Table of Contents

FOREWORD by Mark Tribe
PROLOGUE: VERTOV'S DATASET
ACKNOWLEDGMENTS

Introduction
A PERSONAL CHRONOLOGY
THEORY OF THE PRESENT
MAPPING NEW MEDIA: THE METHOD
MAPPING NEW MEDIA: ORGANIZATION
THE TERMS: LANGUAGE, OBJECT, REPRESENTATION

I. What is New Media?
HOW MEDIA BECAME NEW
PRINCIPLES OF NEW MEDIA
1. Numerical Representation
2. Modularity
3. Automation
4. Variability
5. Transcoding
WHAT NEW MEDIA IS NOT
Cinema as New Media
The Myth of the Digital
The Myth of Interactivity

2. The Interface
THE LANGUAGE OF CULTURAL INTERFACES
Cultural Interfaces
Printed Word
Cinema
HCI: Representation versus Control
THE SCREEN AND THE USER
A Screen's Genealogy
The Screen and the Body
Representation versus Simulation

3. The Operations
MENUS, FILTERS, PLUG-INS
The Logic of Selection
"Postmodernism" and Photoshop
From Object to Signal
COMPOSITING
From Image Streams to Modular Media
The Resistance to Montage
Archeology of Compositing: Cinema
Archeology of Compositing: Video
Digital Compositing
Compositing and New Types of Montage
TELEACTION
Representation versus Communication
Telepresence: Illusion versus Action
Image-Instruments
Telecommunication
Distance and Aura

4. The Illusions
SYNTHETIC REALISM AND ITS DISCONTENTS
Technology and Style in Cinema
Technology and Style in Computer Animation
The Icons of Mimesis
SYNTHETIC IMAGE AND ITS SUBJECT
Georges Méliès, the Father of Computer Graphics
Jurassic Park and Socialist Realism
ILLUSION, NARRATIVE AND INTERACTIVITY

5. The Forms
THE DATABASE
The Database Logic
Data and Algorithm
Database and Narrative
Paradigm and Syntagm
A Database Complex
Database Cinema: Greenaway and Vertov
NAVIGABLE SPACE
Doom and Myst
Computer Space
The Poetics of Navigation
The Navigator and the Explorer
Kino-Eye and Simulators
EVE and Place

6. What is Cinema?
DIGITAL CINEMA AND THE HISTORY OF A MOVING IMAGE
Cinema, the Art of the Index
A Brief Archeology of Moving Pictures
From Animation to Cinema
Cinema Redefined
From Kino-Eye to Kino-Brush
THE NEW LANGUAGE OF CINEMA
Cinematic and Graphic: Cinegratography
New Temporality: The Loop as a Narrative Engine
Spatial Montage and Macrocinema
Cinema as an Information Space
Cinema as a Code

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