices. Their case study of video gaming exposes fundamental tensions between the opposing forces of continuity and change in the information economy: between the play culture of gaming and the spectator culture of television, the dynamism of interactive media and the increasingly homogeneous mass-mediated cultural marketplace, and emerging flexible post-Fordist management strategies and the surviving techniques of mass-mediated marketing. Digital Play suggests a future not of democratizing wired capitalism but instead of continuing tensions between "access to" and "enclosure in" technological innovation, between inertia and diversity in popular culture markets, and between commodification and free play in the cultural industries. -- publisher description.

Aesthetics of Interaction in Digital Art

Aesthetics of Interaction in Digital Art
Author: Katja Kwastek
Publisher: MIT Press
Total Pages: 381
Release: 2015-08-21
Genre: Art
ISBN: 0262528290

An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art. Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art. Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance—with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.

The Illusions, digital original edition

The Illusions, digital original edition
Author: Lev Manovich
Publisher: MIT Press
Total Pages: 48
Release: 2014-01-10
Genre: Social Science
ISBN: 0262318008

This BIT offers an excerpt from a book that has shaped the study of new media. In The Language of New Media, Lev Manovich offered the field's first systematic and rigorous theory. Here, Manovich considers the computer as illusion generator, addressing such questions as the “reality effect” of new media images and the comparative illusionism of new media, photography, film, and video.

Human Creation Between Reality and Illusion

Human Creation Between Reality and Illusion
Author: Anna-Teresa Tymieniecka
Publisher: Springer Science & Business Media
Total Pages: 298
Release: 2006-06-30
Genre: Philosophy
ISBN: 1402035780

Identifying quickly illusion with deception, we tend to oppose it to the reality of life. However, investigating in this collection of essays illusion's functions in the Arts, which thrives upon illusion and yet maintains its existential roots and meaningfullness in the real, we might wonder about the nature of reality itself. Does not illusion open the seeming confines of factual reality into horizons of imagination which transform it? Does it not, like art, belong essentially to the makeup of human reality? Papers by: Lanfranco Aceti, John Baldacchino, Maria Avelina Cecilia Lafuente, Jo Ann Circosta, Madalina Diaconu, Jennifer Anna Gosetti-Ferencei, Brian Grassom, Marguerite Harris, Andrew E. Hershberger, James Carlton Hughes, Lawrence Kimmel, Jung In Kwon, Ruth Ronen, Scott A. Sherer, Joanne Snow-Smith, Max Statkiewicz, Patricia Trutty-Coohill, Daniel Unger, James Werner.

The Critique of Digital Capitalism

The Critique of Digital Capitalism
Author: Michael Betancourt
Publisher: punctum books
Total Pages: 265
Release: 2015
Genre: Business & Economics
ISBN: 0692598448

Anything that can be automated, will be. The "magic" that digital technology has brought us - self-driving cars, Bitcoin, high frequency trading, the internet of things, social networking, mass surveillance, the 2009 housing bubble - has not been considered from an ideological perspective. The Critique of Digital Capitalism identifies how digital technology has captured contemporary society in a reification of capitalist priorities, and also describes digital capitalism as an ideologically "invisible" framework that is realized in technology. Written as a series of articles between 2003 and 2015, the book provides a broad critical scope for understanding the inherent demands of capitalist protocols for expansion without constraint (regardless of social, legal or ethical limits) that are increasingly being realized as autonomous systems that are no longer dependent on human labor or oversight and implemented without social discussion of their impacts. The digital illusion of infinite resources, infinite production, and no costs appears as an "end to scarcity," whereby digital production supposedly eliminates costs and makes everything equally available to everyone. This fantasy of production without consumption hides the physical costs and real-world impacts of these technologies. The critique introduced in this book develops from basic questions about how digital technologies directly change the structure of society: why is "Digital Rights Management" not only the dominant "solution" for distributing digital information, but also the only option being considered? During the burst of the "Housing Bubble" burst 2009, why were the immaterial commodities being traded of primary concern, but the actual physical assets and the impacts on the people living in them generally ignored? How do surveillance (pervasive monitoring) and agnotology (culturally induced ignorance or doubt, particularly the publication of inaccurate or misleading scientific data) coincide as mutually reinforcing technologies of control and restraint? If technology makes the assumptions of its society manifest as instrumentality - then what ideology is being realized in the form of the digital computer? This final question animates the critical framework this analysis proposes. Digital capitalism is a dramatically new configuration of the historical dynamics of production, labor and consumption that results in a new variant of historical capitalism. This contemporary, globalized network of production and distribution depends on digital capitalism's refusal of established social restraints: existing laws are an impediment to the transcendent aspects of digital technology. Its utopian claims mask its authoritarian result: the superficial "objectivity" of computer systems are supposed to replace established protections with machinic function - the uniform imposition of whatever ideology informs the design. However, machines are never impartial: they reify the ideologies they are built to enact. The critical analysis of capitalist ideologies as they become digital is essential to challenging this process. Contesting their domination depends on theoretical analysis. This critique challenges received ideas about the relationship between labor, commodity production and value, in the process demonstrating how the historical Marxist analysis depends on assumptions that are no longer valid. This book therefore provides a unique, critical toolset for the analysis of digital capitalist hegemonics.

The Digital Musician

The Digital Musician
Author: Andrew Hugill
Publisher: Routledge
Total Pages: 658
Release: 2018-09-03
Genre: Music
ISBN: 1351337386

The Digital Musician, Third Edition is an introductory textbook for creative music technology and electronic music courses. Written to be accessible to students from any musical background, this book examines cultural awareness, artistic identity and musical skills, offering a system-agnostic survey of digital music creation. Each chapter presents creative projects that reinforce concepts, as well as case studies of real musicians and discussion questions for further reflection. This third edition has been updated to reflect developments in an ever-changing musical landscape—most notably the proliferation of mobile technologies—covering topics such as collaborative composition, virtual reality, data sonification and digital scores, while encouraging readers to adapt to continuous technological changes. With an emphasis on discovering one’s musical voice and identity, and tools and ideas that are relevant in any musical situation, The Digital Musician is sure to be an invaluable student resource for years to come. Features of the third edition: Additional case studies, with new interviews exclusive to the third edition Revised chapter structure with an emphasis on student focus and understanding, featuring additional and expanded chapters Reinstatement of selected and updated first edition topics, including mixing, mastering and microphones Companion website featuring case study interviews, a historical listening list, bibliography and many additional projects Visit the companion website: www.andrewhugill.com/thedigitalmusician

Museums in a Digital Age

Museums in a Digital Age
Author: Ross Parry
Publisher: Routledge
Total Pages: 488
Release: 2010
Genre: Art
ISBN: 0415402611

First Published in 2010. Routledge is an imprint of Taylor & Francis, an informa company.

Digital Da Vinci

Digital Da Vinci
Author: Newton Lee
Publisher: Springer
Total Pages: 303
Release: 2014-08-01
Genre: Computers
ISBN: 1493909657

“Science is art,” said Regina Dugan, senior executive at Google and former director of DARPA. “It is the process of creating something that never exists before. ... It makes us ask new questions about ourselves, others; about ethics, the future.” This second volume of the Digital Da Vinci book series leads the discussions on the world’s first computer art in the 1950s and the actualization of Star Trek’s holodeck in the future with the help of artificial intelligence and cyborgs. In this book, Gavin Sade describes experimental creative practices that bring together arts, science and technology in imaginative ways; Mine Özkar expounds visual computation for good designs based on repetition and variation; Raffaella Folgieri, Claudio Lucchiari, Marco Granato and Daniele Grechi introduce BrainArt, a brain-computer interface that allows users to create drawings using their own cerebral rhythms; Nathan Cohen explores artificially created spaces that enhance spatial awareness and challenge our perception of what we encounter; Keith Armstrong discusses embodied experiences that affect the mind and body of participating audiences; Diomidis Spinellis uses Etoys and Squeak in a scientific experiment to teach the concept of physical computing; Benjamin Cowley explains the massively multiplayer online game “Green My Place” aimed at achieving behavior transformation in energy awareness; Robert Niewiadomski and Dennis Anderson portray 3-D manufacturing as the beginning of common creativity revolution; Stephen Barrass takes 3-D printing to another dimension by fabricating an object from a sound recording; Mari Velonaki examines the element of surprise and touch sensing in human-robot interaction; and Roman Danylak surveys the media machines in light of Marshall McLuhan’s dictum “the medium is the message.” Digital Da Vinci: Computers in the Arts and Sciences is dedicated to polymathic education and interdisciplinary studies in the digital age empowered by computer science. Educators and researchers ought to encourage the new generation of scholars to become as well rounded as a Renaissance man or woman.

Film in the Post-Media Age

Film in the Post-Media Age
Author: Ágnes Pethő
Publisher: Cambridge Scholars Publishing
Total Pages: 460
Release: 2012-03-15
Genre: Performing Arts
ISBN: 1443838721

Ever since the centenary of cinema there have been intense discussions in the field of film studies about the imminent demise of the cinematic medium, endless articles championing the spirit of genuine cinephilia have proclaimed the death of classical cinema and mourned the end of an era, while new currents in media studies introduced such buzzwords into the discussions as “remediation” (Bolter and Grusin), “media convergence” (Jenkins), “post-media aesthetics” (Manovich) or “the virtual life of film” (Rodowick). By the turn of the millennium, the whole “ecosystem” of media had been radically altered through processes of hybridization and media convergence. Some theorists even claim that now that the term “medium” has triumphed in the discussions around contemporary art and culture, the actual media have already deceased, as digitized imagery absorbs all media. Moving images have entered the art galleries and new forms of inter-art relationships have been forged. They have also moved into the streets and our everyday life as a domesticated medium at everybody’s reach, into new private and public environments (and into a fusion of both via the Internet). Consequently, should we speak of an all pervasive “cinematic experience” instead of a cinematic medium? What really happens to film once its traditional medium has shape shifted into various digital forms and once its traditional locations, institutions and usages have been uprooted? What do these re-locations and re-configurations really entail? What are the most important new genres in post-media moving pictures? Is it the web video, is it 3D cinema, is it the computer game that operates with moving image narratives, is it the new “vernacular” database, the DVD, or the good old television adjusted to all these new forms? How does theatrical cinema itself adapt to or reflect on these new image forms and technologies? How can we interpret the convergence of older cinematic forms with an emerging digital aesthetics traceable in typical post-media “hosts” of moving images? These are only some of the major questions that the theoretical investigation and in-depth analyses in this volume try to answer in an attempt at exploring not the disappearance of cinema but the blooming post-media life of film.