Digital light:
Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical...
Gespeichert in:
| Weitere Verfasser: | , , |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
London
Open Humanities Press
2015
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| Schriftenreihe: | Fibreculture Books
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| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised... |
| Beschreibung: | 1 Online-Ressource (1 electronic resource (224 p.)) |
| ISBN: | 9781785420009 |
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| 520 | 8 | |a Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised... | |
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| id | DE-604.BV044377161 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:51:14Z |
| institution | BVB |
| isbn | 9781785420009 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029779450 |
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| physical | 1 Online-Ressource (1 electronic resource (224 p.)) |
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| spelling | Digital light edited by Sean Cubitt, Daniel Palmer and Nathaniel Tkacz London Open Humanities Press 2015 1 Online-Ressource (1 electronic resource (224 p.)) txt rdacontent c rdamedia cr rdacarrier Fibreculture Books Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised... Communication. Mass media Cubitt, Sean 1953- (DE-588)1047259850 edt Palmer, Daniel (DE-588)1106891600 edt Tkacz, Nathaniel (DE-588)1065459513 edt Erscheint auch als Druck-Ausgabe 978-1-78542-008-5 http://www.openhumanitiespress.org/books/titles/digital-light/ Verlag kostenfrei Volltext |
| spellingShingle | Digital light Communication. Mass media |
| title | Digital light |
| title_auth | Digital light |
| title_exact_search | Digital light |
| title_full | Digital light edited by Sean Cubitt, Daniel Palmer and Nathaniel Tkacz |
| title_fullStr | Digital light edited by Sean Cubitt, Daniel Palmer and Nathaniel Tkacz |
| title_full_unstemmed | Digital light edited by Sean Cubitt, Daniel Palmer and Nathaniel Tkacz |
| title_short | Digital light |
| title_sort | digital light |
| topic | Communication. Mass media |
| topic_facet | Communication. Mass media |
| url | http://www.openhumanitiespress.org/books/titles/digital-light/ |
| work_keys_str_mv | AT cubittsean digitallight AT palmerdaniel digitallight AT tkacznathaniel digitallight |