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Wednesday 16 October 2013

New Media-Manovich

New Media as described by Manovich (2002, p.48) shows the combination of all the types of computers that came before. Dagguerre's Daguerreotype and Babbage's Analytical engine for example; the Daguerreotype process allowed camera images to be permanent  and created the way to create images on a silver-coated copper plate. Whereas, on the other end of the spectrum the Analytical Engine was for data and information which was input on punch cards. Manovich states: "...graphics, moving images, sounds, shapes, spaces and text become computable..." (2002, p.48)
For example, the film Avengers Assemble has a website but also an app for Apple and Android devices. On the website it gives links to share it on Facebook, Twitter and Google +. These all incorporate what Manovich calls "another set of computer data." (2002, p.48)
"Computer data" falls under the category of "numerical representation" in Manovich's work (2002, p.49). This idea of "programmable media" is one which allows the producer to create new and improved media items such as sounds, video and images compared to what was previously available using just a camera or a microphone. Photoshop, GIMP and many other image manipulation programmes allow users to make images from scratch or manipulate and change existing images, even just by adjusting the levels in the image. These images can then be mass produced for magazines, the Internet, newspapers etc. Manovich mentions this in the text "...into a set of repetitive, sequential, and simple activities that could be executed by workers who did not have to master the entire process and could easily be replaced". However, although these are factory-like conditions, all churning out thousands of the same product, individualisation is a main point of new media. The idea that each product, no matter what it is, can be personalised to suit the user. This is shown even in the way that Android Smartphones allow the user to change their background colour and theme, so as to make the phone different to other peoples. 
New media is changing the way we see products today, and although it is inherent in our everyday lives, old media such as newspapers are still a big part of society. As seen by the figures of USA Today-the print version exceeds the digital version massively. So, old media isn't compeltely forgotten. Yet. 



Bibliography


Manovich, L. (2002) What is New Media and Principles of New Media from The Language of New Media

BBC Newspaper Figures date accessed 16/10/13 
http://www.bbc.co.uk/news/business-23587385


New Media-Automation

One of the aspects that Manovich discusses in The Language of New Media is the aspect of Automation, which can be split into two parts, the first ebing low-level, "which the computer user modifies or creates from scratch" (Manovich, 2002, p53) through simple means like templates. This can be seen most often when editing a image in Photoshop or generating 3D objects. The second being high-level, which "requires a computer to understand the meanings embedded in the objects being generated" (Manovich, 2002, p53) like the use of AIs, artificial intelligence. One area which Manovich focuses on, in terms of automation and AIs was their presence within video games.

Making reference to games like Command and Conquer and Quake, Manovich discusses the use of AIs within video games and how they have "expertise in some well-defined but narrow areas such as attacking the user" (Manovich, 2002, p54) but then also how limiting this is because the user can only make the AI do what it is programmed to do, something as simple as initiating conversation may be impossible due to the way in which the AI was constructed. Modern games such as Grand Theft Auto 5 and Far Cry 3 pride themselves on having large, open world locations, which grant the user freedom to play the game their way, with Grand Theft Auto 5's world being described as "the biggest, most dynamic and most diverse open world ever created" (http://www.rockstargames.com/V/info) but although these kinds of games are promising, there is still limitation as to what the user can make the AI do, eventually the user will have to follow the games main plot line the way it was meant to be played, therefore eliminating the freedom promised with an open world game.

This is one example of how, despite the fact it is "New Media" there are still some improvements that can be made within this certain aspect. Manovich recalls one experience in 1997 when he attended the SIGGRAPH convention and played against both human and computer-controlled characters within a VR simulation, but he couldn't tell who was human and who was the computer-controlled, highlighting how at that present time there was no clear distinction between a human player and a character being controlled by the computer, due to the limitations being placed on the AIs within the game. Maybe in time this aspect will become more developed and the limitations will cease the exists anymore.

Bibliography
Manovich, L (2002) What is New Media and Principles of New Media from the Language of New Media
http://www.rockstargames.com/V/info (date accessed, 16th October 2013)


What New Media Isn't?

What new media isn’t?

As we enter into a new digital age we are trying to pin point and understand what is new media is. To help us understand we can look at different aspects of media and determine if they are apart of new media. The term interactivity is used a lot when discussing new media. With rising technologies we find are self’s interacting with computers in such way that we are finding are selves psychological dependant on this interactive concept.

 “The popular definition of new media identifies it with the use of computer distribution” (Manvich, 2001, p.43). We interact with new media everyday in our lives. With new multi media devices we are interacting with social media websites with the use of hyperlinks. Each time we click on a hyperlink, which brings are up new information (photos, sounds, games, etc). As this is a new and more in depth way in which we interact with media we are growing more dependant on these multi media devices.          
Interactivity is not new media in fact we have been interacting with media since media began. For example if we think of early art and how we interacted with art. When we look at art we study and evaluate what’s it front of us, picking out imperfections in the peace. If we now take a look at how we interact with film and how we theatre and cinema rely on cinematic techniques to try capture the audience’s attention, helping the viewer to comprehend what’s going on the stage or screen.

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












New media and its main principles

New media is an unworldly term with a complex meaning for the constant shift of mediated forms of production, distribution and communication which affect our everyday lives and the culture surrounding us. Manovich highlights how a new profound media revolution is upon us and is on-going within our cultures but also exemplifies ‘what new media isn’t.’

Relating to the printing press and the photography revolution, Manovich states that the “…impact on the development of modern society and culture, today we are in the middle of a new media revolution – the shift of all culture to computer-mediated forms of production, distribution and communication.” (Manovich 2001, p19)
Manovich, within his book ‘The Language of New Media’, attempts to summarize some of the key differences and ideologies between old and new media and in doing so highlights 5 key principles, dependant on one another affecting profoundly into our culture and manifesting into themselves creating the enhancements, technologies and media forms we have today. These include: numerical representation, modularity, variability, automation and transcoding.

Variability appears to be one of the most important principles out of the five Manovich discusses as it pays particular emphasis to how ‘a new media object is not something fixed once and for all, but something that can exist in different, potentially infinite versions.’ (Manovich, p36) In hypothetical terms we can again look at the revolution of the printing press, before this on identical copies of images/data were enabled to be copied from an original ‘master’, whereas now we can modify and manipulate almost anything electronically due to the expansion of computerization.

With this, Manovich explains how variability allows contrasts, difference and the possibility of expansion to new media. It corresponds to the idea that the growth of new media is potentially endless and can overall vary with accordance to popular culture and consumer demands.

Variability ‘…values individuality over conformity’ (Manovich, p41) it establishes customization for media consumers through all media forms and exemplifies how media creators, create the media customarily to suit users. For example, Facebook, Twitter etc. these websites are built around the demands of consumers and social cultures of today, so that not only producers of the media, but also users can customize how they use their media.

Overall, variability plays an important role within the revolution of the new media of today and interlinking with the other principles Manovich discusses within his book, creates a complex, endless and almost magnificent shift of mediated forms.

Bibliography

MANOVICH, Lev (2001). The Language of New Media. Cambridge; London, Mass.; MIT Press

The New Media Revolution


The trajectories of media and technology development have been parallel to one another and growing side by side, for many years. Eventually the two trajectories converged and brought about a shift in all our culture to computer-mediated forms of production. According to Manovich this cultural shift means we are living in the middle of a new media revolution. These developments then lead to new ways to both produce and consume the media in our lives. In comparison to both the printing press and photography revolution, this computer media revolution affects all stages of communication and types cultural communication. 

It is not surprising that these two trajectories have forever been parallel to one another. Manovich stated that “Mass media and data processing are the complimentary technologies of a modern mass society; they appear together and develop side by side, making this society possible.” (Monovich, 2002.p46). When the two finally meet “All existing media are translated into numerical data accessible for the computers. The result: graphics, moving images, sounds shapes, spaces and text become computable, i.e. simply another set of computer data. In short, media becomes new media.” (Monovich, 2002. p48).  Monovich developed five principles of new media; numerical representation, modularity, automation, variability and transcoding. Although he was keen to suggest that principles 3-5 are dependent on 1-2, and that these are not absolute laws, but merely general tendencies of culture undergoing computerization.

It is important to remember that new media differentiates to other forms of media due to the fact that it is digital. A newspaper is not new media, but an online document of the newspaper is. New media allows for the consumer to become an active part of it, instead of the former passive consuming such as watching a movie at a theatre. Now we can access movies on our laptops, and play games or interact in chatrooms that coincide with the film. 

New media and new media communications is evolving and thus its definitions evolve as well.

Bibliography
Manovich, L (2002) What is New Media and Principles of New Media From The Language of New Meida 

What is New media?

Lev Manovich desribed cinema as "the original modern multimedia" (Manovich, 2001, p67) becuase he saw how even early cinema had been one of the first 'old' medias to experiment with new media principles.  Manovich was interseted in the more 'human-centered' representation of the whole media and how through the experimentation of other methods for the media, the slow yet gradual process to what modern filmmakers are doing with this new media now.

Many New medias have digitilized themselves to allow easy access to data, storage and editable information however before the digitalization of these medias, old medias such as cinema and film were only able to store information sequentially. The technology of machines such as the Zootrope, the Tachyscope and even Mareys photographic gun all used the same mechanical principle. the placement of different images on a circular barrel that allows 12 consecuative frames per second to be taken. This was the start of the now hugly known frames per second concept within photograpghy and film now. Now this concept proves that old media as far back as edinson's first apparatus has been useing different media methods to allow the user to capture time and space within a 2-dimensional space so it can be managed and analysed more easily. Manovich points out "time was perpared to be manipulated and re-ordered" (Manovich, 2001, p68) as he talks about the storage capacity on the ninteenth centurie machines. This is the start of how cinema during its 'old' media state began trying to manipulate the footage within a mechnical sence. Instead of the machine just capturing a 2D image, new media cinema has digitalized and given full control to the human within its editing and storage capabilities. This media was becomeing new media or useing old media to adopt to new media long before any digital version for the cinema had been imagined.



Bibliography
Manovich,Lev. (2001) The language of new media, Cambridge, mass; London. MIT Press

New Media

Manovich states in The Language of New Media, that there are five different principles that New Media can be identified with. These are: numerical representation, modularity, automation, variability and transcoding. (Manovich 2001, p.44) All of these ideologies help describe what New Media is and each one cannot be used without interlinking to another. However, variability covers a wide range of ideas that perhaps make it one of most important.

‘A new media object is not something fixed once and for all but can exist in different, potentially infinite, versions’. (Manovich 2001, p.56) An example to demonstrate what is meant by this would be that of images on Photoshop, where the user can manipulate and change the same image into many different versions. (Manovich 2001, p.58) For instance, a user can make the photograph black and white and in the style of a watercolour painting.

Variability establishes how websites customize the media for the user. Information can be used to create a personal and unique experience for each person. Such as, on web sites like Facebook, there are advertisements which are directed at certain profiles. They use the information from people’s “liked” pages or location to customize adverts to try to entice the particular individual. (Manovich 2001, p.57) It shows the correlation between social and technological variations which indicates that users today are more focused on being individual rather than complying. (Manovich 2001, p.60) Users ‘construct [their] own custom lifestyle and “select” [their] ideology from a large (but not infinite) number of choices’. (Manovich 2001, p.60) This interactivity gives users a unique experience and changes the user’s view on media. It gives them the idea of choice which means they feel in charge and not influenced by others.

‘Periodic updates’ (Manovich 2001, p.57) uses variability in a different way. It lets platforms such as Apps on Smartphones, update and adapt themselves automatically. This makes New Media more practical and efficient for users as they do not have to physically do it themselves. Information on sites, for example, the weather forecast can keep updating itself to let the user have the most current reading of this information. (Manovich 2001, p.58)


Variability allows the user to link the most important properties of New Media which ‘on first sight may appear unrelated’. (Manovich 2001, p.59)


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Bibliography

MANOVICH, Lev (2001). Principles of New Media. In: The Language of New Media. Cambridge; London, Mass.; MIT Press, 

Interactivity the refurbished concept


Interactivity is not something that has come with the industrial revolution or over a period of time. Interactivity already existed in a number of ways.
Both classical and modern art was always interactive. Artists and other media producers create work with missing detail and other ‘representational shortcuts’ that enable the viewer to become more involved and piece together the hidden meanings or information that allow the piece of work to achieve its purpose. Interactive art placing’s allow viewers to come in and interact by ‘walking’ around them and ‘observe’ them and or getting the artist to become part of an exhibition or artwork.
Old media forms such as theatre and cinema rely on cinematic techniques such as composition and staging to catch and hold the viewer’s attention, enabling the viewers to comprehend with what is going on, either on stage or on screen.
Manovich then also talks about sculpture and architecture as interactive forms of media. He states that the viewer has not only to visually interact, involving feelings and inspiration, but to move there self around the work and interacting through touch if allowed.
With the introduction and evolution of new media forms, has come a lot more physical interaction between the media object and the user. For example, pressing a button, touching a screen or moving to a sensor. Many people think that physical interaction is the only way to interact with a media form. “There is danger that we interpret "interaction" literally”, but in the 1920’s the introduction of new narrative techniques such as film montage taught audiences to think between the lines and piece together the unrelated images which involved both mental and visual interaction.

Manovich, L. (2002). What is New Media and Principles of New Media from The Language of New Media . MIT Press.

Old and New Media


Lev Monovich explores the convergence of two historical trajectories; computing and media technologies, how they have developed and the differences between old and new media using five different principles.

Both computers and new technologies play an important role within society. The modern digital computer was developed to calculate numerical data and it had the ability to track records such as medical and police records. New modern media technologies were developed to store images, sounds and text and helped in making of photography and films. "Mass media and data processing are the complimentary technologies of a modern mass society; they appear together and develop side by side, making this society possible." (Monovich, 2001. p46). These two trajectories worked parallel to each other then slowly began to emerge together. Modern media began to develop and saw the beginning of film, as still photography were put into motion. As modern media was developing so were computers. Computers became media processor, enabling them to do similar functions to modern technology such as images and films. "All existing media are translated into numerical data accessible for the computers. The result: graphics, moving images, sounds, shapes, spaces and text become computable."(Monovich, 2001. p48).


As computers and media technologies become more alike, Monovich developed five principles to help understand the differences between old and new medias. These key factors are numerical representation, modularity, automation, variability and transcoding. 

All new media objects are composed with digital codes and therefore are numerical representations. Some new media technologies are made on computers and others develop from old forms of media. Modularity is the principle which is also known as "fractal structure of new media”. Media has different elements which work individually and also together. These elements are independent and when mixed together they can produce larger media objects. These two principles contribute to the next which is automation. Media creation, manipulation and access are all influenced by automation. Automating is the creation and modifying a media object using templates and adjusting to users needs. 


"A new media object is not something fixed once and for all but can exist in different, potentially infinite, versions" (Monovich, 2001. p56). When a media technology develops and find new functions and features, a newer version of the technology is produced. This is the variability principle. And the last is transcoding. Monovich describes transcoding as the principle which combines computers and society. "..The new computer culture: a blend of human and computer meanings, of traditional ways human culture modeled the world and computer’s own ways to represent it." (Monovich, 2001. p64). 

As medias are changing, developing and working together it is becoming more difficult to find the line between old and new. Applying Monovich theory helps in identifying one media technology from another.


Bibliography:

Monovich, L. (2001) The Language of New Media, Cambridge, Mass; London. MIT Press.

Interactivity is nothing new

Modern technology of the human-computer interface is very interactive. Interactivity is built in to the structure of computers. The user interface allows the user to control the computer in real-time by clicking on different options on the screen. This has completely rethought how we think of new media. Once anything is displayed on a computer it becomes interactive. It is easy to click, specify and redirect to interactive structures like apps or programs. It is hard to work out the users experiences and relationships with these apps and companies try to convey interactive emotions through this. 

Visual art has always been interactive. People went to see sculptures, paintings, photography and theatre to interact and study them. Nowadays people interact in a different way, with a click of a mouse.

Modern media has decently changed how we interact with everything we can now recreate an artistic technique in seconds that would of took days to complete. These have become natural in everyday life. It has pushed techniques and designers to do more and create more and interesting products.  

The whole reason of computers is to solve mental functions on screen. When people get dependent on computers to carry out mental problems a psychological hypothesis forms. “Technologies externalise and objectify the mind.” Eisenstein thought in 1920 that film had the power to control thinking. Only if he could see that technology has become the main tool in changing perception of mental life. 

In the 1980s, Jaron Lanier talked about how VR can take over human memory and how you can playback memory and classify it. I often wonder if I will have a Facebook when I’m 80 years old and still have all of the photos stored publicly from my childhood. New generations will only know Internet sites like Facebook and YouTube and therefore be eternally locked in virtual reality caves, identifying with somebody’s mental structure. 


Bibliography


Manovich,L. (2001). The language of new media. Cambridge, MA: MIT Press

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


Tuesday 15 October 2013

New media

How did new media become new media? was it because computers advanced to the point were they created or mass produced new forms of media or was it that media technology's evolved on there own. Manovich believes that both were nessery to create new media because new media is a mix of both. He says 'We should not be surprised that both trajectories-the development of modern media, and the development of computers began around the same time, both media machines and computing machines were absolutely necessary for the functioning of modern mass societies' (Manovich, 2002, p.46) Both of these ran along side each other for years with out every coming in to contact but eventually they came together. This started with the moving images that came in to the world around 1893 it lasted only twenty seconds long but was an instant boom. ' Film images would sooth movie audiences, who were to eager to escape the reality outside' (Manovich, 2001, p.46). while this was going on the computer was thriving, it was being used by the government to keep recgoes of population this was called the 'Hollerith'and thanks to this calculating machine eventual came to be used in every day business life. ' The Hollerith tabulator opened the door for adoption of calculating machines by business'(Manovich, 2001, p.47)
 
Technology for both of these evolved and soon become one and the same, computers were digital and cameras were machine but soon cameras became digital which meant that images could be digitally edited. This was revolutionary as it allowed moving images to be done to a better and higher quality. also this lead to new editing styles. this has also lead to new animations that ones were drawing from hand and now are made completely made on computers this just goes to show how advanced new media is and how one can not be done with out the other. Figure 1 is an example of new media technology's that are only made on a computer .
 
 
Figure 1
This is peace of softerware called 'Cinema 4D' it is an advanced peace of media animation software that even people at home can buy and learn to use. this means that not every one needs to be an expert to use it, that it self is an examlple of how advance new media tecnology has become.

Bibliography

Manovich, L. (2002). What is New Media and Principles of New Media from The Language of New Media . MIT Press.

What is New Media?

Manovich suggests that, “today we are in the middle of a new media revolution” (Manovich, 2002, p. p43) by this, Manovich is comparing new media’s cultural impact on society to the impact of the printing press, or photography.  He goes on to introduce new media as the age where media and computer finally meet. “All existing media are translated into numerical data accessible for the computers.  The result: graphics, moving images, sounds, shapes, spaces and text become computable, i.e, simply another set of computer data.  In short, media becomes new media.” (Manovich, 2002, p. 48) To elaborate, according to Manovich new media is born whenever “a computer becomes a media processor.” (Manovich, 2002, p. 48) By this he means that media can now be controlled, manipulated, or created by a computer; this is new media.

 Manovich outlines 5 principles of new media; each principle cannot exist without its predecessor, which suggests new media did not come about instantaneously, but was a process which took years to complete.  The 5 principles are as such, “Numerical Representation” (Manovich, 2002, p. 49): this principle suggests that all new media, both media converted from analog sources, or media created by computers, are composed by digital code.

 “Modularity” or the “fractal structure of new media.” (Manovich, 2002, p. 51) is the fact that all new media objects consist of individual parts, which consist from smaller parts, etc.  This is true in a world of media objects, for example; films consist of scenes, broken down into takes, and on the smallest level; frames.

 “Automation” (Manovich, 2002, p. 52) cannot exist without modularity of media objects, automation refers to a computer’s ability to dramatically manipulate a media object through a template or specific algorithm.  An example of automation at work would be using a filter on your photos with instagram.

 “Variabilty” (Manovich, 2002, p. 55) refers to the fact that new media objects can exist as different versions.  For example a film can exist as a DVD, as well as an online version (mpeg, wmv, quicktime etc). 

 “Transcoding” (Manovich, 2002, p. 63) cannot exist without any of the past principles, this is the notion that while “media still displays structural organization which makes sense to its human users” (Manovich, 2002, p. 63) in a base form, the material principles of new media objects do not consist of recognisable objects, but as lines of code, data structures like arrays and lists, or algorithms and data structures.

 Manovich times the introduction of new media to the moment where old media objects and more modern computer technologies combines to create a new media, where computers and media work together.

Bibliography


Manovich, L. (2002). What is New Media and Principles of New Media from The Language of New Media . MIT Press.

 

Monday 14 October 2013

The Modularity of New Media


Fig. 1. - A variation of the Sierpinski triangle fractal.

Modularity is the degree to which an object can be taken, disassembled, and then reassembled in the same or a different composition. This can be considered as an important property of new media, as it is what enables adaption of media across multiple platforms in modern technology. The most prominent example would be a mobile only home page using the same elements as a desktop, but in a different composition.

Manovich (p.20) defines the modular property of new media as a, "fractal structure of new media." A somewhat misleading term, as the typical property of a theoretical fractal is that it is self similar, i.e. it has infinite detail. (Mandelbrot, P1). This is not a property of new media as Manovich describes it, "Media elements, be it images, sounds, shapes, or behaviors, are represented as collections of discrete samples." (p.20).

Instead, Manovich is referring to the idea that when taken out of the visual context of the composition as a whole, any section of a fractal will maintain it's own form. This stays true to new media, for example, an embedded flash element can be taken out of a web page and viewed alone without the other elements. You can go even further by opening the file in it's authoring software, in which you can take each individual element such as an audio clip and view that without the other elements of the flash file. That audio file could then be re-purposed in an entirely new flash project and so on and so forth. Even compiled programs, such as an EXE can be reverse engineered to extract images, sounds, and video.

The importance of the second property, modularity, is arguable however as Manovich (p. 18) stated, "principles 3-5 are dependent on the principles 1-2." Modularity certainly paves the way for automation, as without it repeatable subroutines become impossible. Variability and Transcoding also become an issue without modularity, as can be demonstrated by the initial example of a mobile specific website. All new media has modular properties which make automation, variation, and transcoding possible.


Bibliography
Manovich, L. (2001). The language of new media. Cambridge, MA: MIT Press.

Benoit Mandelbrot (May 1967). "How Long Is the Coast of Britain? Statistical Self-Similarity and Fractional Dimension". Science Magazine.

Fig. 1.  "FireLizzard", (2009), Sirpinski Triangle Variation [ONLINE]. Available at: http://waprile.weblog.tudelft.nl/files/2009/04/Sierpinskifull_1797-fireLizzard.png [Accessed 13 October 13].