LEADER 04314nam 22004693a 450 001 9910917296503321 005 20250204000226.0 024 8 $a10.26530/OAPEN_548050 035 $a(CKB)36720933400041 035 $a(ScCtBLL)61c4b7f7-2339-43b8-b563-a5421f0f5540 035 $a(OCoLC)918559714 035 $a(oapen)doab26430 035 $a(EXLCZ)9936720933400041 100 $a20250204i20152020 uu 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aDigital Light$fNathaniel Tkacz, Sean Cubitt, Daniel Palmer 210 $cOpen Humanities Press$d2015 210 1$a[s.l.] :$cOpen Humanities Press,$d2015. 215 $a1 online resource (1 p.) 225 1 $aFibreculture Books 311 08$a9781785420009 311 08$a1785420003 311 08$a9781785420085 311 08$a1785420089 330 $aLight symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media. While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database. Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu. 606 $aSocial Science / Media Studies$2bisacsh 606 $aSocial sciences 615 7$aSocial Science / Media Studies 615 0$aSocial sciences. 700 $aTkacz$b Nathaniel$0803504 702 $aCubitt$b Sean 702 $aPalmer$b Daniel 801 0$bScCtBLL 801 1$bScCtBLL 906 $aBOOK 912 $a9910917296503321 996 $aDigital Light$94323136 997 $aUNINA