Figure 17.1 Identity and gender in the Palace, (top) "Are you really a woman," (bottom) "Yes:' 0 1998, The Palace Inc. Used with permission.
that "male characters often expect sexual favors in return for technical assistance [given to female characters]. A male character once requested a kiss from me after answering a question. A gift always incurs an obligation" (444-445). In this way a traditional gender identity is simply reinscribed in a new networked environment. In other ways, howevef, gender is not only reinscribed but refashioned, as it is measured against constructions of gender in other verbal and visual technologies. In a sexual encounter in a MUD, the primary appeal c through the verbal description of the visual. The participants us begin by describing their appearance and continue with a visua count of their actions. If MUD sex is the remediation of the (pr inantly male and heterosexual) pornographic novel, it is als remediation in prose of the male gaze as expressed in film and attendent desire for transparent immediacy. @ p. 78 But imme always passes into hypermediacy, and the simple male gaze-if ever simple wen in film-is certainly complicated by our culture's cination with the operation and texture of digital technologies. In ticular, textual MUDs are complicated by our culture's di construing text as a transparent medium. What undermines the m gaze in a textual MUD is that one can never be sure of the gende one's partner. Participants can change their persona (names and des tions) easily, and there can be no visual markers of embodied gen textual environments. Just as feminist theorists such as Judith Butler and MO Wittig have sought to complicate the notion of gender for their rea MUDs complicate that notion for their players. Gender for But1 always a performance rather than an essential quality. Because o identity is assembled through the staging of various gendered att butes, body habits, clothes, and so on, an individual can fluctuate tween male and female identities, just as a MUD player can chan avatars with a few keystrokes. MUDs thus give some feminist theor cal claims an operational significance. In a MUD, there is always th possibility that any relationship, from a casual conversation to so form of verbally mediated sex, is founded on such a gender confusio This confusion constitutes the best example of the hypermediacy of MUDs, because it threatens the most culturally charged expression of the desire for immediacy. It is in such encounters that the user may care most strongly about the power and the limitations of the medium itself. We may also wonder whether visual MUDs might facilitate the male gaze more straightforwardly than textual MUDs do. Yet this
seems unlikely, because the visual MUDs provide their own forms of spoofing and gender swapping. In the Palace, for example, one can switch between male and female avatars in a matter of seconds. Even when the MUDs may have streaming video, so that players can "be themselves," it seems likely that players will also have the ability to refashion their own video images in ways that confuse or confound markers of gender. Players do this already in the Palace: they frequently create images that confuse or ignore gender, and some spend huge amounts of time programming and decorating their various personas. Players are so fascinated with the operational character of the Palace as a medium that they are simply not concerned to give a faithful or consistent representation of themselves. The hypermediacy of the digital self, never fully and finally repressed, seems to thrive in visual MUDs.
Conclusion
We close with two brief observations. The first concerns the endless crescendo of enthusiasm and expectations with which Western culture is greeting digital media. Each month seems to bring new evidence of the voracity with which new media are refashioning the established media and reinventing themselves in the quest for immediacy. Each new Hollywood blockbuster gives computer graphics artists and prograrnmers the opportunity to claim that they are getting closer to transparency. More remarkable are those pageants of mediation and remediation that emerge as part of current events, such as elections, trials, and the deaths of famous people. In disseminating information about such events, the Internet is quickly taking shape as an established news medium alongside television, radio, and the press. The Internet is also now a full participant in the process of incorporating the media into the event itself. The 1996 presidential and congressional contest was the first election covered widely and deeply on the World Wide Web. Partisan and nonpartisan web sites provided information throughout the campaign. On the evening of the election, news sites such as CNN Interactive were offering continuous streams of results from each congressiooal district. Their promise was that the viewer could bypass the television coverage, which while rapid was still rigidly linear, and get closer to the election itself. On television the viewer had to wait until the networks got around to displaying the results in her state or district; on the Net, the viewer could pass directly to particular elections that interested her. Furthermore, she could supposedly view the l same election tallies on which the networks themselves made their pro-
jections, thus bypassing the middleman. The assumed immediacy o broadcast television was exposed as faulty, in that television could no be interactive and respond to the needs of each viewer. Unfortunate1 the CNN Interactive web site was jammed with so many hits that m users could not get through at all. For these users, television was sti . more efficient system for delivering information. Yet even this ja ming was taken as evidence of the future of news delivery on the it indicated that users clearly wanted an Internet-based news servt When, in the summer of 1997, the Mars Surveyor space landed safely and released its Rover to photograph the surface, the Propulsion Laboratory web site received millions of hits and bec tantalizingly inaccessible. @ p. 205 Even more clearly than in the c of the 1996 election, the Mars landing was a mediated event in W media constituted the subject. The slow movement of the Rover, a cial camera on wheels, was the only thing that was happening at rocky desert landing site. The story was that this medium could it provide an authentic and exciting viewing experience. Moreover, photographs could now be refashioned into a web site, in addition the customary presentations on television and in the print med covering the mission, each news medium made its own claim to diacy, while both critiquing and emulating the coverage pro the others. Within two months, the Mars landing was eclipsed by death of Princess Diana, an event that brought the mutual remediati among on-the-air and online media to a level of frenzy unpreceden in recent media history The reality of media was demonstrated in gruesome fashion, when the paparazzi pursued Diana's car and W blamed as at least the indirect cause of the accident. The story that t photographers may actually have interfered with those trying to he the victims showed again that media can intrude in the "real" worl with serious or fatal results. Even if it was not fully accurate, the st became an instant cultural obsession. The photographers, seemed to be trying to achieve the ultimate immediacy by photographing death itself. Who can listen to the story of Diana without recalling Barthes's analysis of the immediacy of photography? @ p. ll(I We may also think of Antonioni's Blow-up and of the computer game Myrt that remediates the fatal stillness of Antonioni's films. @ p. 97 The picture of death taken by Antonioni's photographer was anything but transparent and immediate: each successive blow-up moved the image further along the scale toward hypermediacy. But in the case of
Diana's death, the photograph instantly took on such white-hot immediacy that it could not be published at all, although an apparent digital fake was made available briefly on the Intemet and then removed. In that all the media joined the paparazzi in their pursuit of the immediacy of Diana's death, few could fail to see the irony that the press, television, and the Internet were condemning the photographers while themselves providing absurdly inquisitive and detailed coverage of a private tragedy. Yet even that irony was absorbed into the media coverage. The media even critiqued themselves as complicit in the death of Diana for having fed the public curiosity that led the paparazzi to pursue her in the first place. The news media thus expressed a fascination with media that they simultaneously condemned as morbid. Meanwhile, television and the web were as always each promoting its own definition of immediacy: television through live coverage that went on for days and the Internet through web casting and the "participatory democracy" of the newsgroups, in which contributors could conduct their own grieving dialogue. Sometimes the emphasis in the television broadcasts passed from the live coverage to the authenticity of the emotional experience: the size of the crowds, its outpouring of grief, and so on. From there it was an easy move to hypermediacy. That movement became apparent, for example, in the broadcasts by CBS News. Because the Funeral itself occurred for American audiences in the middle of the night, CBS decided to run a videotape of the whole ceremony later in the morning. At that time, however, the procession was still carrying Dianai body to its final resting place. The producers of the broadcast thus faced the problem of providing two image streams to their viewers. They decided not to switch the entire screen from one scene to the other, as they would undoubtedly have done five or ten years before. Instead, they periodically shrank the videotaped funeral to l i a window on the screen and slid in a second window carrying a shot of i the continuing procession. The two windows would appear overlapping for some seconds or minutes. Above the one was the rubric "videotape" and above the other "live"-as if the live "shot" were any less mediated than the videotape. The producers chose the hypermediated windowed style, even though or perhaps because they wanted to elicit in their viewers feelings of authenticity and deep emotion. Because the two images (one videotaped and one live) were both available to the producers, both demanded their place on the screen. This crowding together of images, the insistence that everything that technology can present must be presented at one time-this is the logic of hypermediacy.
We can hardly imagine a better example of hypermediacy's claim to authenticity of experience. And yet other and perhaps better examples (both of hypermediacy and remediation) will no doubt appear, as each new event tops the previaus ones in the excitement or the audacity of its claims to immediacy. %E FUTURE OF REMEDIATION Our second observation concerns our culture's insistence on the newne of new media. It is not surprising thar enthusiasts should continue make the claim of novelty, for they have inherited from modernism assumption thar a medium must be new in order to be significant. Cave11 (1979) has remarked, the task of the modern artist was alw "one of creating not a new instance of his art, but a new medium in (104). In digital media today, as in modern art in the first half oft century, the medium must pretend to be utterly new in order to p mote its claim of immediacy. It must constitute itself as a medium t (finally) provides the unmediated experience that all previous me sought, but failed to achieve. This is why each innovation on the Wide Web must he represented by its promoters as a rev01 Streaming audio, streaming video, Java, VRML-each of these canno merely improve what the Web offered before but must "reinvent" Web. As we have shown, what is in fact new is the particular way which each innovation rearranges and reconstitutes the meaning of e lier elements. What is new about new media is therefore also old a familiar: that they promise the new by remediating what has g before. The film Strange Days, with which we began our study, is n really a prediction about the future, but a description of our culture current fascination with both transparent and hypermediated technol ogies of representation. Throughout this book, we too have tried to describe the present moment and to resist the urge, so tempting whe writing about new media, to make predictions. We surely cannot pr dict how digital media will work their particular remediations in th coming years and decades. Today, virtual reality refashions film; th World Wide Web refashions television and everything else. However, as they develop, these technologies may change the focus of their remediations. Other digital hardware and software may be invented and deployed against the same targeu (particularly television and film) or perhaps against others. Our one prediction is that any future media will also define their culmral meaning with reference to established technol-
ogies. They will isolate some features of those technologies (point of view, motion, interactivity, and so on) and refashion them to make a claim of greater immediacy. The true novelty would be a new medium that did not refer for its meaning to other mediaat all. For our culture, such mediation without remediation seems to be impossible.
Glossary "'~l,,Y.~V 1, , augmrnredmzliry Any of a variety of compurer Systems that combines views of the physical world with computer-generated graphics. Wearing special glasses or a headset, the user can see the physical world, but addirional graphical or cmrual information provided by the compurer is also displayed on her eyepieces. The result is a hypemediated visual space. i~~mw~? luci& A device chat uses lenses or mirrors to enable an artist to creare perspective drming of what he sees. Similar in purpose ro rhe older camera obsc camna obrnrra Any of a variery ofdevices from a box ro an entire room, dating fr the Renaissance to the ninereenth century: sunlight is focused through apinhole lens in one side or wall of the camera obscura and projected an the opposite si wall. The viewer would see the projected image upside down in a linear perspec The camera obscura becomes the modern photographic camera by placing phor graphic film at the focal point. iybwspace A rerm mined by cyberpunk novelisr William Gibson m describe a ture combination of networking and rhree-dimensional visualization. For Gibs cyberspace encompasses all the computers and digitized dam in rhe world. The rer is now invoked broadly to describe any computerized medium, including the I ternet, vinual reality, or wen CD-ROM. digitalphotography The practice of altering, combining, and refashioning conven tional photographic images by compurer graphics techniques. graphid uiw ini.face (GUI) The current standard for interacting wirh a persona compurer, in which the user views and manipulates texr and images in windows o the screen. Piles, direcrories, commands, and applications are represented by icons or menu items. The GUI works under the logic of hypermediacy. him! (Hywtu-t Markup Lnnguage) The system of tags thar conrrol the appearance and behavior of revr and images on World Wide Web pages. hybrid Media produced by heterogenous networks, such as ompurer graphic digital photography, or the World Wide Web. hypennedicz Computer applications thar present multiple media (text, graphics, an imation, video) using a hypertexrual organization. Operates under the logic of hypermediacy. hypennediacy A sryle of visual representation whose goal is to remind the viewer of rhe medium. One of the two strategies of remediation; the orher is (transparenr) immediacy. hypmtu-i A method of oiganizing and presenting text in the computer. Textual units of various sizes are presented to the reader in an order chat is derermined, at least in part, by electronic links char the reader chooses ro follow. Hypertevt is the remediation of the printed book. icon A small graphic used in agraphical user inrerface to represent files, direcrories, programs, and resources. Icons are parr of the windowed style, which is an expression of hypermediacy.
cinema, and so on) and believe that he is in the presence ofrhe objects ofreprerentation. One of the two strategies of remediation; the other is hypermediacy Java A programming language used ro create special applications thar are downloaded from rhe World Wide Web and run inside a brower. Java enables the Web ro go beyond its remedlation ofgraphic design and refashion multimedia or computer programming in general. Lineor pnrpmive A form of mathematical projecrion rhrough which rhreedimensional objects are represented on a two-dimensional surface. A key fearure in the style of rimsparent immediacy pursued by western painring from rhe Renaissance until the late ninereenrh century. media Plural of medium medium The formal, social, and marerial network ofpractices rhar generates a logic by which additional instances are repeated oi remedlated, such as photography, film, or television. MOO A kind of MUD. Stands for MUD, object-oriented. MUD Multiuser dungeon. Aprogramming system through which computer users in different physical locarionr can communtcate in the same networked, virtual space. The background text of rhe MUD describes a world wirh rooms or other physical spaces. Users become characters in this world and participate in the creation of a collecrive narrative. netzuwh~ A technical term to characrerize the hardware and rofrware chat allow computers to exchange elecrronic information. We consider networks nwer to be purely technical but always CO be made up of heterogeneous alliances and aifiliarions drawn from a variery of elements, including science, nature, language, media, socicry, culrure, economics, and:or aesrhericr. phororadiim Computer phororealirm is the practice of making computer graphic images resemble photographs; manual photorealism is a movement in conremporaty art in which photographs serve as the basis of highly realistic paintings. Both of these photorealisms operate under rhe logic of rransparent immediacy medraiion Defined by Paul Levenson as the "anrhropotropic" process by which new media technologies improve upon or remedy prior rechnologies. We define the rerm differently, using it to mean the formal logic by which new media refarhion prior media forms. Along with immediacy and hypermediacy, remediation is one of rhe three trairs of our genealogy of new media. repurpaiing A term used in rhe enterminment industry ra describe the practice of adspring a "property" for a number of different media venues, for example, Disney's creation of a soundtrack, a Broadway musical, a Saturday morning cartoon, and a complete line of children's products from The Lion King iirezrning audiolvideo An Internet technology rhar delivers a conrinuour audio or video signal ro the user's compurer. Screaming permits the Inrernet and the World Wide Web to compete with and to refashion conventional radio and telerision. uhiquirous rmpting The use of electronic devices ro refashion a physical environment, such as the classroom or the home. The devices are distributed rhroughour
this environment and communicate wirh each other and wirh the user. Ubiqluraus computing is in the spirir of hypecmediacy and is the opposite of virtual reality. virtual reality Any of a variety of systems that immerse the user in computergenerated graphics. Wearing special glasses or a headset, the user sees only what the computer draws on the eyepieces. Virtual realiry operates under the logic of trans parent immeidacy and is rhe opposite of ubiquitous computing. VRML Virtual Reality Modeling Language. A code for describing r dimensional objects and views ro be displayed ro rhe user in her World Wide browser. webcam A (usually starionary) video camera trained an some indoor or outdo scene, whose image is automatically digitized, inserted into a web page, and ma available over rhe World Wide Web. Because the image is updated at regular inte vals (ranging from a few seconds to a few hours), a webcam seems to appropria rival the livenesr of broadcast television. web rite An interconnected set of pages that constitute a coherent offering for r World Wide Web. World Widr Web A service on the Interner. The Web consists of hundreds of rho sands of web sires and can remediare any of a variety of earlier media.
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Abowd, Gregoty, 217 AUn 148. Sarnlro Animated film; Disney, Walt Alberti, Leon Battista. See& Linear perspective and linear perspective, 24, 251 window metaphor, 29, 31, 79, 162,235,251 Allegory in digital art, 130, 133, 136-139 Myr as, 94-96, 136, 144 Allen, Robert C., 193 Alpers, Sverlana, 36-37 Altarpieces as hypermediated, 3435 American Memory Project, 201 Civil war photograph of Atlanta, 202 Amsterdam webcam, 82, 208-210. See alm Web cameras Amusement parks. Ser Theme parks Anderson, Chrisropher, 172 Anderson, Laurie, 43 Andreesen, Marc, 198 Animated film. Seealso Film as remediarion of computer graphics, 147-150 Anti-Carterianism, 250-254. Srealro Descmes; Jay, Martin Anronioni, Michelangelo BLOW-"p, 268-269 films remediated by Mysr, 97 Apple (computer corporation) KnmuledgeNavigntor. 219 Arcade games, 34, 89-94. Seralio Computer games; Video games and new Times Square, 166-167 and social spaces, 102 Arkansas (multimedia splash screen), 13 Arlington (brothel in Sroryville), 127 Ars Electronics, 143-144 Artificial intelligence, 66, 161-162 A-I0 Asark! (computer game), 102 Atlanta Zoo, 246 AugC, Marc, 177-179 Augmented reality, 213-216. Saalro Ubiquirous computing Aura, 73-75. Seralro Benjamin, Walrer Austen, Jane, 44 Automaticity (of mediarion), 25, 27- 28,33, 139-140 Back ro the Furum, 246-247 Bailly, David, 12, 37 Balsamo, Anne, 182,237-240.248- 249,252 Bambi, 173 Barlow, John Perry '"Declaration of Independence:' 74, 76,179-180 Baroque cabinets as hypermediated, 35-36 Barther, Roland, 30, 268 CameraLurida, 30". 106, 110-112 Baseball, 190-191 Baudelaire, Charles, 72 Baudrillard, Jean, 174, 194 notion ofsimulacrum, 55, 213 Barin, Andr6, 25-26, 30 Beauty andthe Beart, 147-148. Ser alro Disney, Walt Bell, Charles, 120 Marbla IX, 123-124 Bellocq, Ernest photograph of Mahogany Hall, 126, 128 Benedikt, Michael, 181 Benjamin, Walrer Thr Work of Art in the Age ofMwhaniid Repmduaion, 73-75 Berners-Lee, Tim, 197-198 Big, 246-247 BladeRunner (computer game), 98 Bloom, Harold, 49 Body as medium, 237-240,254 remediarion of, 236-240 and technology, 145 Badybuilding, 237-239 Boeing, 215-216 Bwk of Houn (medieval manuscript), 13 Bornstein, Kare, 239 Bourdieu, Pierre, 250
Bowie, David, 42 Communications Decency Act, 210 Brainrtom, 166 Computer BrawNw World, 46 as medium, 66 Bricken, Meredith, 22, 245, 251 Computer arc. SW Digital an and ElecBriionnica Online, 202-203 tronic an Bnukman, Amy, 262,264 Computer gamer, 55, 81, 88-103 Bryson, Norman, 25,27, 54 and pornography, 99-101 Bukatman, Scott, 175 remediare cinema, 47, 96-99 Butler, Judirh, 84, 264 Computer (digital) graphics, 11, 26- 28, 106-107. Seeaim Disney, Camelot, 148 Walt; Photorealism Camera lucida, 69 andanimated film, 48,14i-150 Camp Snoopy, 175-176 and augmented reality, 216 Carresun perspectivalism, 24, 249- and computer games, 94 251. Seealro Dercartes; Jay, hypermediacy of, 34 Martin in live-action film, 153-155 and gendered gaze, 79 and mavemenr from immediacy to Catcher-cam, 191 hypermediacy, 128-129 Cathedral popularity of, 23 as hypermediared space, 34 ray-traced image, 124 Cavell. Stanley, 26, 26n, 27, 58 reality of, 58 on artisr and the self, 121, 234, remediates painting, 69, 115- 236 119 on film and relevision, 186 remediaces photography, 105, on modernist art, 270 129-130 Thr Wwld Virnued, 58" and the self, 232, 235, 243, 245, CBS News, 269 252 CD-ROM (as medium), 42,44-47, Computer intetface, 29,42. Saealio 53,200 Graphical user interim CETH (Center for Electronic Tents in and PACMAN, 91 the Humanities), 201 Coney Island, 169, l78 Chase, Linda, 120-122 posrcuds of, 14, 170 Chatroom* 261-262 Convergence, 185,220-226. Seeaim Chicago Columbian Exposirion, 173 Push Chinairnun, 97 economic aspects of, 222-223 Cinema of atrracrionr. See Film Cooper, Alice, 42 Cinerama, 157 Cosmetic surgery, 237-239 Clark, T. J., 54" Cotren, Bob, 31 Clarke, Arthu C., 48, 58n Corringly fairy photographs, 106- Classroom 2000, 217 107, 128 CNN Interactive (web site), 9, 209, Cruy, Jonarhan, 25,37,249 267-268 Cybenpace, 62,74,76,168-183. See CNN News, 10, 189-191,204. See also Inrernet; Virtual reality alro Television and definition of the self, 166, Collage, 38-39, 41, 155 232,251-254 digiral phorography as, 107 networked computer gamer as, Command-line inredace, 32. Seeal~o 103 Compurer interface; Graphical inNemmanirr, 181,226 user interface as a nonplace, 179
Cyberrpace (conr.) remediates earlier media, 162 rhetoric of, 54 and sexual transgressions, 260-261 theology of, 180-183.222 Daguerre, huir Jacques Maode, 70, 72 Dawkins, Richard. 144 Degrees of freedom, 243-246 de Laureris, Teresa, 82 Derrida, Jacques, 53n, 56 Of Grommaiology, 30" Dery, Maik, 239-240 Descarres, Re& critique of, 250-254 dualism, 237, 252 and rhe ego or self, 248-254 Mrditationi, 248 and perspecrivalism, 24 Desktop interface. Sea Graphical urer interface Desktop meraphoi See Graphical user interface Diana, Princess, 268-269 Digiral art, 132-145 and automaticity, 139-140 fantasy and allegory in, 135-139 Digiral cornpositing in film, 23.48; 154 in releuision, 188 Digiral graphics. See Compurer graphics Digital photography, 104-112. See olio Photography and the desire for immediacy, 110-112 as hybrid, 28,72 and movement from immediacy to hypermediacy, 128 and photographic truth, 106-110 Diorama, 37 Diiilwure, 166 Disney, Walt, 169-173 Disneyland, 170-174 Disney World, 170, 173, 177-178, 226 Doom (compurer game), 29, 42, 55, 93 as desktop virtual reality, 48 as inreracrive film, 47 as social space, 102-103 Dotan, Uri Hummingbird, 134-13 5 Dragon3 Lair (arcade game), 94 Duchamps, Marcel The Bride, 134 Dungeons and Dragons (game), 248, 258 Diirer, Albrecht, 24 and gendered gaze, 78-79, 83- 84 Untenueyi~ngdw Mmung, 79 Durch art hypermediacy of, 36 Dutch painters as remediatars, 45 DVD (Digital Video Disk or Digital Versatile Dirk) See CD-ROM Eastman, George, 70 Edgerton, Samuel, 24" Edison, Thomas Alva, 174 Ekphrasis, 45 Electronic art, 143-145. Seealio Digital art Electronic mail. Sea Email Email, 197 Embodiment. Sre Body Emergency Broadcast Nerwork (rock music group), 53-54 Tel~iornmmicationr Brddown, 42- 43,46,257 Empathy, 245-246 Eniarto (CD-ROM Encyclopedia by Microsoft), 46 Encyclopedias, 46, 202-203 Englebart, Douglas, 31 Erasure (of mediarim), 25, 27-28, 37, 45, 54, 74, 101 ESPN (television sports network), l91 Esres, Richard, 120 Expanded Books (software by Voyager Company), 46
Fniy TaleA TruStoy, 106, 128 Fmtaiia, 17 1 Fantatit voyage, 2 14 Fantasy in digiral arr, 135-139 Feminist theory on gender, 264 and rhe mediation of the body, 77, 237-240 Film, 146-158. Seealio Animated film; Inreractive film Benjamin on, 74-75 cinema of atrractions, 81, 155- 158, 174,254 experimental or avant-garde, 154 and gendered gaze, 78-83 reality of, 58 relationship ro television, 185-187 remediared by computer games, 96-99 remediates digital technology, 48, 149 as iemediator of earlier technologies, 67, 69 on virtual reality, 247 Film noir, 97 Filrers (in computer graphics), 141-142 Fisher, Philip, 58-59 Flbeur, 174 Flight simulation (computer games), 9-11,102 Flirrerman-Lewis, Sandy, 186-187 Fox (relevision network), 191 Foucaulc, Michel, 214 37 Frdnhmmin (film), 136 Frankfnrt School, 78 French Quarter (New Orleans), 177 Freud, Sigmund, 81" Fried, Michael, 54n, 58, 58n Fry, Tony, 57n Futurists, 54, 74 Gabricl, Peter Xplow 1, 42 Gamma", Lorraine, 84 Gargoyle MUD, 259. Seralio MUD Gender. Seedio Body; Gendered gaze; Self and MUDs, 262-265 and remediation, 78-84 Gendered gaze, 78-84,236-240, 253-254,264-265 Georgia Institute of Technology, 4, 163-164,217,246-247 Gergen, Kennerh The Saturated Self; 257" Gibson, William Nerrromancer. 166,175,181.226 Goings, Ralph, 120-123 StillL$ewithCreamw, 122-123, 125 Goldberg, Ken T&g~?rden, 144 Goodman, Nelson Languager ofAri, 300, 112 Graham, Billy, 171, 173 Graphical browser, 221 Graphical user interface (GUI), 31- 32, 35,47 and cornpurer games, 90 and desire for immediacy, 23 influence on television, 40 remediared by augmented reality, 216 Graphic design, 39 and the World Wide Web, 197-200 Greenaway, Perer The Pillow Book, 155 Prorpero'r Books, 155 Greenberg, Clement, 38, 38% 39, 54, 54n, 58,58n Greene, Graham, 98 Grolier'r Elenronir Eniyclopedia, 46 Grontkowski, Christine, 79 Gcarsbrrg, Larry, 194 Guinea Pig Television (web camera rite), 208 Gunning, Tom, 30,81,155-157, 174. Seralro Film, cinema of arrracrions Gutenberg, Johannes, 68-69 GVU (Graphics, Visualization. and Usability) Cenrer, Georgia Instirute of Technology, 4
Hamilton, Richard, Jut What Ir Ii Thai Maker Today? Homa So Diffmt, So Appuling?, 38-39 Haptic feedback, 252 Haraway, Donna, 182 notion of cyborg, 77, 237 Harpold, Terry, 101 Hart, Michael, 201 Hayles, N. Katherine, 250-252 Hem of Darkmu, 201 Hegel, G. W. P. concept of rublation, 55" Heim, Michael, 182 Him, Lewis, 70 Hitchcock, Alfred and cinema ofatrracrions, 157 narrative sryle remediated in The Lari Ezprus, 98 Vetigo, 49,80,82,97, 150-153, 165,238-239 Hodges, larry, 4 and Virtual Gorilla, 247 aperimenr in virtual acrophobia, 163-166 Hollywood sryle, 150-153, 155-156 Seealso Film Holrrman, Sreven, 49 Homosexuality as hypermediacy, 84 Hotwired web sire, 8 Huhtamo, Er&, 42,157 Hybrids LatourS concept of, 57-W67 in media, 58-59.61, 72, 209, 222,224 Hypermedia, 31, 39, 53-54 Hypertext, 33,4344,248 Identity. Ser Self Iman, 157 Immersion, 162, 251 Impressionism, 121 Interactive film, 47, 94-99. See40 Film; Myst Interactivity, 28-29, 33, 162, 199, 243 and immediacy, 81 and the Inremet, 204 Interface designers, 248 Inrernet, 48, 180, 189-190 197, 200-201, 203, 267. Sre6lro Cyberspace; World Wide Web and convergence, 223 as cultural, political, economic force, 76, 182 and death of Diana, 269 and democracy, 60, 74 and freedom of expression, 210 monitoring function of, 223 phone service an, 204 remediates and is remediated by television, 224 remediates the telegraph, 197 and ubiquitous computing, 222 and virtual communiry, 232, 258 and web cameras, 205-207 Irigary, Luce, 79 Ivinr, Willism On the Rorionalization of Sight, 24n James, William, 233-234, 248 Jameson, Fredric, 56-57 Java (programming language), 210 Jay, Martin, 24, 24n, 30n, 79, 249, 211 Jeffords, Susan Seeing Thvough the Media, 189 Jer Propulsion laboratory, 205-206, 268. Seealio Mars Pathfinder Johnny Mnmonir, 166 Johnsron, Lisa SarreIighi, 134; 136 Joyce, Michael, 43 Judovitz, Dalia, 249 Jumbo Kanaha Kam (web camera), 205 Jura~ric Park (filmj, 154 JuraricP,wk (novel), 46 Kay, Alan, 31 Keller, Evelyn Fox, 79, 237 Kellner, Douglas Media Culture, 67 Kelly, Kevin "Kill Your Browser," 221-226 Kiss (rock music group), 42 Kowinski, William, 175
Lacan, Jacques, 81n, 83, 236n LambdaMO0 (interactive environment), 260 Lanham, Richard, 38-39,41 Lanier, Jaron, 22,246,251 Lart Expra~, The (computer game), 98-99 Lacour, Bruno, 24n, 57-58,62,67 Sciencein Anion, 58" We Haw Never Bern Modm, 58" Lawnmower Man, 166 Le Flashing, 218 Levinson, Paul The Sofi Edge, 59n Library of Congress, 201-202 Lin, John photorealistic graphic of Chartres, 12 Linear perspecrive, 11, 24-25 and Cartesian rationality, 248 claim to be natural, 30, 72 in computer graphics, 26, 125 and gendered gaze, 78-79,84 and immersion, 251 in punting, 30, 34,73, 235,251, 261 and the self, 235 and transparent immediac~ 24-25 Live-action film, 153-155. See alro Film Liueness. See alro Television and death of Diana, 269 and rock music, 9,42 and World Wide Web, l97 Los Angeles as mediared space, 174 Lui World, The, 154, 157 Lowell, Robert Vanirhing Point, 133-134 Lumikre brottiers, 174 The Arrivd afa Train at the LA Ciotar Scanon, 15 5 Luna Park, 169 elecrrocution ofTopsy at, 174 Lynx (cornpurer program), l98 McCaffrey, Anne, 258 Machover, Tcd Brah Opera, 144 McLuhan, Marshall, 185-187, 239-240 Unhwtanding Media, 45, 76-78 Mahogany Hall cornpurer graphic of, 119, 126-128 Male gaze. See Gendered gaze Mall of America, 175-176 Malle, Louis Pvdy Baby. 128 Marinetri, Pilippo Tommaso, 54, 74 Marquer, Gabrid Garcia, 107 Mars Parhfinder (space mission), 180, 201-207, 215,268 Marvin, Carolyn When Old Tehnologim Wwa NW, 2331, 259n, 261" Mawson Station (web camera in Antarctica), 205-206 Medium defined through remediation, 61-68 Metsu, Gabriel, 36-37 Men, Christian, 30n, 82 Meyer, Pedro, 139 EmotionalCriiii, 107-108 Mona Liia in the Waz Museum, 108-109 Truths andFictiou, 107-1 10 Miami Beach Cam, 207 Microsoft, 58 Mirchell, William J., 26, 31, 106 Mitchell, W. J. T, 30n, 39n, 45 Modernism, 38, 58,235 and relf-exprersion in art, 121 Modernist arc and digiral art, 134 and the logic of hypermediacy, 38, 41, 54 and rovelty, 270 and reality of media, 58 Mona Liio remediared in digiral phorography, 108-109 Mondo2000 (magazine), 31, 39 MOO. Sce MUD MTV, 53-54, 152-153 MUD and definition of the self, 258-262
MUD (conr.) and gender, 262-265 remedietes earlier communications technologies, 258 as social space, 102-103 rentual and visual, 248 Mulvey, Laura, 80-82,150, 248 Myrt icompurer game), 55, 102, 152 as allegory, 94-96, 136, 144 and death of Diana, 268 as desktop virtual reality, 48 as interacrive film, 47, 94-98 and transparent immediacy, 42 view of island in, 29, 95 Nanomachines, 218 Nass, Clifford The Media Equation, 58" Natu~al Born Kdlerr, 6 Netscape, 58, 198 New Times Square, 166-167, 173-174 Niepce, Joseph Nic6phore. 27, 72 Nintendo Game Boy, 90 Nonplaces, 175-180 Nordling, Chiir NetwllihG.9, 134, 137 Novak, Marcos, 180-181,249,251 Old Yelln; 173 Oliver, Richard, 31 Olympics, 192 Omniman, 157 Orlan, 239-240 PACMAN (video game), 90-92 Painting. Se8alio Linear perspective in linear perspective, 73 Palace, 262-263, 265. Seealio MUD Panofsky, Erwin Peripective ai Symbolic Form, 24 Panorama, 162 Penny, Simon, 32,252 Performance art and the remediation of the body, 239-240 Phenakistoscope, 37 Photography. Seealia Digital photography automariciry of, 27, 33 and death of Diana, 268-269 and desire for immediacy, 110- 112,261 immediacy of, 30, 38,268 as perfection of linear perspective, 25 and phororealism, 28, 120-124 reality of 58, 126 social status of, 70,72 Photomontage, 38-39, 155 Photorealism, 133 in Computer (digital) graphics, 28, 55, 105-106,114-130 in liveaction film, 154 manual, 120-124 and movement from immediacy to hypermediacy, 128-129 Photorealisric Piper Seneca 111, 10. Ser alsoflght simulatm Pinoichio, 173 Point of view and computer games, 97 and computer graphics, 245-246 and em~achv. . 247 . and film, 97, 245-246 mulriplicity of, 245 and telwision, 5,245-246 verbal or literary, 245 and virtual reality, 162,245-246, 253-254 visual, 245-246 Pong (arcade and video game), 90-91 Popper, Kad, 181 Pornography and computer games, 99-102 and MUDs, 260-261, 264 Postmodernkm and medla, 56-57 Poststructuralist theory and media, 56-58 Prelude to thr Kiu, 246-247 Programming, 27,33 Project Gutenberg, 200-201 Push (media technology), 61, 221, 223-226 Quke (computer game), 93, 102
Rabinowitr, Lauren Ssing Thrwrgh the Media, 189 Rajasingham, Lalita In Scarih ofthe Virtud Clarmom, 216 Rape in cyberrpace, 260-261 depicted in Strange Dnyr. 166 Reality of media, 58-59, 117-118, 179,191-194,219,222, 268-269 Redolfi, Michael Liquid Citiu, 144 Reeves, Byron The Media Eqdon, 58" Repurposing, 45,49-50,68, 171-172 Residents, The Frrak Shw, 42-43 Rheingold, Howaid, 22, 24, 29, 74 Richter Tobias Atiantii, My Love, 137 Riven (computer game), 29, 55,98. See also .""yrt Robinson, Henry Peach, 70 Rock music experience of, 71-72 and hypermediacy, 42-43,53 liveners of, 9, 42 and remediation, 46 Rock music productions, 71 Rogge, Jan-Uwe, 194 Rokeby, David, 42,218 Rotzer, Plorian, 253 Rourreau, Jean Jacques Nouuelle He'loUq. 261 Saenredam, Pieter, 11 S. Bavo in Haarlem, 11 Sander, August, 70 Schwarz, Vanessa, 81 Self Seealra Subjecr and the body, 236-240 Descartes on, 248-254 and film rechnology, 248-249 and gender, 262-265 hypermediated or networked, 232-234,236,256-265 as mediated through various technologies, 231 modernist view of, 235 in printed novel, 262 romantic view of, 234 unmediated, 236 virrual, 166, 231-232, 234, A214,257-278 William Jamer on, 233-234 Sex as remediarim, 260 Shaw, Jeffrey The LegibleCiiy, 144-145 Shopping mall, 174-177 Siechen, Todd K0&6 Film, 129 Simulacrum, 55. See also Baudrillard Smith, Alvy Ray, 119 Snow White, 171 Social consrruction and hypermediacy, 73 Social determinism. See olia Williams, Raymond ar counterpart to rechnological determinism, 77 Sorkin, hlichael, 175, 177 Space enploiacion, 245 Space Invadw ((arcade game), 93 Spielberg, Sreven, 157 Squire, Joreph Urbau Diaq, 7 Stafford, Barbara, 35-36 Star Trwi Bmg. The Inrwactivr Mm., 98-99 Star TT& fans, 245 Srar Trek: The Nmr Gmeroho+ 239 Sreadman, Philip, 115-118 Sreeplechase Park, 169 Srelarc, 145, 239-240 Stereoscope, 37-38, 100 and feeling of immersion, 162 Stickland, Sherry G. ray-traced compurer graphic image, 124 Stone, Allucqu&re Roranne, 182, 251-252 Stone, Oliver Natzml Barn KiNwr, 154-1 5 5
SrrangeDayi, 3-46, 24, 166, 234, 270 borrows from Vwrigo, 49, 150, 165 compared ro contemporary virrual re&% 22 and cyberspace, 181 and 6rst-person point of view, 97, 150 and gendered gaze, 82 the wire in, 3, 24, 54, 181, 234 Srriptease and gendered gaze, 80 Stroget (marker street in C#penhagen), 177 Subject. Srralro Self Enlightenment view of, 234- 235 Subjective camera, 150, 165-166 Sun (computer corporation) Siar/ire. 219 Tag& John Burdm of Repruentatian, 109-1 10 Talbor, William Henry Fox, 30,69, 72,120 The Pencil of Nature. 27, 38 TBS (relevirion network), 190-191 Technological determinism, 75-78, 187. Srralro McLuhan, Marshall; Williams, Raymond Teleoperatorr, 214 Telepresence, 213-216. Srralio Ubiquitous computing medical, 214 microsurgical robot application, 215 Television, 48, 184-194, 267-269 commercials, 192-194 and death of Diana, 269 as hybrid, 67 and hypermediacy, 93,210 and liveness, 26n, 81,187-188, 191 moniroring function of, 47, 93, 188,194,226 news, 189-192 and point of view, 5 relationship to film, 185-187 remediated by The Le@blr City. 144 remediared by new media, 3 remediates and is remediared by the Internet, 224 Tminaror2, 153 Theme parks, 34, 169-180. See& Disney, Walr This ii Cinerama, 157 Thomas, Chris The Many Braim of Media, 138 Tiffin, John Is S*& ofthe Vi).t,d CImrmm, 216 Tolkien, J. R. R., 258 The Lordof the Ringi, 94 Tomas, David, 181 Too Much Is Not Enough (computer arcade), 166-167 Toy Story. 48, 148-149. Srralro Animated film; Disney, Walt and phororealism, 125 Trompe I'd, 25, 30, 155, 158 Turing, Alan, 27,66, 161 Turkle, Sherry L$ on th~Sc~~en: Idenrify in the Aqr ofthehrme?, 2333n, 258-260 The SeocondSelf; 233n Turner Field, 177-178 20,000 Lagm Under the SW, 172 Ubiquitous computing, 61, 194, 212-219. Srealio Augmented reality and convergence, 222 hypermediacy of, 216-219 and the self, 235 UP0 debace, 71 Ulmer, Gregory Telerheory 57" Ultima Onlim (networked computer game), 103 USA Toby (newspaper), 31,40,209 USA To& (web site), 41, 209 U2 (rock music group), 42 van Kalker, Amr, 35 VCR, 185-186 and pornography, 100 transforms film in television, 204 Velarquez, Diego h Mentnas, 37
Vermeer, Jan, 37 painring (The Mzii~ Lmon) remediared, 115-119 Vertigo, 49, 97, 150-153, 157. Saol~o Hitchcock and acrophobia, 165 and desire for immediacy, 80, 82, 238-239 Video. 57, 186. Seol~o Television Video arcade. Sea Arcade games Video games, 89-94, 102. Srealro Computer games; Arcade games as iepurpoied relevision, 91 Virrual acrophobia, 163-166 Virtual communiry, 232 Virrual Gorilla, 246-247 Virtual museums, 201,209 Virtual reality, 27-28,48, 77, 145, 149,160-167 and gendered gaze, 240 head-mounted display, 4, 29 and immediacy, 11, 21-24 apposite number of ubiquirous compuring, 213, 219 realism of, 119 remediares film, 55, 163-166, 270 and the self, 166, 232, 234-235, 240,242-254,257-258 and relepresence, 214-215 and utopian narrative, 216 Virfuol Valerie (pornographic compucer game), 101 von Neumann, John, 27 Voyhger Company, 46 VRML iVirrua1 Reality Modelmg Language), 210 Wallace, John phororealistic graphic of Chartres, 12 WaNStrref Journal, 224 Walser, Randull, 162-163,252-253 Wearable computers, 218 Wearher Channel, The 204 Web cameras, 5-6.204-208 Bird feeder webcam, 5 and hvpermediacy, 207-208 jukebox, 8, 207-208 monitoring funcrion oC 204 remediarion of television, 208 Sulphur Mounrain webcam, 6 Webcams. See Web cameras Weiser, Mark, 217 Wesron, Edward, 11, 70 WGN (television station), 190-191 White, Mimi, 192 White City, 173 Who Fronr*dRogrrR?bbif, 149, 152 Williams. Linda, 81 Williams, Raymond, 75-78,185-186 Williarns, Robin, 148 Windowrd sryle 32-33,47. Se~&o Graphical user inrerfvce Wired (magazine), 31,39 "Kill Your Browser," 221-226 Wittig, Monique, 264 Wolf, Gary "Kill Your Browser," 221-226 World Wide Web, 81, 196-210, 224, 267. Sealso Internet as book, 225 censorship of, 209-210 compared to television, 204 and graphic design, 3940 heterogeneity of, 208-210 as hybrid, 19 and hypermediacy, 4344, 207-208 and liveness, 197 and pornography, 100 reality of, 58, 194, 226 remediares reievision, 208 as remediaior, 46-47, 60, 69 as revolutionary, 270 and rransparency, 205-206 Wright, Richard, 140, 142-143 Wundmharnntn; 35-36 Xerox PARC, 31,217 Young, Paul, 81 iiiek, Slavoj, IS", 236" Zorh (cornpurer game), 94
Remediation Understanding New Medla Jay Davld dolter and Rlchard Grusln Media critics remain captivated by the modernist myth of rhe new: they assume that digital technologies such as the World Wide Web, virtual reality, and computer graphics must divorce themselves from earlier media for a new set of aesthetic and culrural principles. In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve rheir cultural significance precisely by paying homage to, riding, and refashioning such earlier media as perspective painting, photography, film, and televisio". They call rhis process of refashioning "remediation," and they note rhat earlier media have also refashioned one another: phorography remediated painting, film remediated stage production and photography, and television remediared film, vaudeville, and radio. In chapters devored ro individual media or genres (such as compurer games, digital photography, virtual reality, film, and television), Bolter and Gmsin illustrate the process of remediarion and its two principal styles or srraregies: transparent immediacy and hypermediacy. Each of these strategies has a long and complicated history. A painting by the seventeenth-century artist Pieter Saenredam, a photograph by Edward Weston, and a computer system for virtual reality are all attempts to achieve transparent immediacy by ignoring or denying the presence of the medium. A medieval illuminated manuscript, an early twentieth-century photomontage, and today's butroned and windowed multimedia applications are instances of hypermediacy-a fascination with the medrum itself. Although these two strategies appear contradvtory, they are in fact rhe two necessary halves of remediation Jay Davrd Bolter IS Wesley Professor of New Medla Stud~es, and R~chard Grus~n 1s Professor and Chart, both in the Schml of Literature, Communication, and Culture at Georgia Institute of Technology "The authors do a splendld lob of showlng prec~sely hor technologies like compurer games, d~g~tal photography, film, relevls~on, the Web, and vmual reallty all turn on the murually constructm strategm of generating lmmed~acy and mak~ng users hyperaware of the medla themselves. In rhe final sectlon-after a d~scusslon on rh fies current notions of the 'virtual' and 'networked human subjecr. Clearly written and not overly technica this book will interest general readers, students, an scholars engaged with current trends in tecbnolog);" -M. Uebel, Choice The MIT Press Massachusetts Institute of Technolog Cambridge, Massachusetts 02142 http://mitpress,mit,edu