Teorie vědy (časopis pro teorii vědy, techniky a komunikace)
2002
ročník XI /XXIV/
č. 2

"NOVÁ MÉDIA"


Obsah:

7-32
Mark POSTER:Informační způsob a postmodernita.


33-54
Friedrich A. KITTLER: Gramofon, film, psací stroj.


55-76
Lev MANOVICH: Principy nových médií.


77-98
Jaroslav VANČÁT: Zobrazení a interaktivita.


99-108
Irena REIFOVÁ: Mírná svoboda v mezích sítě.


kabi.net


109-119
Theodor W. ADORNO: Prolog k televizi.

119-132
Theodor W. ADORNO: Televize jako ideologie.



RECENZE - REVIEWS

133-137
Brian MASSUMI: Parables for the Virtual. (Tomáš Dvořák)

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Mark POSTER
Informační způsob a postmodernita.
7-32



Abstract



The article entitled “The Mode of Information and Postmodernity,” is one of many essays by Mark Poster devoted to the problem of “the mode of information” as opposed to “the mode of production.” Here he shows how is this new historical formation conditioned by the emergence of electronically mediated forms of communication, and demonstrates the usefulness of poststructuralist theory for theorizing it. He does so by reading TV ads through Jean Baudrillard’s concept of simulacrum; interpreting the phenomenon of a database with help of Michel Foucalt’s notion of the panoptikon; and looking at electronic writing in the light of Jacques Derrida’s deconstruction.





Friedrich A. KITTLER
Gramofon, film, psací stroj.
33-54



Abstract



The following text is a translation of the “Introduction” to Friedrich A. Kittler’s book Grammophon, Film, Schreibmaschine (1986). It outlines the shift from individual, separate media (such as television, radio, telephone, or mail) to a single medium, standardized according to transmission frequency and bit format, into which all of these will be “translated.” This convergence of the previously distinct media on a digital base in fact erases the notion of the medium itself. One of the important conceptual tools Kittler utilizes in his theorizing of this shift and the emergence of modern media is the psychoanalytic theory of Jacques Lacan.





Lev MANOVICH
Principy nových médií.
55-76



Abstract



In a process of cultural reconceptualization it is extremely important to identify the fundamental categories on which this historical change is based. Following the transition from industrial mass society to individualized post-industrial society, the author contextualizes basic principles of so called new visual media. The goal is the definition of differential features making it possible for readers to better understand the language and the logic of new (digital) media in contrast with old (analogue) ones. The exemplification is provided with a great respect for artistic context and clears up the underlying code of the computer-based communication. This extract desrcibes in detail five principles of new media: 1/ numerical representation, 2/ modularity, 3/ automation, 4/ variability, 5/ transcoding. It deals with some consequences of these principles e.g. possibility of formal description, algorithmic manipulation, and key programmability. The structure of new media is exposed in context of discrete elements and basal nonhierarchical organization enabling the automation of many operations involved in creation, modification, and access to different, potentially infinite versions of new media objects.





Jaroslav VANČÁT
Zobrazení a interaktivita.
77-98



Abstract



The paper analyses the conformation of the “totalitarian” picture style, constituted in Renaissance and serving as a base for the conventions of photography (Flusser). It describes how the late 19th-century revolution (brought about by Cézanne’s paintings based upon the correlation of elementary shapes – cylinder, orb, frustum) breaks through this tradition. The author points out that it is the extension of these Cézanne’s principles that forms the base of modern styles in 20th-century art and foresees the main theme of hypermedia: the multiple relationships among their many elements.





Irena REIFOVÁ
Mírná svoboda v mezích sítě.
99-108



Abstract



The article challenges the notion of „network“ and its use when secured for the context of new media. It suggests that different kinds of networks were always in charge of delimitation of human mind and that technological innovations only manifested the omnipresent latent principle of creation of human subjectivity, which is determinacy and dependency on cognitive and flowingly technological networks. New media are described as these which are the most „networkish“ of all up to the present moment and simultaneously the most capable of realization of simulation phenomenon. The ideal of human liberation is also revised from sceptical perspective, especially in connection with new media as one of its frequently mentioned agent. New media are addressed as dangerous when simple „coincidence“ in the use of new media is explained as „liberty“ and when its simulational potential disguises its ever-present „networkish“ character.





KABI.NET

Theodor W. ADORNO
Prolog k televizi.
109-108



Theodor W. ADORNO
Televize jako ideologie.
119-132



RECENZE - REVIEWS

Brian MASSUMI
Parables for the Virtual.
(Tomáš Dvořák)

133-137



The following article informs about Brian Massumi's book Parables for the Virtual: Movement, Affect, Sensation (Durham: Duke University Press, 2002). It describes the context of its central concept of “affect.”