Interface en cyberspace: inleiding in de nieuwe media

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Amsterdam University Press, 2002 - Всего страниц: 359
Nieuwe media worden doorgaans verbonden met kenmerken als ‘digitaal’, ‘multimediaal’ en ‘interactief’. Maar belangrijker dan de technologische aspecten zijn de veranderingen die zij vaak onopgemerkt teweeggebracht hebben. Nieuwe media beïnvloeden oude media als film en televisie, maar bijvoorbeeld ook architectuur en stedenbouwkundige planning. Bovendien is de computer lang niet meer de enige toegangspoort tot cyberspace: chips in betaal- en klantenkaarten, irisscans, gsm’s, of barcodes in identiteitsbewijzen maken mogelijk van elke gebruiker een database. In dit boek worden begrippen en termen rond de nieuwe media geanalyseerd en uitgediept met de nadruk op esthetische en culturele kwesties.

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Стр. 328 - Our conventional response to all media, namely that it is how they are used that counts, is the numb stance of the technological idiot. For the 'content...
Стр. 235 - It is a system in which reality itself (that is, people's material/symbolic existence) is entirely captured, fully immersed in a virtual image setting, in the world of make believe, in which appearances are not just on the screen through which experience is communicated, but they become the experience.
Стр. 328 - content" of a medium is like the juicy piece of meat carried by the burglar to distract the watchdog of the mind. The effect of the medium is made strong and intense just because it is given another medium as "content." The content of a movie is a novel or a play or an opera. The effect of the movie form is not related to its program content. The "content" of writing or print is speech, but the reader is almost entirely unaware either of print or of speech.
Стр. 316 - There is a case of ratio facilis when an expression-token is accorded to an expression-type, duly recorded by an expression-system and, as such, foreseen by a given code. There is a case of ratio difficilis when an expression-token is directly accorded to its content, whether because the corresponding expression-type does not exist as yet or because the expression type is identical with the content-type.
Стр. 316 - As has been said in various ways, men are noisy, narrow-band devices, but their nervous systems have very many parallel and simultaneously active channels. Relative to men, computing machines are very fast and very accurate, but they are constrained to perform only one or a few elementary operations at a time. Men are flexible, capable of "programming themselves contingently" on the basis of newly received information.
Стр. 47 - While the media have become indeed globally interconnected, and programs and messages circulate in the global network, we are not living in a global village, but in customized cottages globally produced and locally distributed.
Стр. 203 - ... the rule. But in contrast, fiction is much more sophisticated than lying. To someone who did not understand the separate conventions of fiction, it would seem that fiction is merely lying. What distinguishes fiction from lies is the existence of a separate set of conventions which enables the author to go through the motions of making statements which he knows to be not true even though he has no intention to deceive.
Стр. 316 - Computing machines are single-minded, constrained by their "preprogramming." Men naturally speak redundant languages organized around unitary objects and coherent actions and employing 20 to 60 elementary symbols. Computers "naturally" speak nonredundant languages, usually with only two elementary symbols and no inherent appreciation either of unitary objects or of coherent actions.
Стр. 252 - The ultimate display would, of course, be a room within which the computer can control the existence of matter.
Стр. 278 - The sign for the Motel Monticello, a silhouette of an enormous Chippendale highboy, is visible on the highway before the motel itself. This architecture of styles and signs is antispatial ; it is an architecture of communication over space ; communication dominates space as an element in the architecture and in the landscape.

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