One passage that stands out in Lev Manovich’s The Language of New Media is:
“A new media object is subject to algorithmic manipulation. In other words, media becomes programmable.” (Manovich, p. 27)
This passage relates to the principle of Automation, which refers to how new media objects can be created, modified, and managed with minimal human intervention through algorithms and computational processes. Unlike traditional media such as film photography, print publishing, or hand drawn animation new media is deeply intertwined with software. Digital tools allow for automation in ways that were previously impossible, transforming both the production and consumption of media.
One of the clearest examples of automation is in image editing. In traditional photography, altering an image required extensive manual work, such as darkroom techniques or hand-coloring. Now, software like Photoshop or AI driven editing tools can apply enhancements, remove objects, or generate entire images instantly with a single command. Similarly, in film and video production, processes like color correction, special effects, and even script writing can be partially or fully automated.
Automation also plays a key role in platforms that personalize content for users. Social media algorithms automatically curate news feeds, streaming services generate personalized recommendations, and AI chatbots provide automated customer service. These examples illustrate how automation not only increases efficiency but also raises questions about authorship, creativity, and control over media. Who is the true creator when an AI generates art, music, or literature? How does automation shape what people see and consume?
By making media programmable, automation challenges traditional artistic and journalistic practices, while also enabling new forms of creativity and interaction. Manovich’s insight highlights how digital media is no longer just a static product, but an evolving, dynamic process shaped by both human intention and algorithmic logic.