Podcasts about Lev Manovich

Corbin and Matt talk about 'WHAT IS DIGITAL CINEMA,' a 1995 essay by Lev Manovich concerned the difference between filmic cinema of the 20th Century, and the emerging technological and artistic form that we have been talking about the last few weeks. It's a little hard to explain this episode to be honest, but it's good. Read Manovich's essay here. Corbin reccomends a movie currently in theaters. Matt reccomends "Blackberry," a movie.  Next week's episode is about 'Cars,' from 2006. We will have a bonus episode regarding "Me and You and Evereyone We Know" and also maybe "Timecode" sooner rather than later: We watched them for this episode but didn't get to them.  Sorry the episode is late: I was covering a card show all weekend. Matt wanted me to tell you Closing music is by i/o, it's called wasted my time. It's only available on Youtube. 

Jason Howell and Jeff Jarvis dive deep into AI's creative impact with Lev Manovich, author of Artificial Aesthetics, analyze the implications of DeepSeek's cost-effective AI development, and explore OpenAI's Project Operator for automated web browsing. Support the show on Patreon! http://patreon.com/aiinsideshow Subscribe to the new YouTube channel! http://www.youtube.com/@aiinsideshow Note: Time codes subject to change depending on dynamic ad insertion by the distributor. 0:01:43 - INTERVIEW Interview with Lev Manovich, professor of computer science at CUNY and co-author of "Artificial Aesthetics" Discussion of AI's impact on creativity and artistic expression Exploration of how AI tools serve as both collaborators and adversaries in artistic creation Deep dive into the concept of AI aesthetics versus traditional artistic concepts NEWS 0:39:05 - DeepSeek... the Seekening! DeepSeek reaches No. 1 on US Play Store DeepSeek displaces ChatGPT as the App Store's top app Nvidia drops nearly 17% as China's cheaper AI model DeepSeek sparks global tech sell-off OpenAI says it has evidence China's DeepSeek used its model to train competitor Viral AI company DeepSeek releases new image model family Jeff's take 0:50:02 - OpenAI launches ChatGPT Gov for U.S. government agencies 0:51:37 - OpenAI: Introducing Operator 0:58:07 - Reid Hoffman Raises $24.6 Million for AI Cancer-Research Startup with ‘The Emperor of All Maladies' author Siddhartha Mukherjee 0:59:35 - Reid Hoffman: We can make AI work for us 1:05:25 - New glowing molecule, invented by AI, would have taken 500 million years to evolve in nature, scientists say Learn more about your ad choices. Visit megaphone.fm/adchoices

Show Notes:Education simply cannot keep up with the future of design and architecture. Artificial intelligence, quantum computing and machine learning are moving at such a rapid pace that colleges and universities are struggling to keep up. How can we look at the past to prevent a future devoid of creativity and originality?In this episode, Ross and Ila speak to Author and Artificial Intelligence expert Neil Leach to decipher the future of design, discuss creative education and look at what we can learn from Greek and Roman history in modern times.Mentioned in this episode:Lev Manovich, new mediaWolf dPrix - In Two Days Time, Tomorrow Will Be YesterdayYuval Noah Harari - 21 lessons for the 21st centuryOperating Manual for Spaceship Earth by R Buckminster FullerAnil Seth: Reality is a controlled hallucinationThe Second Copurnicus Revolution

In questo audio il prezioso incontro con Miltos Manetas artista Elena Calretti ordinario di finanza Bocconi. L'intervista è nel podcast Contemporaneamente di Mariantonietta Firmani, il podcast pensato per Artribune. In Contemporaneamente podcast trovate incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà. Con Miltos Manetas ed Elena Carletti un incontro che è quasi un happening, parliamo di umano tra arte e finanza, economia e terra. Nel 2000 inizia l'intensa convivenza tra uomo e macchine intelligenti, nasce il movimento NEEN che ripensa il lavoro e anticipa gli NFT. La ricerca universitaria offre libertà di tempo e creatività del pensiero. L'artista, sensibile per professione, rischia la vita Neoumile per sopravvivere, come Bill Gates e Julian Assange, entra nel gioco dell'informazione, iper-industria del contemporaneo. La finanza, divisa in tre grandi aree: intermediazione, finanza delle imprese e mercati finanziari, dovrebbe focalizzarsi maggiormente sulle modalità per redistribuire ricchezze. Bisognerebbe promuovere l'educazione finanziaria al fine di rendere la società più consapevole. L'opera come apologia del post capitalismo, attraverso l'ironia socratica per rappresentare il privilegio come dimensione esistenziale. Le macchine svolgono un ruolo sempre maggiore anche nel mondo finanziario, la democrazia deve ripensare la propria forma e molto altro. ASCOLTA L'INTERVISTA!! BREVI NOTE BIOGRAFICHE DEGLI AUTORI Miltos Manetas vive e lavora: tra Roma, New York e Bogotá nell'89 diploma all'Accademia di Belle Arti di Brera. Pittore, artista concettuale e teorico di origine greca il cui lavoro esplora la rappresentazione e l'estetica della società dell'informazione. Fondatore di “NEEN”, il primo movimento artistico del 21° secolo, ha esposto nei più autorevoli luoghi dell'arte, mostre, biennali, musei.Pioniere dell'arte dopo i videogiochi “Machinima” e istigatore di “Postinternet”. Dal 2009 ha creato “Internet Pavilion” alla Biennale di Venezia giunto alla settima edizione nel 2022, dove presenta "AIIA", "Assange is Internet Internet is Assange". Durante la Pandemia 2020, realizza "Assange Condition" mostra al Palazzo Delle Esposizioni di Roma chiusa al pubblico e visualizzabile solo online. Nel 2014, all'Istituto Svizzero di Roma, introduce il concetto di “Ñewpressionism” che continua a sviluppare sui Social Media utilizzando le sue tecniche: “Overeality” e “Metascreen”. Ancora, nel 2017 con il progetto “Tony in Documenta14”, utilizza la rassegna internazionale Documenta, per rafforzare il suo concetto di “Mediosud”. In Roma, nel 2019, al MACRO, presenta “Neoumile Modus Operandi”, nel 2018 il MAXXI realizza “Internet Paintings di Manetas”, mostra performativa di tre mesi. Rappresentato da autorevoli gallerie internazionali, secondo Lev Manovich, l'arte di Manetas rappresenta le persone moderne nei loro particolari ambienti moderni. Elena Carletti Professore Ordinario di Finanza presso l'Università Bocconi di Milano. Membro non esecutivo del Consiglio di Amministrazione di Unicredit SpA, dove presiede il Comitato per i controlli interni e rischi. È anche membro del Comitato Scientifico consultivo dell'European Systemic Risk Board (ESRB).Fondatrice della Florence School of Banking and Finance, presso l'Istituto Universitario Europeo, membro del Panel di Esperti del Parlamento Europeo per la supervisione bancaria. Membro del comitato scientifico di Bruegel; presidente dell'European Finance Association e direttore dell'area “Banking, Finance and Regulation” presso Il Centro Baffi Carefin dell'Università Bocconi. Inoltre, già Professore di Economia presso l'Istituto Universitario Europeo, ha ricoperto cariche presso l'Università Goethe a Francoforte e l'Università di Mannheim. Tra gli altri incarichi, ha lavorato come consultant per l'OECD per temi legati alla politica della concorrenza nel settore bancario, e la World Bank. È stata membro del review panel della Banca Centrale Irlandese, della Banca Centrale Norvegese e della Banca Centrale svedese Riksbank. Laurea all'Università Bocconi e ha conseguito il Ph.D. in Economia presso la London School of Economics. Moltissime pubblicazioni nelle migliori riviste internazionali inerenti: intermediazione finanziaria, crisi finanziaria e regolamentazione finanziaria, politica della concorrenza, governance e debito pubblico.

RCS Editor-in-Chief Alex Estorick hosts a conversation between Christiane Paul, Adjunct Curator of Digital Art at the Whitney Museum of American Art, and Jason Bailey, CEO of ClubNFT. They discuss the consequences of NFTs for digital art as well the new Lumen Prize NFT Award, sponsored by RCS.

Today's episode begins with perhaps the most important news in show history: Emily Su Bin Ko has joined The Video Essay Podcast as associate producer! The show starts with a conversation between Emily and Will and an introduction to Emily and her work. The episode also features a conversation with Jordan Schonig, a lecturer at SUNY Binghamton. Schonig's work is particularly interesting in the ways it bridges divides between academic and popular videographic criticism. In 2020, Schonig founded the YouTube channel, "Film & Media Studies with Jordan Schonig," which features lecture-style videos that sometime dip into the essayistic to explore concepts in Film and Media Studies. Schonig has also published academic video essays and is the author of the new book from Oxford University Press, The Shape of Motion: Cinema and the Aesthetics of Movement, which features audiovisual criticism in addition to the written text. We discuss his video, "The 'Wind in the Trees' from Early Cinema to Pixar," and Grace Lee's "What Isn't a Video Essay?" 0:00 - Introducing Emily Su Bin Ko 18:50 - Jordan Schonig's Origin Story 21:44 - A Brief Encounter 27:23 - Video Camp & Working With Pretty Images 35:55 - Creating Videographic Criticism as an Early Career Researcher 41:06 - Starting a YouTube Channel 53:56 – "Lev Manovich's 'What is Digital Cinema' and 'Compositing'" 1:02:47 – Deciding Whether to Upload a Work to Vimeo 1:06:55 – "The 'Wind in the Trees' from Early Cinema to Pixar" 1:21:20 - Zooming in On the Marginal 1:25:40 - "What Isn't a Video Essay?" Support the podcast on Patreon. Follow the show on Twitter. Learn more at the pod's website. Get the free newsletter. Music access via Free Music Archive here and here.

Most people know very well that social and cultural transformations are complex. And yet, we often seem prepared to think of individual media as bringing change. We believe that there was a situation before this or that media, and then another situation after. Sometimes there are worries about this subsequent situation; or nostalgia for how things were before. In other instances, people wager hope that novel media might bring positive or empowering changes. When media technologies are seen as transformative, they have often been described as ‘new media'. The term ‘new media' began to acquire some currency in the 1960s, in the age of television. But its use exploded in the late 1990s and early 2000s. Why? Many answers were put forward: the internet, interactivity, multimedia, mobile devices, user-generated content. But for some, the new media of this moment came out of a longer-term and more general development: the rise of the computer as a media technology. Not just a new addition to all the other technologies. Rather, an emergent backbone for virtually all mediated communication and experience. In this episode, we look at how this argument is exemplified by the work of digital media theorist Lev Manovich, who suggests that what makes new media ‘new' is its creation, storage, distribution and display via the language (i.e. software code) and hardware of digital computation. On a basic level, computational media all share a basic metabolism of binary code: ultimately describable with nothing more than 1s and 0s. The question, however, is broader than this: beyond previous media formats becoming absorbed into the medium of the computer, are we seeing the rise of a specifically ‘computational' culture? Thinkers Discussed: Lev Manovich (The Language of New Media / Software Takes Command); Mark B.N. Hansen (New Philosophy for New Media); Alexander Galloway (The Interface Effect); Jay Bolter and Richard Grusin (Remediation: Understanding New Media) Gabriele Balbi and Paolo Magaudda (A History of Digital Media: An Intermedia and Global Perspective); Lewis Mumford (Authoritarian and Democratic Technics); Fred Turner (From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism); Jennifer Light (When Computers Were Women); Mar Hicks (Programmed Inequality: How Britain Discarded Women Technologists and Lost Its Edge in Computing); Alan Kay and Adele Goldberg (Personal Dynamic Media); David Berry (Against Remediation).

Kniha Jazyk nových médií teoretika a výzkumníka Lva Manoviche patří k povinné četbě seminářů o digitální kultuře. Manovich ve svých projektech využívá velká data a sociální platformy, aby odhalil jinak neviditelné způsoby, kterými se sami k sobě i okolí vztahujeme. S profesorem City University v New Yorku jsme rozebírali, v čem leží síla i úskalí datového přístupu ke společnosti nebo jestli nepřejímáme až příliš mnoho myšlenek z anglofonního světa.Všechny díly podcastu Otevřené hlavy můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Kniha Jazyk nových médií teoretika a výzkumníka Lva Manoviche patří k povinné četbě seminářů o digitální kultuře. Manovich ve svých projektech využívá velká data a sociální platformy, aby odhalil jinak neviditelné způsoby, kterými se sami k sobě i okolí vztahujeme. S profesorem City University v New Yorku jsme rozebírali, v čem leží síla i úskalí datového přístupu ke společnosti nebo jestli nepřejímáme až příliš mnoho myšlenek z anglofonního světa.

We talk about Lev Manovich’s The Language of New Media. Support this show and all of our videos on Patreon, where you can also get our notes for this episodeContinue reading36 – Manovich – The Language of New Media

Worries about media technologies often stem from their association with change, change that may be perceived as positive or negative. Even though we tend know very well that social and cultural transformations are complex, we also often seem prepared to think of individual media as bringing change. To believe that there was a situation before this or that media, and then another situation after. These apparently transformative media technologies have often been described as ‘new media'. This term began to acquire some currency in the 1960s, in the age of television. But its use exploded in the late 1990s and early 2000s. Why? There were many answers: the internet, interactivity, multimedia, mobile devices, user-generated content. But for some, the new media of this moment came out of a longer-term and more general development: the rise of the computer as a media technology. Not just a new addition, to all the other technologies, but an emergent backbone for virtually all mediated communication and experience. In this episode, we look at how this argument is exemplified by the work of digital media theorist Lev Manovich, who suggests that what makes new media ‘new' is its creation, storage, distribution and display via the language (i.e. software code) and hardware of digital computation. On a basic level, computational media all share a basic metabolism of binary code: ultimately describable with nothing more than 1s and 0s. The question, however, is broader than this: beyond previous media formats becoming absorbed into the medium of the computer, are we seeing the rise of a specifically ‘computational' culture? Thinkers Discussed: Lev Manovich (The Language of New Media / Software Takes Command); Mark B.N. Hansen (New Philosophy for New Media); Alexander Galloway (The Interface Effect); Jay Bolter and Richard Grusin (Remediation: Understanding New Media) Gabriele Balbi and Paolo Magaudda (A History of Digital Media: An Intermedia and Global Perspective); Lewis Mumford (Authoritarian and Democratic Technics); Fred Turner (From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism); Jennifer Light (When Computers Were Women); Mar Hicks (Programmed Inequality: How Britain Discarded Women Technologists and Lost Its Edge in Computing); Alan Kay and Adele Goldberg (Personal Dynamic Media); David Berry (Against Remediation).

La visualización de datos como nueva abstracción y antisublime: como mapeamos? Porque? Cuál es el desafío para los artistas de datos

Le Roi Lion 2019 Le remake du Roi Lion de 1994 a beaucoup fait jasé depuis l'annonce il y a déjà quelques années du projet monumental. En voyant l'ampleur novatrice des technologies d'animation que Disney prévoyait mettre en marche, il est peu surprenant que le public et la critique puissent se montrer réticent. Plusieurs détracteurs jugent le film trop drabe ou simplement inapproprié par rapport à ses origines en deux dimensions beaucoup plus caricaturales et légères. Je ne partage absolument pas cette opinion. De mon côté, il est d'une évidence sans nom que la version de 2019 est un chef-d'oeuvre non seulement d'animation, mais de cinéma en général. Le film brise de nombreuses barrières et nous pousse à réévaluer nos définitions du cinéma qu'on tenait pour acquises depuis trop longtemps. En me basant sur un important texte de Lev Manovich, « What is Digital Cinema », j'explique comment le film de Favreau est un game changer historique. TABLE DES MATIÈRES 00:51 .......... Note sur 10. 03:12 .......... Pourquoi est-ce si bon? 04:31 .......... Lev Manovich : introduction. 05:40 .......... Lev Manovich : 4 caractéristiques du cinéma digital. 11:09 .......... Le loop de l'histoire du cinéma. 14:04 .......... La musique originale du Roi Lion : Hans Zimmer est un génie. 16:25 .......... André Bazin, ben oui toujours. 20:11 .......... Hollywood, c'est une criss de business pis c'est ben correct + Sommaire analyse filmique. 24:54 .......... Chronique baseball.

Bleu Cinéma | Épisode 1 [Pilote] Dans le premier segment, il est question d'un texte de Lev Manovich, « What is Digital Cinema » (Manovich 2002). Un article qui cherche à comprendre et définir le cinéma à l'ère digitale. Comment le cinéma s'est-il transformé au courant du siècle dernier pour revenir à sa source, c'est-à-dire, l'animation. (Le lien du texte est à la fin de la description.) Dans le deuxième segment, on parle de nos films préférés, particulièrement des deux Blade Runner (Scott 1982 ; Villeneuve 2017) et de Pi (Aronofsky 1998). Aussi, un bref retour sur le cinéma analogue (pellicule) versus digital (pixels) par rapport à la musique analogue et digitale. Invités : Amideluxe (Jérôme Bouchard), Morgan Ali, Nicolas Cuadra (pupusas.god) & un invité surprise. Amideluxe : https://soundcloud.com/amideluxe Morgan Ali : https://soundcloud.com/morgan_ali Nicolas Cuadra (pupusas.god) : https://www.instagram.com/pupusas.god/ TABLE DES MATIÈRES 00:00:00 .......... Début du premier segment (Lev Manovich). 00:10:32 .......... Début du deuxième segment (podcast). 00:18:20 .......... Première apparition de l'invité surprise. 00:37:57 .......... Retour sur Lev Manovich. 00:51:47 .......... Votez #MorganAli2018 00:56:22 .......... Conspirations 00:59:03 .......... Retour sur la méthodologie boiteuse du podcast. 00:59:59 .......... Morgan s'est trompé de film. 01:03:57 .......... Arrivée officielle de l'invité surprise. 01:08:24 .......... Ils sont saouls et jouent au bras de fer. 01:16:36 .......... Bleu fume du pot mollement. 01:18:30 .......... Ça dérape. 01:22:14 .......... Skol. 01:22:38 .......... Bleu fume encore du pot, mais moins mollement. 01:24:48 .......... Débat entre Nicolas et l'invité surprise. 01:37:55 .......... Bleu et Nicolas se battent. 01:41:11 .......... Ça dérape. 01:47:24 .......... Il est question de batailles. 01:50:35 .......... Morgan quitte le podcast. 01:56:27 .......... Amideluxe plie des bouchons comme un homme. 02:01:56 .......... That's a wrap. BIBLIOGRAPHIE Manovich, Lev. 2002. « What is Digital Cinema ». site web de Lev Manovich. http://manovich.net/index.php/project... Aronofsky, Darren. 1998. « Pi ». États-Unis : Artisan Entertainment. Scott, Ridley. 1982. « Blade Runner ». États-Unis : Warner Bros. Villeneuve, Denis. 2017. « Blade Runner 2049 ». États-Unis : Warner Bros.

Interview with Lev Manovich, a professor of computer science at the Graduate Center and director of the Cultural Analytics Lab, who is discussing a new study "Visual Earth," that shines a light on how people around the world are expanding and curating the global photo-sharing gallery, possibly shaping a historical view of the current era.

Manovich was born in Moscow, where he studied fine arts, architecture and computer programming. He moved to New York in 1981, where he received his MA, in experimental psychology, from New York University and his PhD, in visual and cultural studies, from the University of Rochester. His dissertation, "The Engineering of Vision from Constructivism to Computers," traces the origins of computer media, relating it to the avant-garde art of the 1920s. He is the author of Software Takes Command (Bloomsbury Academic, 2013), Soft Cinema: Navigating the Database (MIT Press, 2005) and The Language of New Media (MIT Press, 2001).

Hi Folks! Dietmar Offenhuber We have another great guest on the show. Dietmar Offenhuber visits us to talk about smart cities and visualizing data coming from cities. Dietmar has an interesting background. He has a background in architecture with a Dipl. Ing. from the Technical University Vienna and then he got a MS in Media Arts and Sciences from the MIT Media Lab and a PhD in Urban Planning from MIT. He's also been a key researcher at Ars Electronica Futurelab. Now he is an Assistant Professor at Northeastern University in the departments of Art + Design and Public Policy, where he does research on the technological and social aspects of smart cities and urban governance. In the show we talk about many of his super interesting projects such as Wegzeit (timespace visualizations of LA) and Trash Track (on tracking and visualizing where garbage goes), and interesting concepts such as Accountability Technologies and Infrastructure Legibility. We also talk about the future of smart cities and what we should expect to get our of smart cities. Enjoy the show! LINKS (Moritz Launched ON BROADWAY with Lev Manovich, Dominikus Baur, Daniel Goddemeyer) Our Guest: Dietmar Offenhuber Arts Electronica Future Lab MIT Senseable City Lab Northeastern University Department of Art + Design Wegzeit - timespace visualizations of LA Comment Flow (social media visualization) Semaspace (graph editing tool) Trash Track (tracking and visualizing trash) Smartcitizen (distributed crowdsourced sensors) Bill Mitchell (MIT Media Lab Professor of Architecture and Media Arts and Sciences) Mapping the archive (project with Dietmar and Moritz on the Arts Electronica Archive) Dietmar's Interview: Sorting Out Cities Deitmar's Book: Inscribing A Square (how urban data shapes public space / discourse, and what kinds of representations are involved, and what is their function) Dietmar's Book: Accountability Technologies – Tools for Asking Hard Questions Dietmar's Book: Decoding The City

Lev Manovich, the author of the seminal The Language of New Media, MIT’s Fox Harrell, who recently published Phantasmal Media: An Approach to Imagination, Computation, and Expression, and MIT’s Nick Montfort will examine the ways in which computational models can be used in cultural contexts for everything from analyzing media to imagining new ways to represent ourselves.

Lev Manovich, UCSD

Lev Manovich, UCSD

Lev Manovich, UCSD

Lev Manovich, UCSD

Lev Manovich, UCSD

Lev Manovich, UCSD