Sound Research WIKINDX
Sound Research WIKINDX |
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| Darley, A. (2000). Visual digital culture: Surface play and spectacle in new media genres. London: Routledge. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 05/11/2006, 10:59 | |
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Quoting Gene Youngblood (Youngblood 1970, p.206): ""If the visual subsystems exist today, it is folly to assume that the computing hardware won't exist tomorrow. The notion of 'reality' will be utterly and finally obscured when we reach that point ... [of generating] totally convincing reality within the information processing system ... We're entering a Mythic age of electronic realities that exist only on a metaphysical plane."" |
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| 1995 saw the release of "the first feature-length computer synthesized film Toy Story". | |
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Quoting Jean Baudrillard, Simulations, New York: Semiotext(e), 2003: "...no contemplation is possible. ... Montage and codification demand, in effect, that the receiver construe and decode by observing the same procedure whereby the work was assembled. The reading of the message is then only a perceptual examination of the code." (119-120). |
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| "They lack the symbolic depth and representational complexity of earlier forms, appearing by contrast to work within a drastically reduced field of meaning. They are direct and one-dimensional, about little, other than their ability to commandeer the sight and the senses." | |
| Talking of digital media (including games) and arguing that they emphasize spectacle over semantic meaning: "They do not propose spectators who are bent on interpretation, or who are looking for semantic resonance. The activity mobilised in this instance is not primarily intellectual, not reflective or interpretative in character, but rather sensual and diverting in other ways." | |
| Makes the case that narrative cinema in the early C20th. supplanted the early cinema as spectacle which was derived from vaudeville, circus, amusement parks, dioramas etc.: "...the marvellous gives way to realism and characterisation." Darley gives no reason for this. | |
| Claims that the idea of producing realism has dominated the computer image industry/research since the late 1970s. Realism is defined as the degree of resemblance to real-world objects with, for images, photography being the yardstick. | |
| Argues that computer generated images, as they do not involve recording, are iconic rather than indexical in the Peircian sense -- this despite any attempt at photo-realism on the part of the animators. |