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Journal articles on the topic 'Lev Manovich'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 June 2025

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1

Waszkiewicz, Alicja. "Lev Manovich (2020). Cultural Analytics." Central European Journal of Communication 14, no. 2(29) (2021): 350–52. http://dx.doi.org/10.51480/1899-5101.14.2(29).9.

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Fong, Byron. "Review: Cultural Analytics, by Lev Manovich." Afterimage 48, no. 1 (2021): 80–85. http://dx.doi.org/10.1525/aft.2021.48.1.80.

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Craft, Brock. "Software Takes Command, by Lev Manovich." Popular Communication 12, no. 3 (2014): 194–97. http://dx.doi.org/10.1080/15405702.2014.929377.

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Tormakhova, Anastasiia. "Lev Manovich's Cultural Analytics: from Theory to Practice." Issues in Cultural Studies, no. 37 (May 28, 2021): 71–79. https://doi.org/10.31866/2410-1311.37.2021.236001.

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The purpose of the article is to study the specifics of cultural analytics as Lev Manovich’s theoretical concept and to determine the possibilities of its practical application for analytical and expert activities in the field of culture. The research methodology is connected with the use of the method of analysis, which aims to determine the features of Lev Manovich’s theoretical concept. The analogy method is used to demonstrate the application of the results of the Cultural Analytics Lab and the practice of analytical activities in the field of culture. The prognostic method is used to highlight the algorithm of culture analysis, which should move in logic from data collection to their expert interpretation. The scientific novelty lies in the description of the possibilities of the practical application of Lev Manovich’s achievements in the field of Cultural Analytics. Conclusions. The cultural sector is a dynamic system that is constantly changing. Modifications and development of the cultural space necessitate its research and the formation of a new methodology. Cultural Analytics Lab Lev Manovich’s developments open up a new tool that can be used to visualize cultural data, including digital and digitized data. Cultural analytics is a comprehensive approach based on the achievements of various disciplines — art studies, history, sociology of computer science and cultural studies. It can be perceived as the initial stage, which will be an expert activity. The implementation of research in culture is inextricably linked to the application of an interdisciplinary approach, when not only objective information is provided, but it is also subject to interpretation by experts and specialists in this humanitarian field.
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De Iulio, Simona. "Lev Manovich, The Language of New Media." Questions de communication, no. 4 (December 1, 2003): 473–75. http://dx.doi.org/10.4000/questionsdecommunication.5947.

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De Iulio, Simona. "Lev Manovich, The Language of New Media." Questions de communication, no. 4 (December 1, 2003): 473–75. http://dx.doi.org/10.4000/questionsdecommunication.5949.

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Vasques, Liliana. "Collect, analyse, visualize data: establishing the field of Cultural Analytics in Digital Humanities." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 9, no. 1 (2021): 273–76. http://dx.doi.org/10.14195/2182-8830_9-1_16.

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Pereira, Catarina Lira, Domingos Loureiro, and Diana Costa. "Estética da IA: “Unreliable Memories” de Lev Manovich." Revista Apotheke 10, no. 2 (2024): 156–73. http://dx.doi.org/10.5965/244712671022024156.

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Este estudo incide na intersecção entre Inteligência Artificial (IA) e arte contemporânea. Centra-se na exposição Unreliable Memories de Lev Manovich como caso de estudo, propondo-se analisar como Manovich utiliza a IA para expandir as fronteiras visuais e conceituais da arte, bem como a confiabilidade das representações sintéticas produzidas por essas tecnologias. O documento está dividido em três partes principais. Inicia com uma contextualização teórica abrangente sobre a estética da IA e os desafios associados à criação artística com ferramentas de geração de imagens. Analisa, em seguida, a exposição em si, descrevendo as diversas séries de obras, desde desenhos manuais dos anos 80 até criações recentes geradas por IA – abrangendo séries específicas como Drawing Rooms e In the Garden – com as peculiaridades visuais e as imperfeições que refletem a natureza efêmera e fragmentada da memória. Discute, por fim, como as imperfeições e peculiaridades das imagens geradas por IA refletem a falibilidade da memória, desafiando normas perceptivas tradicionais. Esta pesquisa fornece informações sobre Estética da IA para a comunidade artística e acadêmica, oferecendo bases para futuras pesquisas acadêmicas e artísticas na área.
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Avellaneda, Nicolás. "Reseña de Manovich, Lev. The Science of Culture? Social Computing, Digital Humanities and Cultural Analytics, Journal of Cultural Analytics, 1(1), 1-15. 2016." Publicaciones de la Asociación Argentina de Humanidades Digitales 2 (December 15, 2021): e032. http://dx.doi.org/10.24215/27187470e032.

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(#ir!), Coletivo Intervalos &. Ritmos, and Lev Manovich. "Visualizing Vertov." Revista Vazantes 4, no. 1 (2020): 228–66. http://dx.doi.org/10.36517/vazppgartesufc2020.1.24.

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 Este ensaio, escrito por Lev Manovich, debate dois filmes de Dziga Vertov através de técnicas para visualização de dados. Manovich argumenta que aquele desejo de Vertov por uma “linguagem gráfica” antecipou o trabalho recente de artistas visuais e designers que utilizam a análise computacional e a computação gráfica para visualizar padrões em obras artísticas. Ainda, como uma resposta digital ao que Vertov teorizou como Cine-Olho, o trabalho de Manovich explora como as novas técnicas de visualização podem nos auxiliar a compreendermos diferentemente o cinema, revelando padrões e dimensões que são impossíveis ou difíceis de se estudar através dos métodos estabelecidos nas análises cinematográficas. Manovich então revela toda uma nova ciência e estéti- ca do cinema através de conjuntos de dados, mapas, padrões e gráficos que se encontra latente na imagem da película.
 
 
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Dondero, Maria Giulia. "Les visualisations des données urbaines : de Bruno Latour à Lev Manovich." Questions de communication, no. 36 (December 31, 2019): 85–99. http://dx.doi.org/10.4000/questionsdecommunication.20964.

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12

Roth, Martin E. "Book review: Software Takes Command, written by Manovich, Lev." Asiascape: Digital Asia 1, no. 3 (2014): 226–28. http://dx.doi.org/10.1163/22142312-12340014.

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Portela, Manuel. "New Media as Software." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 1, no. 2 (2013): 176–80. http://dx.doi.org/10.14195/2182-8830_1-2_16.

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Taú, Marcio Rodriguez, and Sergio Nesteriuk. "Design Audiovisual: Remixabilidade na Obra de Saul Bass." Novos Olhares 5, no. 1 (2016): 45. http://dx.doi.org/10.11606/issn.2238-7714.no.2016.115953.

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Esse artigo pretende identificar nas produções audiovisuais feitas por Saul Bass (1920-1996) para o cinema a lógica da remixabilidade (Manovich, 2005) e entender como as tecnologias digitais podem contribuir para a hibridização de elementos de diferentes mídias na linguagem audiovisual. A partir da análise dos créditos de abertura do filme Casino (Martin Scorsese, 1995) e da relação com estudos de Lev Manovich (2005; 2007; 2008), Lucia Santaella (2007) e Arlindo Machado (1997) pretende-se apontar como o remix foi potencializado com as tecnologias digitais de manipulação de sons e imagens.
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Wielgosz, Marcin. "Usefulness and Potential Benefits of Analyzing New Media from the Perspective of L. Manovich’s Soft Technological Determinism – The Case of Instagram and Smartphone." Social Communication 3, no. 2 (2017): 6–13. http://dx.doi.org/10.1515/sc-2017-0007.

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Abstract The article is an attempt to confront Lev Manovich’s soft technological determinism with two contemporary media - the smartphone and the mobile application called Instagram. The analysis is based on the characteristics of a term called “new media” identified by Manovich, with emphasis on variation and cultural transcoding. The verification of accuracy and the use of the soft technological determinism in the context of selected new media has varied by the discourse on contemporary new media and constitutes an interesting point of view. The evolution and the development of both variation and cultural transcoding (two elements conditioning their universality which continually shows an upward trend) regarding mobile media, give an opportunity to forecast their productive potential.
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Atanasov, Bozhidar Valkov. "(Meta)Media - Key Concepts and Characteristics." Postmodernism Problems 15, no. 1 (2025): 61–83. https://doi.org/10.46324/pmp2501061.

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The article explores the concept of (meta)media and their role in the modern media ecosystem, linking the visionary ideas of Paul Otlet and Vannevar Bush with contemporary theories by Lev Manovich, Marshall McLuhan, and Henry Jenkins. It emphasizes the importance of the global knowledge network and the "memex" device as the foundation for digital media systems. Key concepts such as immediacy, hypermediality, and remediation explain how new media transform traditional forms. The author highlights the significance of numerical representation, modularity, and automation according to Lev Manovich, as well as participatory culture analyzed by Jenkins. The main conclusion is that metamedia represent an integrative model that unites old and new media, encouraging active user participation and changing the dynamics of content creation and consumption. Further research is recommended on the interconnections between media forms and user interaction to better understand the future of media.
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Šimůnek, Michal. "Software takes command: Extending the language of new media by Lev Manovich." Visual Studies 31, no. 1 (2014): 86–87. http://dx.doi.org/10.1080/1472586x.2014.941605.

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Zamora, Daniel López. "Navigating styles: a critical recension of Instagram and contemporary image by Lev Manovich." Revista Lusófona de Estudos Culturais 5, no. 2 (2018): 519. http://dx.doi.org/10.21814/rlec.368.

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The author Lev Manovich is a Russian academic and digital culture thinker, well known in the digital arts and culture since the publication of his book The language of new media (2001) in which he develops an original approach to reflect on how new media and technology is intersecting different aspects of contemporary culture, drawing parallelisms with the developing of cinema in the 20th century, aesthetics and the translation to a numerical world, enunciating a systematic and rigorous approach to understanding new media...
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19

Souza e Silva, Wagner, and Ana Roberta Vieira de Alcântara. "Olhares Dóceis Perante o Instagramável." Revista Eco-Pós 27, no. 1 (2024): 210–25. http://dx.doi.org/10.29146/eco-ps.v27i1.28163.

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Observando a relevância do Instagram na cultura visual contemporânea a partir das contribuições de Tim Wu (2012) e Lev Manovich (2017), este texto propõe explorar o instagramável como uma maneira de qualificar o mundo para além da própria plataforma que o originou, uma vez que é possível constatar seu potencial para promover a constituição de um olhar dócil, termo esse que foi proposto por Giselle Beiguelman em sua recente obra Políticas da Imagem (2021).
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Carvajal Barrios, Giovanna. "Cultura escrita en la sociedad del software." Revista Nexus Comunicación, no. 18 (December 30, 2015): 140. http://dx.doi.org/10.25100/nc.v0i18.683.

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<p>El artículo forma parte de una investigación sobre las transformaciones de la cultura escrita en el ciberespacio. En él se reseñan los planteamientos de Lev Manovich (2013) sobre la cultura del software para articularlos a la conceptualización de la cultura escrita y sus conocimientos procedimentales (Ulloa y Carvajal, 2006) y a la emergencia de conocimientos procedimentales en el escenario de la redes sociales, como parte de las transformaciones en curso.</p>
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Manovich, Lev, and Geert Lovink. "Digital constructivism: What is European software? An exchange between Lev Manovich and Geert Lovink." Continuum 13, no. 2 (1999): 165–73. http://dx.doi.org/10.1080/10304319909365790.

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22

Reibel, Marie, and Nadine Desrochers. "Société de l’information et infobésité : perceptions et représentations croisées." Documentation et bibliothèques 60, no. 1 (2014): 31–46. http://dx.doi.org/10.7202/1022860ar.

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Cette étude qualitative de contenu vise à interroger les concepts de société de l’information et d’infobésité auprès d’un petit groupe d’étudiants par l’entremise d’un questionnaire en ligne. Des représentations artistiques de ces concepts ont été présentées aux répondants afin d’évaluer leurs perceptions. Les résultats obtenus mettent l’accent sur la valeur de l’information, une forte présence de la communauté et révèlent également un rapport au temps singulier. Les données ont été analysées à la lumière d’un cadre conceptuel comprenant quatre auteurs : Daniel Bell, Manuel Castells, Roland Barthes et Lev Manovich.
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Hooper, Silvana Seabra. "Novas tecnologias da informação, escalabilidade e métodos quantitativos e qualitativos nas ciências humanas." RuMoRes 13, no. 26 (2019): 233–53. http://dx.doi.org/10.11606/issn.1982-677x.rum.2019.154201.

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O trabalho examina os pressupostos que orientaram a oposição entre os métodos quantitativos e qualitativos nas ciências humanas e sociais, tratando com destaque o aspecto da escalabilidade como problema epistemológico. Trata-se de retomar alguns pontos deste debate em face das novas tecnologias da informação (NTIs), focando no impacto da grande produção de dados. Compreendendo o método como lógica de investigação, a proposta retoma as discussões de Lev Manovich e Bruno Latour como referência para uma releitura da dicotomia entre os métodos quantitativos e qualitativos nas ciências humanas e sociais.
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Dondero, Maria Giulia. "La remédiation d’archives visuelles en vue de nouvelles iconographies : le cas de la « Media Visualization » de Lev Manovich (A remediação de arquivos visuais para novas iconografias: o caso da "Media Visualization" de Lev Manovich)." INTERIN 23, no. 1 (2018): 85–107. http://dx.doi.org/10.35168/1980-5276.utp.interin.2018.vol23.n1.pp85-107.

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Este artigo visa a dois objetivos: o primeiro é descrever os diferentes tipos de remediação oferecidos pela “Media Visualization” produzida por Lev Manovich e o “Cultural Analytics Lab”. Analisaremos dois tipos de visualização de grandes coleções de imagens arquivadas (Big Visual Data), a montagem e o diagrama, aventando a hipótese de que essas visualizações procedem a uma análise do arquivo visual por meios especificamente visuais e mesmo topológicos. A questão da metalinguagem visual será abordada. O segundo objetivo é compreender se e de que maneira esse gênero de visualizações analíticas que utiliza o método do “distant reading” pode ser complementar à análise semiótica da imagem (“close reading”).
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Paprzycka, Anna. "Znaczenie praktyki dla badacza kultury cyfrowej." Acta Universitatis Lodziensis. Folia Litteraria Polonica 60, no. 1 (2021): 79–91. http://dx.doi.org/10.18778/1505-9057.60.05.

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Celem artykułu jest określenie kształtującego się nowego wizerunku humanisty badającego kulturę cyfrową. W artykule omówione zostało znaczenie praktyki dla prowadzenia badań nad cyfrową kulturą. Postawiono w nim pytania o to, czy chcąc opisywać współczesny świat należy posiadać techniczne kompetencje w sferze kultury cyfrowej i jakie korzyści mogą one przynieść humanistom. Ta problematyka zestawiona została z teorią trzeciej kultury Charlesa Percy’ego Snowa. Zaprezentowano tu również sylwetki badaczy reprezentujących różne strategie łączenia praktyki z teorią, takich jak: Lev Manovich, Alexander R. Galloway, Jan Stasieńko czy Mirosław Filiciak. W artykule podjęto próbę odpowiedzi na pytanie, czy praktyczne kompetencje w sferze kultury cyfrowej mogą być remedium na postępujący kryzys humanistyki.
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Ponce-Diaz, Romano, and Iván Ávila-González. "Navegación ergódica: aproximación desde los estudios visuales a las especificidades mediáticas narrativas de los videojuegos." La Colmena, no. 113 (March 15, 2022): 105. http://dx.doi.org/10.36677/lacolmena.v0i113.15675.

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Se abordan las especificidades mediáticas de los videojuegos con la intención de presentar una reflexión en torno al potencial campo de generación de conocimiento cultural derivado del estudio y análisis del discurso de las narrativas ergódicas. Abordamos estas como sistemas ficcionales en los que el lector tiene la capacidad de alterar o construir el relato a partir de acciones directas no-triviales. En ese sentido, nos acotamos a los videojuegos bajo los planteamientos teóricos de los estudios visuales, y retomamos la categoría de narrativa ergódica, los espacios digitales y las cartografías de análisis narrativo, propuestos por Espen J. Aarseth, Lev Manovich, Lauro Zavala y Heriberto Yépez.
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Zajdel, Jakub. "Hybryda medialna jako zestaw." Kwartalnik Filmowy, no. 85 (March 31, 2014): 175–82. http://dx.doi.org/10.36744/kf.2469.

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Autor opisuje jedną z form hybryd medialnych, jaką jest amalgamat audiowizualny. Istotnym novum w obrębie praktyk medialnych, które wprowadza amalgamat audiowizualny, jest rozszerzenie technologii zestawiania, opisanej przez Jeana Mitry’ego i Calvina Prylucka. Na płaszczyźnie materiałowej amalgamat może realizować połączenia różnych kodów przekazowych i retorycznych (Umberto Eco). Stosowana w mediach cyfrowych technika kompozytowania (Lev Manovich) umożliwia zacieranie wymienionych kodów i w rezultacie zainicjowanie w procesie odbioru przekazu audiowizualnego poszukiwania właściwego trybu precepcji. Autor przypomina termin „ze-staw” (Martin Heidegger) i zauważa, że w przypadku mediów technika jest dostawiana do psychofizycznych zdolności człowieka. Amalgamat audiowizualny można zatem rozpatrywać jako świat możliwy, w którym widz natyka się na postrzeżenia wcześniej nie zrealizowane.
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Moherdaui, Luciana. "Jornais de internet simulam o papel." Revista Observatório 1, no. 1 (2015): 63. http://dx.doi.org/10.20873/uft.2447-4266.2015v1n1p63.

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A partir de pesquisa realizada em interfaces jornalísticas dos principais sites de jornais do Brasil e do mundo, este artigo apresenta o estado da arte do jornalismo e aponta diretrizes para repensar a forma pela qual são exibidas as notícias na internet, especialmente nas redes sociais. O trabalho é fundamentado por teóricos como Lev Manovich, Tim Berners-Lee, Ted Nelson, Gilles Deleuze e Félix Guattari.Palavras-chave: jornalismo, internet, interface, rede social ABSTRACTBased on an online research of interface newspaper sites in Brazil as well as other parts of the world, this article describes the current state of journalism and provides guidelines for rethinking the way in which the news are displayed on the Internet, specially on social networks. The work is supported by theorists such as Lev Manovich, Tim Berners-Lee , Ted Nelson , Gilles Deleuze and Félix Guattari.Keywords: journalism, internet, interface, social network RESUMENA partir de una investigación de las interfaces periodísticas de los principales sitios web de Brasil y del mundo, este artículo presenta el estado del arte del periodismo y muestra directrices para repensar la forma como las noticias son presentadas en la internet, especialmente en las redes sociales. El trabajo tiene como base la obra de teóricos como Lev Manovich, Tim Berners-Lee, Ted Nelson, Gilles Deleuze y Félix Guattari.Palabras clave: periodismo, internet, interface, redes sociales. ReferênciasCASTELLS, M. Communication power. Nova York: Oxford Press, 2009.CORREIA, Fernando. Os jornalistas e as notícias. Lisboa: Editorial Caminho, 1997DELEUZE, G.; GUATTARI, F. Mil Platôs - Capitalismo e esquizofrenia. São Paulo: Editora 34, v. 1, 2004.__________________________. Mil Platôs - Capitalismo e esquizofrenia. São Paulo: Editora 34, v. 5, 2007.FOUCAULT, M. Vigiar e Punir - Nascimento da prisão. Petrópolis: Vozes, 1999.GALTUNG, J., RUGE, J. The structure of foreign news. Journal of Peace Research, vol. 1. Noruega, 1965. p. 64-90. Disponível em http://bit.ly/Ak9NGw. Acesso jul. 2015.GANS, H. Deciding what´s news. A study of CBS Evening News, NBC Nightly News, News, Newsweek and Time. New York: Pantheon Books, 1979.GIBSON, W. Neuromancer. São Paulo: Editora Aleph, 2003.JOHNSON, S. Cultura da interface: como o computador transforma nossa maneira de criar e comunicar. Rio de Janeiro: Jorge Zahar, 2001.KUNCZIK, M. Conceitos de jornalismo. São Paulo: Edusp, 1997.LÉVY, P. Cibercultura. São Paulo: Editora 34, 1999.LIPPMAN, W. Opinião pública. Petrópolis: Vozes, 2008.MANOVICH, L. Software takes command. Software Studies, EUA, 20 nov. 2008 In: http://bit.ly/1TPMWID Acesso jul. 2015.MOHERDAUI, L. Guia de estilo web: produção e edição de notícias on-line. 3ª ed. São Paulo: Senac, 2007.MONACHESI, J. Contra a clicagem burra. Folha de S. Paulo, São Paulo, jan. 2004, p. 8 - 9 - 18.NELSON, T. Deeper Cosmology, Deeper Documents, 2001. The Twelfth ACM Conference on Hypertext and Hypermedia, Dinamarca, 14-18 ago. 2001 http://bit.ly/xpgIMR. Acesso jul. 2015.PAUL, N. The elements of digital story making. Universidade de Minsesota, EUA, 2005.____________. New News retrospective: Is online news reaching its potential? Online Journalism Review, Califórnia, 24 mar. 2005. Disponível em http://bit.ly/1Iec9E5. Acesso jul. 2015.SCHUDSON, M. The Sociology of News. New York: Jeffrey C. Alexander, 2003.SHIRKY, C. A cultura da participação. Rio de Janeiro: Zahar, 2010.SOUSA, J. P. Tobias Peucer. Progenitor da Teoria do Jornalismo. Biblioteca On-Line de Ciências da Comunicação. Portugal, 2004. Disponível em: http://bit.ly/y5USBi. Acesso jul. 2015.TIM Berners-Lee on the next web. TED 2009, EUA. Disponível em http://bit.ly/1cwDl7M. Acesso 24 ago. 2015.TUCHMAN, G. Making news: a study in the construction of reality. New York: Press. 1978.TWITTER noticiou morte de Bin Laden antes de Obama. Infoexame, São Paulo, 2 mai. 2011. Disponível em: http://bit.ly/rezYTV. Acesso jul. 2015.WEINBERGER, D. The hyperlinked metaphysics of the web. Hyperorg, 3 dez. 2000.Disponível em: http://bit.ly/zSrkus. 2000. Acesso em jul. 2015.WOLF, M. Teorias da comunicação de massa. Lisboa: Presença, 1995. Disponível em:Url: http://opendepot.org/2717/PID: http://nbn-resolving.de/urn:nbn:de:0168-ssoar-458106 Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo
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Rojas-Rocha, Rodolfo. "Del video-mapping a la representación digital: espacio y mediación." ESCENA. Revista de las artes 78, no. 1 (2018): 125. http://dx.doi.org/10.15517/es.v78i1.33914.

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Este artículo intenta reflexionar sobre el lenguaje digital de los nuevos medios, con lo cual muestra el video-mapping como mediación espacial que integra los cinco principios aportados por Lev Manovich: representación numérica, modularidad, automatización, variabilidad y transcodificación. Asimismo, este aporte teórico se relaciona con la obra mediática denominada “Territorios de la Catástrofe”. En esta obra de inspiración urbana se emplean principios que hacen alusión a la producción vinculada a las pantallas, a partir de puntos de encuentro que la describen intermedial, con frames, sin estructura, lumínica y sonora. Nos proponemos reflexionar sobre el dispositivo articulador de pantallas y multimedios, el cual determina la relación directa entre la imagen de video, la práctica artística y el espacio sonoro.
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Cagigal, Pedro. "Teoría digital para detonar creación artística." Index, revista de arte contemporáneo, no. 06 (December 31, 2018): 112–24. http://dx.doi.org/10.26807/cav.v0i06.168.

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Este artículo plantea un acercamiento a algunos fundamentos teóricos de las características de los medios digitales para ser aplicados al desarrollo de procesos pedagógicos de creación y análisis en las artes. Apunta a generar un insumo para que estudiantes, docentes y profesionales del campo tengan herramientas teórico-prácticas para analizar y explorar creativamente los cambios en la producción artística y cultural articulados a las características de la reproducción digital. Se abordarán conceptos de teoría digital planteados por Lev Manovich, Mark Deuze e Ian Hutchby, complementándolos y relacionándolos con teoría del arte. Se buscarán bases comunes que permitan a artistas de distintas disciplinas acercarse, leer y generar procesos creativos a partir de un entendimiento crítico del medio usado.
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Pavletić, Livia. "Gesamtkunstwerk i multimedija." In medias res 13, no. 25 (2024): 4245–53. http://dx.doi.org/10.46640/imr.13.25.8.

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Ideja teksta je propitivanje sličnosti i razlika između sadržaja pojmova gesamtkunstwerk i multimedija. Riječ je o pojmovima koji pretpostavljaju traganje za novim oblikom ujedinjenja umjetničkih oblika, u različitim vremenima i na različite načine. Ključni mislilac (i umjetnik) gesamtkuntwerka, odnosno te orijentacije je kompozitor Richard Wagner. Teoretičar koji je bio na prijelomu svjetova tradicionalne umjetnosti i suvremene tehničke sfere bio je Walter Benjamin. On započinje s novom trasom pisanja o umjetnosti na koju se naslanjaju teoretičari kao što su Marshall MacLuhan, Vilem Flusser, Friedrich Kitller, Jean Baudrilliard, Dona Harway,Lev Manovich i Maurizio Lazarato. Tekst će predstaviti ideju gesamtkunstwerka i usporediti je sa nekim od stavova teoretičara koji su tu ideju prihvatili ili odbili.
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COOK, SIMON. "Late Victorian visual reasoning and Alfred Marshall's economic science." British Journal for the History of Science 38, no. 2 (2005): 179–95. http://dx.doi.org/10.1017/s0007087404006156.

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Today the economic diagram is employed universally in teaching and research by professional economists. Yet the history of its construction shows that much that has been regarded as distinctive of twentieth-century visual culture was prefigured in the nineteenth. This paper will place the construction of the first economic diagrams by Alfred Marshall in the context both of contemporary visual technologies developed in other moral sciences, and of his wider theory of industrial production. The paper will argue that an understanding of the background to the historical graphs, constructed by the Cambridge political economist from the late 1860s onwards, will necessitate a revision of the narrative of modern visual reasoning, as recently advanced by Lev Manovich.
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Pašteková, Michaela. "Aesthetics of Photography in the Era of Instagramism." ESPES. The Slovak Journal of Aesthetics 7, no. 1 (2018): 38–46. https://doi.org/10.5281/zenodo.6377875.

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For students of photography who were born in the digital era, publications and magazines about photography are no longer the reference sources of information, but it is the social platform Instagram. There, they are looking not only for current aesthetic trends, but they also actively use Instagram in their art projects. Lev Manovich calls this modern phenomenon Instagramism. In our paper we look at the basic features of his aesthetics. Than, we will compare how established artists such as Cindy Sherman, Richard Prince and Czech photographer Libuse Jarcovjakova work with Instagram and in which ways their approach is different from the co-called Instagrammers.
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Dondero, Maria Giulia. "Les forces dans l’image et les gestualités émotionnelles." SHS Web of Conferences 81 (2020): 03005. http://dx.doi.org/10.1051/shsconf/20208103005.

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Cet article aborde les relations entre le langage visuel et les émotions. Cette exploration se compose de deux volets : le premier est consacré aux forces textualisées dans l’image, le second aux gestualités émotionnelles, à savoir aux pratiques énonciatives du corps qui accompagnent l’interprétation et l’appréciation des images. La première partie discute la contribution de René Thom à la réflexion sur les émotions de la contemplation esthétique face au déploiement des forces dans les tableaux ; tandis que la deuxième partie met en contraste l’analyse manuelle et l’analyse computationnelle au regard des gestes de l’analyste et de l’observateur. L’analyse manuelle est illustrée à travers la pratique d’enseignement de Roland Barthes au Collège de France, l’analyse computationnelle est en revanche prise en examen à partir des expériences de Lev Manovich et des Cultural Analytics.
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35

Magno, Sara. "Narrative and database in “All that is Solid”, a desktop documentary." Galáxia (São Paulo), no. 41 (August 2019): 14–30. http://dx.doi.org/10.1590/1982-25542019241987.

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Abstract This paper proposes to analyze “All that is Solid” by artist and filmmaker Louis Henderson, a documentary film that uses the desktop of the computer as a background for a new kind of narrative structure to unfold. This film will be looked at mainly through Lev Manovich´s notion of the “database as a symbolic form” (MANOVICH, 1999) which the author attributes to the “age of the computer” when the database becomes the key form of cultural expression after the novel and cinema. It conducts a close reading of the film while pointing out several moments when database as a cultural expression surfaces, becomes dominant, and competes with conventional narrative forms of filmmaking. Through the basic system of organizing folders on his computer’s desktop Henderson reflexively unravels a complex story: as technological progress advances in the West, piles of obsolete computers are thrown away, sent to the coast of West Africa, and end up being recycled in waste grounds such as Agbogbloshie in Accra, Ghana. The film confronts us with a strange system of recycling, a kind of reverse, neo-colonial mining, where groups of Ghanaians search for residues of mineral resources in the computer waste materials sent from Europe. It tells us of the correlation between technology and race, and of the immateriality of the ‘Cloud’ in contrast to the heavy materiality of e-waste zones.
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Guimarães, Denise Azevedo D. "A animação como opção tecnoestética em vinhetas de abertura de filmes." Dispositiva 6, no. 10 (2017): 19–39. http://dx.doi.org/10.5752/p.2237-9967.2017v6n10p19-39.

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Este artigo busca uma possível (re)articulação das questões ligadas à representação e aponta a importância de se considerar como os regimes de visualidade são alterados, por força dos efeitos tecnoestéticos na linguagem das novas mídias. São analisados os signos intercambiantes entre o verbal e o icônico, em vinhetas de abertura de filmes, com base nos conceitos teóricos fundamentais de Charles Sanders Peirce. Uma leitura intersemiótica investiga práticas criativas que integram signos visuais e verbais, os quais implicam um desafio estético, partindo da animação para as imagens computadorizadas. Há ainda uma referência às questões formuladas por Lev Manovich e por Wiliam Brown sobre o que acontece com a identidade indicial do cinema, quando a tecnologia fílmica tradicional vem sendo substituída pela tecnologia digital.
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Cho, Chung Beom, and Joon Hui Cho. "A Study on the Aesthetic Characteristics of New Media Theatre : Focusing on the Theoretical Frameworks of Vilém Flusser and Lev Manovich." Liberal Arts Innovation Center 17 (March 31, 2025): 91–125. https://doi.org/10.54698/kl.2025.17.91.

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This study analyses the aesthetic characteristics of New Media and New Media Theatre that have emerged based on digital technologies of the Internet. The media theories of Vilém Flusser and Lev Manovich, applied as a framework for analysis, help us to understand digital technologies that are difficult to interpret through traditional theatre aesthetics. Developments in digital technologies and new media environments have fundamentally changed the way theatre is presented and the audience experience, pushing theatre away from its traditional textual focus and expanding its outreach through multimedia and interactive performance forms. The main findings of the study are as follows. First, the relationship between new media art and theatre is explored, and the concept of new media theatre is defined. Then, through Flusser’s theory of communication and code, we examine how human communication changes with technology and culture, and analyse the changes in communication in a technological image environment. Based on Manovich’s five principles of new media (numerical reproduction, modularity, automation, variability, and sign transformation), we explore the narrative structure and stage production characteristics of new media theatre, and analyse how software and automation are applied to create theatre. Through this, the aesthetic characteristics of new media theatre are derived into three categories: 1) the expansion of theatrical communication through technological images, 2) narrative transformation through modularity and variability, and 3) programmed staging and automation. This study highlights how new media theatre expands and transforms the interaction of actors, space, and audience, which are the essential elements of traditional theatre, and suggests new aesthetic possibilities brought about by the convergence of digital technology and theatre. In doing so, it aims to contribute to laying the theoretical foundations for future research and creation of new media-based performances.
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Heywood, Miriam. "True Images: Metaphor, Metonymy and Montage in Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire(s) du cinéma." Paragraph 33, no. 1 (2010): 37–51. http://dx.doi.org/10.3366/e026483340900073x.

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This article compares the poetics of Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire(s) du cinéma in order to realign our understanding of metaphor, metonymy and montage with the inter-formal dialogues that new media artworks increasingly demand of audiences. An analysis of Godard's ‘quotation’ of Proust's words and ideas from Le Temps retrouvé sets out an explicit rivalry between text and image. However, drawing on formalist and structuralist approaches to both literature and cinema, including Roman Jakobson and Gérard Genette, as well as more recent discussions developed by Gilles Deleuze and Lev Manovich, I will argue that the nature of the image manifested in both artworks corresponds to a shared aesthetic that exceeds distinctions between word and image, literature and video.
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Da Silva, Cicero Inacio. "Making of da apropriação." Lumina 14, no. 2 (2020): 158–70. http://dx.doi.org/10.34019/1981-4070.2020.v14.30754.

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O remix tem ocupado um papel de interlocução cultural importante quando o assunto é originalidade, autoria, assinatura, apropriação, inapropriação e desapropriação, pois entre samplings e deslocamentos contextuais de vozes e sonoridades, o resultado estético e/ou a mensagem comunicacional de um remix normalmente entra em processo de crise identitária. A quem pertence a criação original de um Remix? Quais os espaços de circulação do Remix? Quem é o receptor do Remix? O presente artigo é uma reflexão analítica em formato de entrevista com um dos mais importantes pensadores do Remix, Eduardo Navas, professor da Penn State College of Arts and Architecture, responsável pelas disciplinas de cultural analytics e humanidades digitais. Navas foi orientando de doutorado de Lev Manovich na Universidade da Califórnia e é autor de inúmeros livros e centenas de artigos sobre remix.
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40

Wang, Zhe. "The promise of database cinema: a review of Lev Manovich and Andreas Kratky's ‘Soft Cinema: Navigating the Database’." Journal of Media Practice 10, no. 2-3 (2009): 289–94. http://dx.doi.org/10.1386/jmpr.10.2-3.289_4.

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41

Fischer, Gustavo Daudt, and João Ricardo Bittencourt. "O uso do Cultural Analytics como movimento metodológico para ingressar nas camadas das imagens videojográficas." Logos 26, no. 2 (2020): 178–96. https://doi.org/10.12957/logos.2019.45652.

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O trabalho parte da formulação de um olhar sobre as imagens de games – entendidas como imagens videojográficas - na perspectiva da tecnocultura audiovisual a partir da analítica cultural de Lev Manovich, examinando uma extensiva base de imagens de jogos. Para tanto, iniciamos entendendo que há uma coalescência de diferentes camadas presentes nas imagens técnicas de games, a saber: a) uma tecnocultura do jogo e do jogar, 2) das audiovisualidades enquanto qualidade durante que se atualiza nos diversos produtos culturais e 3) do maquínico, entendido como da ordem das operações do software e das materialidades do hardware. Realiza-se então um acionamento das ferramentas e conceitos da analítica cultural (Cultural Analytics) cuja proposta original busca o cotejamento entre o trabalho quanti e qualitativo para pensar a visualidade dos produtos culturais – gerando diversos imageplots para a discussão das camadas que se atualizam nas imagens videojográficas.
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42

Barranco, Mario. "¿Adónde fueron todos?: Mesa redonda sobre narrativas de la IA en el +RAIN Film Festival 2023." Comparative Cinema 11, no. 21 (2023): 170–74. http://dx.doi.org/10.31009/cc.2023.v11.i21.08.

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La primera edición del +RAIN Film Festival, el primer festival europeo de películas generadas con Inteligencia Artificial, ofreció una mesa redonda sobre narrativa y producción audiovisual con IA en la que participaron Cristóbal Valenzuela, Víctor Pérez y Víctor Alonso-Berbel, con la moderación de Jorge Caballero. Este artículo es una introducción a dicho diálogo, transcrito a continuación. En las distintas aportaciones, las revoluciones del futuro tratan de comprenderse a partir de analogías y equivalencias con las rupturas del pasado, como ya hiciera Lev Manovich al comparar las vanguardias con el mundo de las interfaces en su artículo “Avant-garde as Software” (1999). A través de la discusión, puede verse cómo los nuevos métodos de asimilación de datos y generación algorítmica no pueden separarse de su contexto de aparición, fundamental para los sentidos (éticos y estéticos) de la creación con inteligencia artificial.
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43

Kalil, Samara. "Ubiquidade, mobilidade, conexão e selfies: os softwares estão entre nós." Paradoxos 2, no. 2 (2018): 46–56. http://dx.doi.org/10.14393/par-v2n2-2017-45476.

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Este artigo objetiva por meio do conceito de ubiquidade entender como os comportamentos reinventam-se com o tempo e refletem valores culturais, padrões e características importantes que, com o auxílio de novas ferramentas de análise, ganham outro olhar e dimensão. Apresenta como as relações das pessoas com o corpo e com as imagens são transferidas para um contexto de conexão e mobilidade constante - trabalhando o subgênero fotográfico selfie. São revisitados estudos de autores como Sherry Turkle, Lucia Santaella e Lev Manovich, sendo descrito um trabalho de análise de dados da rede social Instagram desse último autor, intitulado SelfieCity. Por fim, apresenta-se proposta experimental de observar dados de selfies na cidade de Porto Alegre/RS e assume-se que as representações nos espaços virtuais aparecem atravessadas de rompimentos e experimentações depentes da trajetória histórica e cultural dos usuários, com seus movimentos e anseios.
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44

HAMDAN, MOHD HEIDHIR, and AZHARUDIN MAPPON. "PERANAN UTAMA PARTISIPASI PENONTON DALAM SENI KONTEMPORARI." International Journal of Creative Future and Heritage (TENIAT) 12, no. 1 (2024): 47–61. http://dx.doi.org/10.47252/teniat.v12i1.1295.

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ABSTRAK Artis mencari tempat pameran yang asing dan interaktif untuk mempamerkan karya mereka selari dengan pertumbuhan seni kontemporari pada tahun 1950-an. Penonton seni yang bersifat partisipatif tidak lagi menjadi penonton pasif; sebaliknya mereka yang akan menyelesaikan tujuan karya seni atau menguji batas pengalaman fisik. Konteks yang tepat dari penciptaan dan tanggapan memerlukan pembiayaan untuk mendukung konsep "partisipasi". Namun, hal ini membuka peluang baru yang mana karya tidak berfungsi dalam gaya ini atau dilema etika sengaja dibiarkan tanpa penyelesaian, melebihi tujuan karya seni tersebut. Oleh karena itu, kajian ini akan melakukan analisis terhadap tiga karya seni interaktif oleh seniman Malaysia tentang signifikansi partisipasi penonton dari tahun 2014 hingga 2019. Teori kritik seni Feldman, yang telah digunakan dalam menganalisis karya seni interaktif hanya terungkap dari aspek konteks karya seni. Namun, diperkuat oleh teori seni media baru oleh Marshall McLuhan dan Lev Manovich. Analisis menjadi lebih tepat dalam menggunakan data elemen, ruang yang dapat dinavigasi, otomatisasi, transcoding, dan lain-lain lagi. Impak penelitian ini dapat membantu dan menjadi titik pengetahuan dan referensi baru untuk generasi mendatang. ABSTRACT Artists' search for alienating and interactive venues to exhibit their work coincided with the growth of contemporary art in the latter half of the 1950s. The viewers of participatory art will no longer be passive; rather, they will be the ones who complete the artwork's purpose or test the limits of physical experience. The precise contexts of creations and responses required funding to fund the concept of "participation." However, it opens up new ways in which works that don't work in this style or ethical quandaries are deliberately left unsolved defeating the artwork's purpose. Thus, this paper will drive an analysis of three interactive artworks by Malaysian artists on the significance of audience participation from 2014 to 2019. Feldman’s theory of art criticism, which has been used in analyzing interactive artworks, is only unraveling from the context aspect of the artworks. However, strengthened by the theory of new media art by Marshall McLuhan and Lev Manovich, analysis has become more accurate in using element data, navigable space, automation, transcoding, etc. Hopefully, this research will aid and serve as a new knowledge and reference point for future generations.
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BIN MAPPON, AZHARUDIN, and MOHD HEIDHIR HAMDAN. "THE MOMENTOUS OF AUDIENCE PARTICIPATION IN CONTEMPORARY ART." International Journal of Creative Future and Heritage (TENIAT) 12, no. 1 (2024): 47–61. http://dx.doi.org/10.47252/teniat.v12i1.1102.

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ABSTRACT Artists' search for alienating and interactive venues to exhibit their work coincided with the growth of contemporary art in the latter half of the 1950s. The viewers of participatory art will no longer be passive; rather, they will be the ones who complete the artwork's purpose or test the limits of physical experience. The precise contexts of creations and responses required funding in order to fund the concept of "participation." However, it opens up new ways in which works that don't work in this style or ethical quandaries are deliberately left unsolved defeating the artwork's purpose. Thus, this paper will drive more profound to analyze three interactive artworks by Malaysian artists on the significance of audience participation from the year 2014 to 2019. Feldman’s theory of art criticism which has been used in analyzing interactive artworks is only unraveling from the context aspect of the artworks. However, strengthened by the theory of new media art by Marshall McLuhan and Lev Manovich, analysis has become more accurate in the use of element data, navigable space, automation, transcoding, etc. Hopefully, this research will aid and serve as a new knowledge and reference point for future generations. ABSTRAKArtis mencari tempat pameran yang asing dan interaktif untuk mempamerkan karya mereka selaridengan pertumbuhan seni kontemporari pada tahun 1950-an. Penonton seni yang bersifat partisipatif tidak lagi menjadi penonton pasif; sebaliknya mereka yang akan menyelesaikan tujuan karya seni atau menguji batas pengalaman fisik. Konteks yang tepat dari penciptaan dan tanggapanmemerlukan pembiayaan untuk mendukung konsep "partisipasi". Namun, hal ini membuka peluang baru yang mana karya tidak berfungsi dalam gaya ini atau dilema etika sengaja dibiarkan tanpa penyelesaian, melebihi tujuan karya seni tersebut. Oleh karena itu, kajian ini akan melakukan analisis terhadap tiga karya seni interaktif oleh seniman Malaysia tentang signifikansi partisipasi penonton dari tahun 2014 hingga 2019. Teori kritik seni Feldman, yang telah digunakan dalam menganalisis karya seni interaktif hanya terungkap dari aspek konteks karya seni. Namun, diperkuat oleh teori seni media baru oleh Marshall McLuhan dan Lev Manovich. Analisis menjadi lebih tepat dalam menggunakan data elemen, ruang yang dapat dinavigasi, otomatisasi, transcoding, dan lain-lain lagi. Impak penelitian ini dapat membantu dan menjadi titik pengetahuan dan referensi baru untuk generasi mendatang.
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46

Dondero, Maria Giulia. "Visual semiotics and automatic analysis of images from the Cultural Analytics Lab: How can quantitative and qualitative analysis be combined?" Semiotica 2019, no. 230 (2019): 121–42. http://dx.doi.org/10.1515/sem-2018-0104.

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AbstractIn this article we explore the relationship between semiotic analysis of images and quantitative analysis of vast image corpora, in particular the work produced by Lev Manovich and the Cultural Analytics Lab, called “Media Visualization.” Media Visualization has been chosen as corpus because of its metavisual operation (images are visualized and analyzed by images) and its innovating way of conceiving analysis: by visual instruments. In this paper semiotics is used as an approach to Media Visualization and taken as an object of study as well, especially visual semiotics. In this sense, a comparison between visual semiotics (close reading of small corpora) and quantitative analyses of images (distant reading of vast collections) are conducted from a semiotic point of view. Post-Greimassian semiotics guides this study with respect to the issue of the image-within-an-image and metavisual visualization; Peircean semiotics is employed to explain and develop the notion of diagram.
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47

García-Crespo, Oswaldo, Diana Ramahí-García, and Alberto Dafonte-Gómez. "VJ Vertov: from the compositing interface to the use of the projection space." Visual Communication 17, no. 3 (2018): 363–80. http://dx.doi.org/10.1177/1470357218772187.

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Once digitization had been standardized in the process of audiovisual creation, there has been an improvement over the last decades in the efficiency of storage, coding and transfer systems, an integration of editing and compositing procedures, an increased potential for real-time image and sound manipulation and an increase in the mediation of software and its interface in creative processes. On the basis of both a representative work – Chelovek S Kino-Apparatom ( Man with a Movie Camera, Dziga Vertov, 1929) − and the considerations of Lev Manovich, one of the leading theorists on the subject, this essay is intended as a starting point for addressing issues related to the mutations produced in the traditional concept of film editing as a consequence of the digitization process described above. For this purpose, the authors summarize the results of practical research based on the real-time filmic reinterpretation of the film’s editing.
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48

Akasheva, Anna. "Book Editions of the All-Russian Population Census of 1897 as the First Experience of Large-scale Publication of Data in State Statistics. Source Study by Means of Cultural Analytics." ISTORIYA 14, no. 6 (128) (2023): 0. http://dx.doi.org/10.18254/s207987840027122-3.

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The problem of studying the polygraphic image of the census of 1897 with the help of visual computer analysis of bindings and covers of 144 editions of its materials is considered. The idea of the study is based on the image editing technique proposed by Lev Manovich. Four variants of the census publication were identified, two of them were analyzed in detail — a collection of tray copies and simple editions without bindings. It is these “people's” publications that clearly show the scale of publication of government statistics materials, which the Central Statistical Committee of the Ministry of Internal Affairs had to face for the first time. The conclusion is made about the possibility of using the Inkscape vector graphics editor in matters when it is necessary to study the general and special in the design of historical documents of a printing publication.
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Araujo, Denize Correa. "Construções Imaginadas: a estética da intervenção digital." Texto Digital 16, no. 2 (2020): 157–70. http://dx.doi.org/10.5007/1807-9288.2020v16n2p157.

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Este estudo tem como objetivo analisar o impacto da intervenção digital, tendo como corpus imagens de três filmes com construções criativas, de persuasão e sedução, criando ilusões virtuais: SimOne (Andrew Niccol, 2002),The App (Elisa Fukasa, 2019) e Her (Spike Jonze, 2013). O protagonista de The App é induzido a acreditar que está falando com alguém intrigante; o de Her, apesar de aceitar a virtualidade, deve admitir o fim de sua experiência digital. Em SimOne, a invenção da imagem da atriz convence espectadores, mas por tempo limitado. Apresento como relevantes os conceitos de Peter Weibel (2005) de “post-media computer possibilities”, que Lev Manovich (2001) denomina de “post-media aesthetics”, mas sugiro outra possibilidade, ao aplicar o conceito de “estética da hipervenção”, “hiper” embasado na hiper-realidade de Baudrillard e “venção” como invenção/intervenção digital. A metodologia de base adotada para a análise é a dialética de Hans-Georg Gadamer.Palavras-chave:Estética da Hipervenção. Hiper-realidade. Imagens Virtuais. Pós-mídia. Tecnologias Digitais
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Popov, Vladimir. "The Transformative Role of Digital Tools in Comic Book Preservation." AM Journal of Art and Media Studies, no. 34 (October 1, 2024): 51–62. http://dx.doi.org/10.25038/am.v0i28.564.

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Traditionally viewed as static repositories, archives are now seen as dynamic entities capable of continuous reconfiguration and reinterpretation. This study examines how digital practices in comic book archiving maintain historical and emotional integrity, while making these artefacts relevant to contemporary audiences. This paper explores the theories of Wolfgang Ernst, Michel Foucault, Lev Manovich, and others in order to explain digital archiving as a dynamic and interpretive act that shapes historical narratives and cultural memory. Digital restoration of comic books focuses on preserving the original aesthetic and historical context, while recoloring revitalizes visual elements to enhance appeal. Reimagining involves comprehensive reinterpretation and aligns with new media theories in order to offer fresh perspectives on historical narratives. The discussion shows how these practices democratize access to cultural heritage, transforming archives into active sites of cultural engagement and potentiality. By balancing technical precision and interpretive insight, digital artists and archivists aim at ensuring that comic books remain vibrant and meaningful cultural treasures for future generations.
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