The Language of New Media

[sondz]

Has any one read 'The Language of New Media' by Lev Manovich?

I have an essay exam tomorrow, and I was wondering if anyone had any thoughts on:

How do VJs combine video as multimedia (video, text, graphics, sounds, still images)?

How do they conform to the ?key form of cultural expression of the computer age? i.e the database.


Here are some of my observations so far:

An audiovisual sequencing tool that produces a linear effect through a single screen, though not necessarily a narrative.
The database of video clips is accessed through an existing cultural interface (a VCR style)
Any multimedia elements can be digitized and accessed in an AVI format
The database of clips is obviously accessible as thumbnail keyboard triggers
The database can be completely replaced or altered
The level of interactivity allows not just access to all the database in any order, but also real-time manipualtion of the database



Manovich's Book is in PDF format here, have a look if you want (page 194) http://www.eng.dmu.ac.uk/~amclay/Manovich.pdf

[wellREDman]

vjing is not just about triggering clips, there should be some mention of visualisations, and live camera stuff, and fxing, and the mixing together of all of the above

[KillingFrenzy]

You observations seem as a rule to be more about visuals programs than the general science. I have some specific personal differences from the general observations you've made.

An audiovisual sequencing tool that produces a linear effect through a single screen, though not necessarily a narrative.
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I often use multiple screens with multiple sources. I'm not sure how the process is particularly linear, other than that one can't be anything but linear unless you develop a time machine. If anything, a variety of effects involving time I use tend to play with linear structure.

The database of video clips is accessed through an existing cultural interface (a VCR style)
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There's not much VCR ish about the way I use clips in my particular visuals program. I don't really cue or play them the same way, and they tend to be loops, which isn't a very VCR-like concept. I find the process much more in line with audio sampling gear, and in many ways dissimilar to use of standard video production gear. I do use the "existing cultural interface" of a VCR when I use vcrs... but that just means I'm using pre-existing media devices when I do.

Any multimedia elements can be digitized and accessed in an AVI format
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Not really. The concept of live effects and live audio visualizations is completely dependent on them being in realtime to an uncoordinated source. For example our friend Rovastar is a strong proponent of a style of visuals that is completely dependent on a degree of spontaneous abstraction. This means if you made an avi out of what he was up to, it wouldn't be the same as the original intention. Similarly, using live effects on a live input.. or to a lesser degree a stream of video is by its very nature an ephemeral art form and doesn't have the same effect if played back later as a clip.
Oh yeah, some programs don't use AVIs at all... for example flash mixers, audiovisualization tools, pure 3d programs, etc.

The database of clips is obviously accessible as thumbnail keyboard triggers
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There's any variety of ways to access a database, and this seems like you're talking in very specific terms of a particular computer program. I don't ever use thumbnails, myself. And I also consider my DV tape collection a sort of database which is accessed by my hands in a box.

The database can be completely replaced or altered
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Somebody could be a visuals person using only the default effects on something like a Hippotizer. I'm not saying they'd be a good one, but I think the art of triggering clips and mixing them is in some ways independent of the necessity of them being able to be changed.

The level of interactivity allows not just access to all the database in any order, but also real-time manipualtion of the database
------------------------------------
In any order would imply that elements of the "database" must be presented in a linear matter. It seems to me that the very heart of what I see myself doing is based on juxtaposition and combination of different elements of a database. The database includes clips, tapes and non-database material such as live input and sound visualizations. The ability to have "real-time manipulation" of the database doesn't seem that inherent. If I was doing a set with a band and had pre-prepared material on DVDs, I might have a very specific database of material and the work would be in the application of live events to that material. The database isn't being manipulated in real-time, but the presentation of the material is.

The above comments weren't meant to diffuse your points, just point out other instances that might broaden or cause you to rethink the terminology in a more expansive case of general visuals work.

[wellREDman]

nice one KF, that was basically what i was trying to say, but couldnt be bothered to translate into newmediaspeak

[sondz]

That was definitely a full answer!

Yeah, I was talking specifically about VJamm (the cheap version) and FlowMotion. But I?ve done the exam now, so it?s all over and done with. You made some interesting points, and I?ll email them to my lecture to see what he thinks

Sondz

[Nema]

my simple definition of VJing is beeing a "realtime picasso".

[Amukidi]

"my simple definition of VJing is beeing a "realtime picasso".

:banghead:

[revjrbobdodds]

Haha Amukidi! Well said!

It's probably worth going back to the first post, and noting that the first sentence is "Has anyone read 'The Language of New Media' by Lev Manovich?"

Is anyone reading for theory and technique at all? I mean, like something other than a coding manual or a comic book or the label off a Smirnoff Ice?

Old Lev's film metaphors are looking a bit dated, but there's a lot there (about the loop, the database, etc.) for VJs to ponder -- but FIRST YOU HAVE TO READ THE BOOK.

Some of the best practitioners are also writers -- Eisenstein most notably, but also Gary Hill, Bill Viola, Stan Brakhage, Malcolm LeGrice, Lars von Trier -- and all their writing on their practices is there to rip and burn.

therev