Post-media Aesthetics : Lev Manovich (2001)

Post-media Aesthetics : Lev Manovich (2001)

마노비치는 post-media 에 대해서 좀 casual하게 접근한다. post media가 무엇인지 구체적인 정의 내리지 않는다. (물론 Krauss도 이에 대해 뚜렷하게 정의내리지는 않았다) 그냥 대체적으로 digital age 의 media를 총망라하는 어휘로 사용하는 것으로 보인다. 이것은 아주 근본적으로  Krauss와 차이나는 지점이다. 

Manovich의 focus : information structure / information behavior

Medium in Crisis

new medium were not really mediums in any traditional sense of the term. (1) 매체가 다양해지고 digital realm 들ㄹ어올 수록 medium에 대한 담론들은 매우 complicated 해진다. Traditional aesthetics to describe various arts came into conflict with the enw set of distinctions important in the 20th century. (2) Mechanical reproduction age 에 있어서 in short, sociology and economics took over aesthetics. (다소 급진적.)


1. on the material level : digital media erase the differences between photography and animation, between film and animation.

2. on the aesthetic level : web has established an multimedia document.

3. on the distribution level ..

in conclusion, the traditional concept of medium does not work in relation to post-digital, post-net cultrue.

재미있는 부분은 computer자체에  HCI라는 어휘 자체에 interactive 라는 용어가 들어가 있기 때문에 근본적으로 컴퓨터는 interactive 할 수 밖에 없다고 강조한다. Human-computer interface (HCI) is by its very definition interactive. therfore, to call computer media interactive is meaningless.  (4)


post-media aesthetics should adopt the new concept, metaphors and operations of a computer and network era…. The traditional concept of a medium enphasizes the physical properties of a particular material and its representational capacities. 그러나 이제 포커스는 author로부터 operation (user 를 포함하는)으로 이동했다. The emphasis shifts on user’s capabilities and user’s behavior. (6-7)


software shifts the emphasis from media/text (Structuralist perspective) to the user. 디지털 시대에는 거의 대부분의 행위가 기본적으로 information behavior이다. seeking, extracting, processing, communication… Information behaviors of an individual form and essential part of individual identity. Information society, we evoleve particular informtaion behavior. (8)

The history of art is not only about the stylistic innovation, the struggle to represent reality, human fat,e the relaionship between society and the individual, etc. It is also the history of new information interfaces developed by artist, and the new informtaion behaviors developed by users (9)


traditional criticism focused o the author, his/her creative intention, biography, and pshychology. 기존의 예술은 창조자와 그의 의도를 가장 중시했다. 그러나 이제는 그것을 수용하는 user의 입장이 매우 중요해지고 있다. The shift from the text to the reader.

emphasize the active role technology plays in cultural communication. (12)

empahsis on information structures and information behaviors. (13)

(Levi-Strauss, Roladn Barthes)구조주의에서 강조하던 sender / receiver – encoding / decoding – emission / reception의 구조가 바뀌고 있다. 

The general paradigm of cultureal criticism that even today still focuses on the concepts of “text” and “reading”. By approaching any cultural boject/situation/process ans text which is read by audience and/or by critics, cultrual criticism privileges informational and cognitive dimensions of culture over affective, emotional, performative, and experiential dimensions. 지금껏 간과되어 왔다. 구조주의적 맥락에 있어서. 이제는 여기에 초점 맞추어야 할 것이다.

사담으로 내가 생각하기에 그래서 마노비치가 미는 그런 미디어아트들이 과연 ?? 저런데 초점 맞추고 있나???라는 거지. 아니거든. 난 그걸 완전히 지양하고 정말 affective하고 resonant한 미디어 아트를 추구한다는 거지 .


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