Media Aesthetics

Dealing with Media Aesthetics

The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s.

Discourse of the 1990s:

Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to virtual reality (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an aesthetic turn. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real

Dealing with the discourse

Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its creative power is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called aisthetics. This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an immaterial code.

This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition.

Computer Simulation and Transmaterialization

Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities. Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes.

Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:

narration structures: in movies, literature, television and in computer games.

rythmic structures: measure (lit.) in lyric poetry, digital video and music.

planimetric structures: This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.

live quality : of radio, telephone and films and so on.

forms of visual look: which are shared by television shows, movies, comics, paintings.

---> these characteristics are categorised to transmedial intermediality

Recalling former notions of materiality, it was described as something stepping behind, almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into non-faults, what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults.

Transmedial intermediality in relation to computers

Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film Monsters, Inc., directed by Pete Docter (USA 2001). Mentioned shift of medial context is shown in Monsters, Inc. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a new type of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in Monsters Inc. can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film.

The New Media and Media Aesthetics

Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net.

Related Links/Research

It relates to Simulation in Games due to its significant meaning to media aesthetics.

It relates to Self-Reflexivity because it is an approach of media aesthetics.