Become a Cyborg: Humans are outdated.

Image simulations or computer manipulation is suspect to the concept of “truth.” Simply framing a composition manipulates an image through the process of interpretation and authorship; cropping out surrounding imagery to anchor the semiotics. However, how has this manipulated our cultural understandings online? Furthermore, how do 'we' as a culture '[re-]invent' (Shaw, 2008, p.81) previous conceptions of embodiment in order to participate in an uprising online cultural development? Stiegler suggests that the 'human' (Stiegler, 1998, p.141) has re-appropriated social linguistics as he “invents himself in the technical by inventing the tool – by becoming exteriorised techno-logically.” (Stiegler, 1998, p.141) Contemporary culture is pivoted by upgrade; an unwearying perception of never becoming the 'ideal.' We continue to develop knowledge and understanding, continuously improving previous work; the 'previous work' of Shaw's influence being the body. In opposition to what is referred to as the 'docile' body; one of which is manipulated, shaped [and] trained' so that it 'obeys, responds, becomes skilful and increases forces', (Foucault, 1991 [1977], p.136) Western culture recognizes media as a cultural object - we don't want the physical exertion of repetitious work, instead we wish to work with computer based skills.

This brings forth a selection of epistemological questions: Is access to infinite amounts of information on the web instead of the 'human' mind (Stiegler, 1998, p.141) “dumbing down” culture? Is this perhaps artificial intelligence? Marx insists '[m]achinery is put to a wrong use, with the object of transforming the workman, from his very childhood, into part of a specialized machine', (Marx, 1990 [1867], p.547) however surely using online sourcing as an influence can be seen as less derivative with 'participatory culture'; (Jenkins, 2006, p.) 'increased levels of audience participation, creative involvement and democracy.' (Creeber, 2009, p.20) 'Bodies are obsolete.' (Shaw, 2008, p.87) Instead of enforcing outdated repression against New Media as a propitious 'tool', surely it would be more valuable as a cultural to embrace it as a 'virtual body'? (Shaw, 2008, p.86) Data needs a new discourse; new rules and new conventions.

'By observing people who suffered from varying forms of ataxia – a breakdown in this communication resulting in a loss of control over the simple actions necessary to respond to stimulus from immediate environment', (Shaw, 2008, p.89) Weiner observed how machinery can now mimic the 'characteristic activities' (Wiener, 1948, p.8) of the body. Images can become completely constructed from pixels with no truth, indexicality or authorship. This has developed from manipulation of an image to simulation of an image. Images become remodelled, rendered and structures according to no substantial origin; for example user avatars need no aesthetic source. There is no documentary evidence that is pure of source; and this can furthermore become enforced for the 'user', giving attributes to an online experience which may not be 'truth' or physically possible outside their 'virtual body.' (Shaw, 2008, p.86)

Bibliography:

Creeber, G. (2009) Digital Theory: Theorizing New Media & Cubitt, D. (2009) Case Study: Digital Aesthetics in Ed. Creeber, G. & Royston, M. (2009) 'Digital Cultures: Understanding New Media'; (Maidenstone: Open University Press)

Foucault, M. Burchell, G. Gordon, C. Miller, P. (1991) 'The Foucault Effect: Studies in Governmentality'; (University of Chicago Press)

Jenkins, H. 2006. 'Convergence Culture: Where Old and New Media Collide'; (New York University Press)

Marx, K. (1990) 'Capital: Volume 1: A Critique of Political Economy'; (Penguin Classics; Reprint edition)

Shaw, D. (2008) 'Technoculture: The Key Concepts'; (Oxford Berg Press)

Stiegler, B. (1998) 'Technics and Time, 1: The Fault of Epimetheus'; (Stanford: Stanford University Press).

Wiener, N. (1948) 'Cybernetics, Second Edition: or the Control and Communication in the Animal and the Machine'; (Cambridge: The MIT Press; second edition)

Death of the Author

Common misconception dictates that although texts can appear as an original concept, they are often the most derivative, with no innovation from aspects of other pioneering media. Using the work of others is a conceptual tool. It's a way of thinking, a way of operating. It's a process of artistic expression with 'increased levels of audience participation, creative involvement and democracy.'(Creeber, 2009, p.20) For example, internet Memes have become a subversion from the original text; re-contextualised from images adopted by internet sub-cultures, and re-appropriated according to context. But how has 'the hypertextual ‘cut’ and ‘paste’ culture of New Media – that seemingly encourages sampling' (Creeber, 2009, p.19) changed how theorists conceive Analogue and New Media? Producing 'copy- right problems, it also further confuses the very means by which we conceive of the media and its relationship with its audience.' (Creeber, 2009, p.19)

Creeber proposes individuals are 'manipulated'; 'shaped by sociological, psychological and linguistic structures over which they have little control.' (Creeber, 2009, p.14) This is due to the 'encoding' of semiotics within our culture, and the 'coherent methodology... of any text [becoming] read objectively' (Creeber, 2009, p.14) However, the encoded semiotic meaning adapts, coercing to the ways in which it is 'decoded' (by its receivers). (Hall, 1973, p.53) 'Rather than being a passive... consumption... is seen increasingly as an activity with its own practices.' (Creeber, 2009, p.19)

Digital culture gives rise to new practice; 'the content being constantly developed through self expression, conveying emotions.' (Anon, 2011, 2:15) Memes are a product of both post modernism and digital culture; 'technology... increased levels of audience participation, creative involvement and democracy.' (Creeber, 2009, p.20) Algorithms of sites such as Youtube allow you to argue against fair use law for the use of copyrighted media if presenting a point. Appropriation is appreciation, however the locking down of finances from distributing companies often results in the the removal of content online. 'Websites like YouTube, MySpace and Facebook appear to reflect this recent understanding of ‘participatory culture.’(Jenkins, 2008, p.3)' (Creeber, 2009, p.19) Birth of the reader has emerged from 'writing movements'. (Manovich, 2001, p.47) Meaning isn't locked into text, but interpreted though audiences, as remix develops into a political process.

Bibliography:

Anon, (2011), 'Visual Culture Online | Off Book | PBS Arts', Available at: https://www.youtube.com/watch?v=JL7R9CjkxjY

Creeber, G. (2009), 'Digital Theory: Theorizing New Media & Cubitt, D.' (2009) 'Case Study: Digital Aesthetics in Ed. Creeber, G. & Royston, M'. (2009) 'Digital Cultures: Understanding New Media; Maidenstone', Open University Press

Manovich, L. (2001), 'The Language of New Media', Cambridge, MA: MIT Press.

Jenkins, H. (2006), 'Convergence Culture: Where Old and New Media Collide', New York University Press

Hall, Stuart ([1973] 1980): 'Encoding/decoding'. In Centre for Contemporary Cultural Studies (Ed.): Culture, Media, Language: Working Papers in Cultural Studies, 1972-79 London: Hutchinson

New Media is Interactive

As Manovich addresses cinematography as the 'essence of cinema', he strips the term, underlining the concept of a 'writing movement.' (Manovich, 2001, p.47) 'Film images would soothe movie audiences, who were eager to escape the reality outside', (Manovich, 2001, p.46) but how has this interactivity further developed through New media? As the lines of a fictitious space continue to blur, products and merchandise from fictional story lines are available elsewhere. Media texts don't necessarily exist primarily in a fictional space, but also expand knowledge, spilling out into "the actual." This has now become 'transcoded' (Manovich, 2001, p.64) throughout our society, influencing the convergence of Alternate Reality Games and "Second Screen" developments; allowing the consumer to interact and produce their own idealogical material through platforms of familiar media. 'Audiences become active outside the home.' (Hayes, 2011, p.16) 'Writing' (Manovich, 2001, p.47) becomes a movement increasingly difficult to establish. 'Old media involved a human creator who manually assembled [texts].' (Manovich, 2001, p.56) The interactivity of New media integrates human intelligence from not only the creator, but also the initiative of its users.

Unified and coordinated viewing experiences have been conveyed through multiple media platforms. For example, although games are commonly perceived as an inherent medium, it gives the possibility of character manipulation and participating in an active role; rather than becoming a passive consumer. Manovich's suggestion potentially opposes this; 'computer characters can display intelligence and skills only because the programmes put severe limits on our possible interactions with them.' (Manovich, 2001, p.54) We follow a scripted development, however our viewing experience varies as we interact not only with 'simulated human intelligence' (Manovich, 2001, p.54) within games, but furthermore with each other. The 'information left by other people, [helps] you find your way around'; (Manovich, 2001, p.55) particularly through social networks and specialised forums.

Although 'the popular definition of New media identifies it with the use of a computer distribution and exhibition,' (Manovich, 2001, p.43) when virtual story lines begin to merge into our 'reality', or 'humanity', (Barthes, 1977, p.75) they no longer distribute ready-made content, instead 'wanting the audience to produce' (Barthes, 1977, p.163) based on ideologic experience; 'the most perfect realization of the utopia of an ideal society.' (Manovich, 2001, p.61) 

Bibliography:
Manovich, L. (2001), 'The Language of New Media', Cambridge, MA: MIT Press.
Barthes, R. (1977), 'Image Music Text', London: Fontana Press.
Hayes, G. (2011), 'How To Write a Transmedia Production Bible: A template for multi-platform producers', Australia: Screen

Convergence Culture

Convergence culture is the combination of old and new media to produce something that we can interact with in more than one way. Over the years we have seen convergence culture processing different media forms of old and due to the shift in media culture.

"Media convergence is an on-going process, occurring at various intersections of media technologies, industries, content and audiences". 

Traditional media such as books have been transformed and almost over took by kindles. This has also been the case with other media forms. For example vinyl records were taken over by cassettes which were taken over by CD's which have now become obsolete in light of digital formats such as the MP3.

"We are entering an era where media will be everywhere, and we will use all kinds of media in relation to one another..."

Smart phones are a hybrid; they meet their purpose plus contain many other media forms of devices. In the smart phone we have adopted touch screen technologies, voice recognition and sensors to access old media in a digital format. For example; cameras, video, MP3, internet and gaming. The evolution of what phones can do and what they will be able to do in the future is part of a culture that we have no control over and is constantly evolving. The convergence of many media technologies plus the fierce competition between technology giants allows one media device to perform many different tasks.

"Consumers are learning to use different media technologies to bring the flow of media more fully under their control and to interact with other consumers".

Consumers are interacting more with technology culture becoming natural to us. With everything at the touch of a button it could be said that technology does not discriminate. Consumers of any age and gender can access alternative media outlets with ease. The growing consumption of media has an effect on our everyday lives.

• Henry Jenkins, 2008, Convergence Culture: Where old and new media collide, New York University Press