CONTENTS
FOREWORD by Mark Tribe x
PROLOGUE: VERTOV'S DATASET xiv
ACKNOWLEDGMENTS xxvii
Introduction 2
A PERSONAL CHRONOLOGY 3
THEORY OF THE PRESENT 6
MAPPING NEW MEDIA: METHOD 8
MAPPING NEW MEDIA: ORGANIZATION 11
THE TERMS: LANGUAGE, OBJECT, REPRESENTATION 12
1. What Is New Media? 18
HOW MEDIA BECAME NEW 21
PRINCIPLES OF NEW MEDIA 27
1. Numerical Representation 27
2. Modularity 30
3. Automation 32
4. Variability 36
5. Transcoding 45
WHAT NEW MEDIA IS NOT 49
Cinema as New Media 50
The Myth of the Digital 52
The Myth of Interactivity 55
2.The Interface 62
THE LANGUAGE OF CULTURAL INTERFACES 69
Cultural Interfaces 69
Printed Word 73
Cinema 78
HCI: Representation versus Control 88
THE SCREEN AND THE USER 94
A Screen's Genealogy 95
The Screen and the Body 103
Representation versus Simulation 111
3 The Operations 116
MENUS, FILTERS, PLUG-INS 123
The Logic of Selection 123
"Postmodernism" and Photoshop 129
From Object to Signal 132
COMPOSITING 136
From Image Streams to Modular Media 136
The Resistance to Montage 141
Archeology of Compositing: Cinema 145
Archeology of Compositing: Video 149
Digital Compositing 152
Compositing and New Types of Montage 155
TELE ACTION 161
Representation versus Communication 161
Telepresence: Illusion versus Action 164
Image-Instruments 167
Telecommunication 168
Distance and Aura 170
4 The Illusions 176
SYNTHETIC REALISM AND ITS DISCONTENTS 184
Technology and Style in Cinema 185
Technology and Style in ComputerAnimation 188
The Icons of Mimesis 195
THE SYNTHETIC IMAGE AND ITS SUBJECT 199
Georges Melies, the Father of Computer Graphics 200
Jurassic Park and Socialist Realism 201
ILLUSION, NARRATIVE, AND INTERACTIVITY 205
5 The Forms 212
THE DATABASE 218
The Database Log ic 218
Data and Algorithm 221
Database and Narrative 225
Paradigm and Syntagm 229
A Database Complex 233
Database Cinema: Greenaway and Vertov 237
NAVIGABLE SPACE 244
Doom and Myst 244
Computer Space 253
The Poetics of Navigation 259
The Navigator and the Explorer 268
Kino-Eye and Simulators 273
EVE and Place 281
6 What Is Cinema? 286
DIGITAL CINEMA AND THE HISTORY OF A MOVING IMAGE 293
Cinema, the Art of the Index 293
A Brief Archeology of Moving Pictures 296
From Animation to Cinema 298
Cinema Redefined 300
From Kino-Eye to Kino-Brush 307
THE NEW LANGUAGE OF CINEMA 309
Cinematic and Graphic: Cinegratography 309
The New Temporality: The Loop as a Narrative Engine 314
Spatial Montage and Macrocinerna 322
Cinema as an Information Space 326
Cinema as a Code 330
INDEX 335