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Homer Simpson
Lev Manovich’s The Language of New Media outlines five key principles that define new media: numerical representation, modularity, automation, variability, and transcoding. These principles distinguish digital media from traditional media and influence its creation, distribution, and consumption.
One passage that stands out is:
“A new media object is subject to algorithmic manipulation. In other words, media becomes programmable.”
This refers to the principle of automation, which highlights how digital media can be created, modified, and managed with minimal human intervention. Unlike traditional media, where editing was a manual and laborious process, new media leverages algorithms to streamline and even generate content.
A clear example of automation in today’s world is AI-driven content creation, such as machine-generated art or auto-captioning in videos. Platforms like TikTok, which heavily rely on algorithmic filtering and automated effects, showcase this principle in action.
However, Manovich’s insight also raises questions about authorship and creativity. If media can be algorithmically generated, where does human creativity fit in? While automation empowers creators, it also introduces ethical concerns, brought out by creations such as deepfakes and AI-generated misinformation.
From my perspective as a computer science major studying AI, automation represents both an exciting innovation and a complex challenge. Machine learning models can generate text, images, and even videos rather accurately, but they also inherit biases from training data and can be difficult or even impossible to control. The development of explainable AI and ethical AI frameworks is crucial to ensuring that automation serves as a tool for enhancing creativity rather than replacing human input entirely.
Understanding Manovich’s principles helps us critically analyze how technology shapes media. Automation makes content creation more accessible, but it also challenges traditional notions of authorship. As we continue integrating automation into software and media, we need to strike a balance between efficiency and authenticity.
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List
List of items on my unorganised table
1.Kleenex
Ultra Soft from Amazon
2.Alchohol Wipes
200 Pieces from Target
3.Spare Glasses
Golden rim in a green velvet case
4.Body Gel Cream
Large blue dispenser
5.Monthly Contact Lens
Six Months worth of contacts
6.Two Books
Brave New World and Fahrenheit 451
7.Power Bank
20,000mAh and in a black shockproof case
8.Wifi Router
Light blue and not in use
9.Various Skincare Products
Korean Skincare from many brands
10.Fragrances
Dior and Tom Ford
11.Receipt from Momofuku Noodle Bar
Trash
12.Owala Bottle
Large white bottle from Target
13.Laderach Brochure
Leftover brochure from a box of chocolates
14.Halal Truck Tissues
Extra unused tissues
15.Laptop and Mouse
What I used to make this post
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All Art Is Identity Art!
In Jerry Saltz’s 33 Rules for Being an Artist, he argues the statement that “All Art Is Identity Art!”. In my opinion, while it’s true that all art is created by individuals and thus inherently reflects some aspect of their identity, this view fails to account for the multifaceted nature of artistic creation and interpretation.
The assertion that art is a confession, “more or less oblique,” holds merit. Artists such as Kazimir Malevich, Mark Rothko, and Agnes Martin created abstract works during periods of significant global conflict, which can be interpreted as personal expressions or responses to their circumstances. However, this perspective may be reductive, as it does not fully account for the artists’ intentions or the broader cultural and philosophical contexts that shaped their work.
Kazimir Malevich – Black Square and Red Square (1915)
Mark Rothko – Untitled (1952)
For instance, Malevich’s Suprematism was not merely a reflection of political turmoil but an attempt to transcend material reality and explore pure artistic expression. Similarly, Rothko’s color field paintings, while often viewed through the lens of post-war existentialism, were rooted in his desire to evoke profound emotional experiences beyond personal narrative. Agnes Martin, on the other hand, sought serenity and spiritual transcendence in her minimalist grids, which resist direct autobiographical interpretation.
While historical and social conditions undeniably influence artistic production, reducing abstract art to a mere reflection of personal or collective trauma risks oversimplifying its philosophical and aesthetic ambitions. These works often aim to communicate universal themes-such as the search for meaning-rather than serving as direct confessions of the artists’ struggles. Thus art can be a space where artists engage with ideas that extend beyond their immediate personal or political realities.
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