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The Language of New Media (Leonardo Books) Paperback – March 7, 2002

ISBN-13: 978-0262632553 ISBN-10: 0262632551 Edition: Reprint

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Product Details

  • Series: Leonardo Book Series
  • Paperback: 400 pages
  • Publisher: The MIT Press; Reprint edition (March 7, 2002)
  • Language: English
  • ISBN-10: 0262632551
  • ISBN-13: 978-0262632553
  • Product Dimensions: 8.9 x 7 x 0.6 inches
  • Shipping Weight: 7.2 ounces (View shipping rates and policies)
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (18 customer reviews)
  • Amazon Best Sellers Rank: #44,004 in Books (See Top 100 in Books)

Editorial Reviews

About the Author

Lev Manovich is Professor of Visual Arts, University of California, San Diego. His book The Language of New Media (MIT Press, 2001) has been hailed as "the most suggestive and broad ranging media history since Marshall McLuhan."

More About the Author

Lev Manovich is an author of books on digital culture, professor in Computer Science program at City University of New York, Graduate Center, U.S. and a Director of Software Studies Initiative (softwarestudies.com). Manovich research and teaching focuses on digital humanities, new media art and theory, and software studies. His 2001 book The Language of New Media has been translated into nine languages. According to one of the reviewers, "it places new media within the most suggestive and broad ranging media history since Marshall McLuhan". Manovich's new book "Software Takes Command" was published in 2013 by Bloomsbury Academic.

Manovich was born in Moscow where he studied fine arts, architecture and computer programming. He moved to New York in 1981, receiving an M.A. in Experimental Psychology (NYU, 1988) and a Ph.D. in Visual and Cultural Studies from University of Rochester (1993). He has been working with computer media as an artist, computer animator, designer, and programmer since 1984. His art projects have been presented by, among others, Chelsea Art Museum (New York), ZKM, The Walker Art Center, KIASMA, Centre Pompidou, ICA (London), and Graphic Design Museum (Breda, NL).

In 2007 Manovich founded Software Studies Initiative (softwarestudies.com), The lab is developing Cultural Analytics: computational analysis and visualization of patterns in massive cultural visual datasets such as millions of Instagram photos. The lab's past and present collaborators include Museum of Modern Art (NYC), Getty Research Institute, Austrian Film Museum, Netherlands Institute for Sound and Image and other institutions.

Customer Reviews

3.9 out of 5 stars
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Most Helpful Customer Reviews

26 of 35 people found the following review helpful By Nicholas Croft on January 1, 2003
Format: Paperback
According to the back cover introduction, "Lev Manovich offers the first systematic and rigorous theory of new media". He does this by describing the developing history of available media as a context for understanding the current digital electronics technology.
On the media of today he notes: "One general effect of the digital revolution is that the avant-garde aesthetic strategies came to be embedded in the command and interface metaphors of the computer software. The contemporary computer media are actually the past avant-garde materialized!"
As is perhaps clear from the book's title, "The Language of New Media" is primarily about the communication 'languages' that the various media make available through their existence. A language, in the sense that Mr. Manovich uses the term, is a collection of methods[in a media-tool/medium context] and their effect on that which may be communicated by a particular work. A wide range of examples, from published or exhibited creations, are cited to help describe the fruits of using a particular method/context that he details.
The strongest recurring theme in the book is how it deals with the history of cinematic language. Cinema is the media which brings under it's umbrella the greatest range of production methodology, so comes the closest to tying the whole text together into a coherent narrative. Otherwise, the book would tend to be more a kind of dictionary of available media methodologies/effects/attributes, each with their own implication towards constructing a sensual or conceptual experience.
Marshall Mcluhan's point, that "The medium is the message", may well serve as the best description of the contents of this book. For those seeking an analysis on the "meaning of the messages", that the media artists convey, it is probably best to seek additional books as a supplement to this one.
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1 of 1 people found the following review helpful By Koen on February 2, 2013
Format: Paperback
In this book Lev Manovich sets out a theory of new media, by drawing a parallel between its development and the development of early cinema. He sets out a `layered' protocol theory for new media with four layers: the influence of older forms (or cultural interfaces), the influence of media technology (or operations), aspirations of media makers (or illusions) and emerging genres (or forms). This is a comprehensive and rich account of new media and it is still relevant today despite the fact it was written more than ten years ago. It offers a way of looking to new media, that is valuable and it offers an interesting description of some new media.
The most important weakness of the book is that by comparing new media with cinema, much is left out. Manovich wrote his book before the social media revolution, so this is not covered and his understanding of the reference structure in interaction design seems to be limited. In fact new media seems to be so pluriform that his choice to describe "the" language of new media. In fact there seem to be many languages of new media, and Manovich succeeds in describing those who look at cinema most. Still, his account is a valuable starting point if you want to understand the many other languages of new media. So the book seems to deserve the paradigmatic status it has gained over the years.

This is a heavily condensed version of my original discussion of the book ([ ... ])
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18 of 27 people found the following review helpful By Ron Mader on September 29, 2002
Format: Paperback
(Planeta.com Journal) -- About a century ago the early years of cinema witnessed the creation of veritable masterpieces. For more than a generation (1980s-1930s) filmmakers produced seminal works that defined the very language of the medium. So at the turn of this century, how do we recognize the equivalent works in "new media" -- computers, the web and other digital compositions? A scientist and theoretician, Lev Manovich guides the way in his exceptional book.
New media links content and interface, providing an unlimited number of ways of accessing a work. This is the norm of the digital age. Manovich argues "modern media is the new battlefield for the competition between database and narrative." (p. 234) But new media does not begin with the Web. In fact, there's no better place to begin than with the 1929 avant garde film classic, Dziga Vertov's "Man with a Movie Camera," which serves as a guide in an innovative prologue.
Later Manovich sums up the achievement of this classic film: "Vertov is able to achieve something that new media designers still have to learn -- how to merge database and narrative into a new form (p. 243).
The Language of New Media offers a rigorous theory of new media. The author discusses new media's reliance on traditions, such as the use of the rectangular frame. He also demonstrates how concepts from film theory and art history play a vital role in understanding where we stand today. This book is highly recommended.
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2 of 3 people found the following review helpful By Serious Fun on January 21, 2008
Format: Paperback Verified Purchase
Manovich's treatment of computer-media expressive forms is intelligent and entirely worthy of serious engagement. At crucial points, however, he makes leaps and grand assertions without proper demonstration.

For example, he speaks of the database as an expressive form, and as the key computer-mediated form of our time. So, why not explain how in the world a database is expressive, or how it makes meaning? He says it is naturally opposed to narrative--they are "natural enemies"--but how precisely does database accomplish anything for anyone without narrative (or interpretation, which is closely related)? What is a database without narrative? I just don't see how he has shown what he asserts. At the same time, i think much of the virtue of this book is through its suggestions rather than its water-tight argumentation. That can make it a fertile reading experience, but frustrating all the same. Books like this one get people talking, even if they are wrong on a lot of points. We need people to be speculative and a bit "loose" like much of this book is, but one must be prepared to read it critically and with some caution.
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