The Language of New Media
新媒体的语言艺术

Lev Manovich 列夫·曼诺维奇

This book was set in Bell Gothic and Garamond 3 by Graphic Composition, Inc.
这本书是由 Graphic Composition, Inc.使用 Bell Gothic 和 Garamond 3 字体排版的。

Printed and bound in the United States of America.
在美国进行印刷和装订。

1. Mass media-Technological innovations. I. Title. II. Leonarda
   大众媒体与技术创新。我。标题。II。莱昂纳达
   (Series) Camibridge, Mass.)
   （系列）美国马萨诸塞州剑桥市

1. Numerical Representation
   数字化表示
2. Modularity … 30 模块化 … 30
   Automation … 32 自动化 … 32
3. Variability … 36 变异性 … 36
4. Transcoding … 45 转换中 … 45
   WHAT NEW MEDIA IS NOT … 49
   新媒体并不是……49
   Cinema as New Media … 50
   电影作为一种新媒体 … 50
   The Myth of the Digital … 55
   数字时代的神话 … 55
   The Myth of Interactivity … 0
   互动的神话 … 0
   2 The Interface … 62
   2 接口 … 第 62 页
   the language of clitural interfaces … 69
   文化界面的语言 … 69
   Cultural Interfaces … 69
   文化界面 … 69
   Printed Whond … 73
   打印的 Whond … 第 73 页
   HCI: Representation wersus Control … 84
   HCI：表现与控制……84
   HE SCREEN AND THE USER … 94
   屏幕与用户 … 94
   A Screen’s Genealogy … 95
   一块屏幕的家族谱系 … 95
   The Sicreem and the Body … 103
   西克里姆与身体 … 103
   Representation versus Simulation … 111
   表现与模拟的对比 … 111
   3 The Operations … 116
   第 3 章 操作 … 116
   MENUS, FILTERS, PLUG-INS … 123
   菜单、筛选器、插件 … 123
   The Logic of Selection … 123
   选择的逻辑 … 123
   “Postmodernism” and Pliotoshop … 129
   “后现代主义”与 Pliotoshop … 129
   From Object to Signal … 132
   从对象到信号 … 132
   COMPOSETING … 136 复合材料 … 136
   Frona Image Streams to Modular Media … 136
   Frona 图像流转向模块化媒体 … 136
   The Resistance to Montage … 141
   对蒙太奇的反抗 … 141
   Ancherlogy of Compositing: Cinema … 145
   组合学的基础：电影 … 145
   Archeology of Compositing: Video … 149
   合成考古学：视频 … 149
   Digital Compositing … 152
   数字合成技术 … 152
   Compositing and New Types of Montage … 155
   合成与新型剪辑 … 155
   TELEACTION … 161 电动行动 … 161
   Representation versus Communication … 161
   表达与交流 … 161
   Telepresence: Illusion wersus Action … 164
   远程存在：幻觉与行动的区别 … 164
   Image-Instruments … 167 图像仪器 … 167
   Telecommunication … 168 电信行业 … 168
   Distance and Aura … 170
   距离与气场 … 170
   4 The Illusions … 176
   四个幻觉 … 176
   SyNTHETIC REAlism and ITS DisCONTENTS … 184
   合成现实及其相关内容……184
   Technology and Scyle in Cinema … 185
   电影中的科技与风格 … 185
   Technology and Style in ComputerAnimation … 188
   计算机动画中的技术与风格 … 188
   the Icons of Mimesis … 195
   模仿的象征 … 195
   THE SNTHETHC MAGE AND ITS SEBJECT … 199
   这位神秘的法师及其对象 … 199
   Georges Mélies, the Father of Computer Graphics … 200
   乔治·梅里爱，计算机图形学的奠基人……200
   Jurassic Parki and Socialist Realism … 201
   《侏罗纪公园》与社会主义现实主义 … 201
   205
   illusion, NARrative, and interhettwtity
   幻觉、叙事与互文性
   212
   5 The Forms 五种形式
   218
   the database 数据库系统
   218
   The Database Logic 数据库的逻辑
   221
   Data and Algorithm 数据与算法
   Database and Nartativ … 225
   数据库与叙述 … 225
   Paradigm and Syntagm … 229
   范式与句法 … 229
   A Database Complex … 233
   一个复杂的数据库……233
   Dacabase Cinema: Greenaway and Wertow … 237
   达卡巴斯电影：格林纳威与维尔托 … 237
   Nayigable space … 244
   可通航的空间 … 244
   Dooms and Myst … 244
   末日与神秘 … 244
   Computer Space … 253
   计算机空间 … 253
   The Poetics of Nawigation … 259
   导航的诗学 … 259
   The Navigator and the Explorer … 268
   导航者与探险家 … 268
   Kino-Eye and Simulators. … 281
   电影之眼与模拟器。… 281
   EVE and Place EVE 与地点
   286
   6 What Is Cinema?
   6 电影是什么？
   293
   digital Cinema Mnd the histori OF a MOVing image … 293
   数字电影与动态影像的历史……293
   Cinema, the Art of the Index
   电影，作为索引的艺术
   296
   From Animation to Cinema … 298
   从动画到电影 … 298
   Cinema Redefined … 300
   影院的重新定义 … 300
   307
   THE NEW LANGUAGE OF CINEMA … 309
   电影的新语言 … 309
   Gimemaric and Graphic: Cinegratography … 309
   吉美马里克与图像：电影摄影 … 309
   The New Temporality: The Loop ws a Nartative Engine … 314
   新的时间观：循环是一个叙事引擎……314
   Spatial Montage and Macrocinema … 322
   空间蒙太奇与宏观电影艺术 … 322
   Cinema as an Information Space … 326
   电影作为信息领域 … 326
   Cinema as a Code … 330
   电影作为一种符号 … 330
   INDEX … 335 索引…第 335 页

Prologue: Vertov's Dataset
序言：维尔托夫的资料集

[78-79] A hundred years after cinema’s birth, chematic ways of seeing the world, of structuring time, of narrating a story, of linking one experience to the next, have become the basic means by which computer users access and interact with all cultural data. In this respect, the computer fulfills the promise of cinema as a visulul Esperanto-a goal chat preoccupied many film arrists and critics in the 1920s, from Griffith to Vertow. Indeed, today millions of computer users communicate with each other through the same computer interface. And in contrast to cinema, where mose “users” are able to " “understand” cinematic language but not “speak” it (i.e., make films), all computer users can “speak” the language of the interface. They are active users of the interface, employing it to perform many tasks: send e-mail, organize files, run various applications, and so on.
在电影诞生一百年后，观察世界、结构时间、叙述故事以及将一个体验与下一个体验联系起来的方式，已成为计算机用户访问和互动所有文化数据的基本手段。在这方面，计算机实现了电影作为一种视觉世界语的承诺——这是许多电影艺术家和评论家在 1920 年代所关注的目标，从格里菲斯到维尔托。事实上，今天数百万计算机用户通过相同的计算机界面相互交流。与电影不同的是，电影的“大多数用户”能够“理解”电影语言，但不能“说”它（即制作电影），而所有计算机用户都可以“说”界面的语言。 他们是界面的活跃用户，使用它来完成许多任务，比如发送电子邮件、整理文件、运行各种应用程序等。

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[84-85] The incorporation of virtual camera controls into the very hardware of game consoles is truly a historic event. Directing the virtual camera becomes as important as controlling the hero’s actions. . . In computer games], cinematic perception functions as the subject in its own right, suggesting the return of “New Vision” movement of the 1920 s (Moholy-Nagy Rodchenko, Vertov, and others), which foregrounded the new mobility of the photo and film camera, and made unconwentional points of wiew a key part of its poetics.
将虚拟摄像机控制整合到游戏机硬件中，确实是一个历史性的事件。操控虚拟摄像机与控制英雄的动作同样重要。在电脑游戏中，电影感知作为一个独立的主题，暗示着 1920 年代“新视觉”运动的回归（如莫霍伊-纳吉、罗德琴科、维尔托夫等），突显了照片和电影摄像机的新机动性，并使非常规视角成为其诗学的关键部分。
[148] Editing, or montage, is the key twentieth-century technology forcreating fake realities. Theoreticians of cinema have distinguished berween many kinds of montage, but for the purpase of skerching an archeology of the technologies of simulation that led to digital compositing, I will distinguish berween two basic techniques. The first technique is temporal montage: Separate realities form consecutive moments in time. The second technique is montage within a shot. It is the opposite of the first: separate realities form contingent parts of a single image. . . . Examples include the . . . superimposition of images and multiple screens by avant-garde filmmakers in the 1920s (for instance, the sulperimposed images in Vertov"s Man with a Mowie Cawerwa and the three-pare screen in Abel Gance’s 1927 Natpoleon).
编辑或剪辑是二十世纪创造虚假现实的关键技术。电影理论家区分了多种剪辑方式，但为了探讨导致数字合成的模拟技术的演变，我将区分两种基本技术。第一种是时间剪辑：不同的现实在时间上连续出现。第二种是在一个镜头内的剪辑，正好与第一种相反：不同的现实构成了单一图像的相互部分……例如…… 1920 年代先锋电影制片人通过图像叠加和多屏幕展示的手法（例如，维尔托夫的《带小麦的男人》和阿贝尔·甘斯 1927 年的《拿破仑》中的三屏幕）。

[149] As theorized by Vertov, film can overcome its indexical nature thirough montage; by presenting a viewer writh objects that never existed in reality.
[149] 正如维尔托夫所理论的，电影可以通过蒙太奇克服其指示性特征；通过向观众展示那些在现实中从未存在的物体。
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[158] Although digital compositing is usually used to create a seamless virtual space, this does not have to be its only goal. Borders between different worlds do not have to be erased; different spaces do not have to be ratatched in perspective, scale, and lighting; individual layers can retain their separate idencities rather than being merged into a single space; different worlds can clash semantically rather than form a single universe.
尽管数字合成通常用于创建无缝的虚拟空间，但这并不是它的唯一目的。不同世界之间的边界不必被抹去；不同的空间不必在透视、比例和光照上保持一致；各个层次可以保留各自的特性，而不是合并成一个单一的空间；不同的世界可以在语义上发生冲突，而不是形成一个统一的宇宙。

61

$[173-174]$$[173-174]$[173-174][173-174] Modernization is accompanied by a disruption of physical space and matter, a process that privileges interchangeable and mobile signs over original objects and relations. . . . The concept of modernization fits equally well with Benjamin’s account of film and Virilio’s account of telecommunication, the latter but a more advanced stage in the continual process of turning objects into mobile signs. Before, different physical locations met within a single magazine spread or film newsreel; now they meet within a single electronic screen.
现代化伴随着物理空间和物质的变革，这一过程使得可互换和移动的符号优于原始的对象和关系……现代化的概念与本雅明对电影的论述以及维里里奥对电信的分析同样契合，后者只是将物体转变为移动符号的持续过程中的一个更高级阶段。过去，不同的物理位置可以在同一杂志版面或电影新闻片段中相遇；而现在，它们则在同一电子屏幕上相遇。

[202] Whose wision is it? It is the wiston of a cömputer, a cyborg, an automatic missile. It is a realistic representation of human vision in the furure, when it will be augmented by computer graphics and cleansed from noise. It is the vision of a digital grid. Synthetic computer-generated imagery is not an inferior representation of our reality, but a realistic reptesentation of a diffenent reality.
这是谁的视野？这是计算机、半机械人和自动导弹的视野。这是对未来人类视野的真实展现，届时它将通过计算机图形技术得到增强，并去除噪音。这是数字网络的视野。合成计算机生成的图像并不是我们现实的低劣表现，而是另一种现实的真实反映。

[239] Along with Greenaway, Dziga Vertov can be thought of as a major “database filmmaker” of the twentieth century. Man with a Mowie Camera is perhaps the most important example of a database imagination in modern media art.
与格林纳威一起，德齐加·维尔托夫被认为是二十世纪重要的“数据库电影制作人”。《带着莫维相机的人》可能是现代媒体艺术中数据库想象的最重要例子。

[241] Just as new media objects contain a hierarchy of lewels linterfacecontent; operating system-application; Web page-HTML code; highlevel programming language-assembly language-machine language), Vertov’s film contains at least chtee lewels. One level is the story of a cameraman shooting material for the film. The second level consists of shots of che audience watching the finished film in a movie theater: The thind level is the film itself, which consists of footage recorded in Moscow, Kiev, and Riga, arranged according to the progression of a single day: waking up-workleisure acriwities. If this third level is a text, the other two can be thought of as its. metarexts.
就像新媒体对象包含一个层次结构（界面内容；操作系统-应用程序；网页-HTML 代码；高级编程语言-汇编语言-机器语言），维尔托夫的电影至少有三个层次。第一个层次是摄影师拍摄电影素材的故事。第二个层次是观众在电影院观看完成的电影的镜头；第三个层次是电影本身，由在莫斯科、基辅和里加录制的镜头组成，按照一天的进程排列：醒来-工作-休闲活动。如果这个第三个层次是一个文本，其他两个层次可以被视为它的元文本。

[242] If a “normal” awant-garde film still proposes at colherent language different from the language of mainstream cinema, that is, a small set of techniques that are repeated, Man with a Mowie Canera never arriwes at anything like a well-defined language.
[242] 如果一部“正常”的先锋电影仍然能够提出与主流电影语言不同的连贯表达，也就是说，使用一小套重复的技巧，那么《带着莫维相机的男人》从未达到过任何明确的语言。

[243] "And this is why Vertow’s film has particular relevance to new media. Ir prowes that it is possible to turn “effects” into a meaningful artistic language. Why is it that in Witmey’s compurer films and music videos effects are just effects, whereas in the hands of Vertov they acquire meaning? Because in Vertov’s film they are motivated by a particular argument, which is that the new techniques of obtaining images and manipulating them, summed up by Vertow in his term “kino-eye,” can be used to decode the world. Ats the film progresses, straight footage gives way to manipulated footage; newer techniques appear one after another, reaching a roller-coaster intensity by the film’s end-a true orgy of cinematography. It is as though Vertov restages his discovery of the kino-eye for us, and along with him, we gradually realize the full range of possibilities offered by the camera. Vertov’s goal is to seduce us into his way of seeing and thinking, to make us share his excitement, as he discovers a new language for film. This gradual process of discovery is film’s main narrative, and it is told through a catallog of discoveries. Thus, in the hands of Vertov, the database, this normally static and “objective” form, becomes dynamic and subjective. More important, Vertow is able to achieve something that new media designers and artists still have to learn - how to merge database and narrative into a new form.
这就是维尔托夫的电影与新媒体特别相关的原因。它证明了将“效果”转化为有意义的艺术语言是可能的。为什么在维特梅的计算机电影和音乐视频中，效果仅仅是效果，而在维尔托夫的作品中却赋予了意义？因为在维尔托夫的电影中，这些效果是由一个特定的论点驱动的：获取和操纵图像的新技术，可以用维尔托夫的“电影之眼”来概括，这些技术能够解读世界。随着电影的推进，原始镜头逐渐被处理过的镜头所取代；新的技术一个接一个地出现，直到电影结束时达到一种过山车般的强度——一场真正的电影摄影盛宴。 就像维尔托夫为我们重新演绎了他对电影之眼的发现，随着他的引导，我们逐渐意识到相机所能提供的各种可能性。维尔托夫的目标是让我们沉浸在他的视角和思维中，分享他的兴奋，因为他为电影发现了一种新的语言。这一逐步的发现过程构成了电影的主要叙事，通过一系列发现来展现。因此，在维尔托夫的手中，数据库这种通常静态和“客观”的形式变得动态而主观。更重要的是，维尔托夫能够实现一些新媒体设计师和艺术家仍需学习的东西——如何将数据库与叙事融合成一种新形式。

[262] If modern wisual culture exemplified by MTV can be thought of as a Mannerist stage of cinema, its perfected techniques of cinematography, mise-en-scène and editing self-consciously displayed and paraded for its own sake, Whaliczky’s film presents an alternative response to cinema’s classical age, which is now behind us. In this metafilm, the camera, part of cinema’s apparatus, becomes the main character (and in this respect, we can connect The Fortest co another metafilm, Mas with a Mawie Camerat).
[262] 如果将现代视觉文化视为以 MTV 为代表的 mannerist 电影阶段，那么其精湛的摄影、布景和剪辑技巧自觉地展示并为自身而炫耀。而 Whaliczky 的电影则对已经过去的电影古典时代提出了另一种回应。在这部元电影中，摄影机作为电影设备的一部分，成为了主要角色（在这方面，我们可以将《森林》与另一部元电影《与玛丽·卡梅拉》联系起来）。

day’s computer user: no longer just a pedestrian walking down a street, but not yet Gibson’s data cowboy who zoorns through pure data armed with data-minting algorithms. In his research on what can be called “kino-eye interface,” Vertov systematically tried different ways to overcome what he thought were the limits of human wision. He mounced cameras on the roof of a building and a moving automobile; he slowed and sped up filun speed; he superimposed a number of images together in time and space (temporal montage and montage within a shor). Man with a Mowie Camera is not only a database of city life in the 1920s, a database of film techniques, and a database of new operations of visual epistemology, but also id database of new intefface operations that together aim to go beyond simple human nawigation thirough physical space.
当今的计算机用户：不再只是街上走路的行人，但还不是吉布森所描述的“数据牛仔”，他用数据挖掘算法在纯数据中穿梭。在他对“电影眼界面”的研究中，维尔托夫系统地尝试了多种方法来克服他认为的人类视觉的局限。他将摄像机安装在建筑物的屋顶和一辆移动的汽车上；他调整胶卷的播放速度；他在时间和空间中将多个图像叠加在一起（时间蒙太奇和短片中的蒙太奇）。 拥有 Mowie 相机的人不仅是 1920 年代城市生活的数据库，还是电影技巧和视觉认知新操作的数据库，同时也是新的界面操作的数据库，这些操作共同旨在超越人类在物理空间中的简单导航。

[306-307] One general effect of the digital
数字技术的一个普遍影响

metaphors of computer to be embedded in the commands and incerface ized in a computer. Digital ware. In short, the avant-garde became racerialgarde strategy of collage reenema technology is a case in point. The avantmost basic operation one can corendenand, the on film became embedded in pain funt digital data. The idea of painting vant-garde move to combine animations of film-editing software. The footage is repeated in the convergence of, printed texts, and live-action compositing, and editing systems into all-in-tion, title generation, paint,
计算机中的隐喻被嵌入到命令和界面中。数字产品。简而言之，先锋派成为了拼贴重塑技术的先锋策略，这是一个典型的例子。最基本的操作可以理解为，电影被嵌入到数字数据的痛苦中。先锋派的想法是结合动画和电影编辑软件。镜头在印刷文本、实景合成和编辑系统的融合中不断重复，生成标题和绘画。

16

[3171 Can the loop be a new narrative form appropriate for the computer age? It is relevant to recall that the loop gave birth not only to cinema but also to computer programming. Programming involves altering the linear flow of data through control structures, such as “iffthen” and “repeat/while”; the loop is the most elementary of these control structures., . . As the practice of compurer programming illustrates, the loop and the sequential progression do not have to be considered mutually exclusive. A computer program progresses from start to end by execucing a series of loops.
循环能否成为适合计算机时代的新叙事形式？值得注意的是，循环不仅催生了电影，也催生了计算机编程。编程涉及通过控制结构（如“如果...那么”和“重复/当”）来改变数据的线性流动；而循环是这些控制结构中最基本的。正如计算机编程的实践所示，循环与顺序进展并不一定是相互排斥的。计算机程序通过执行一系列循环，从开始到结束。
[316] Cinema’s birth from a loop from was reenacted at least once during its history. In one of the sequences of Mawu wisth a Mowie Camera, Vertov shows us a cameraman standing in the back of a moving automobile. As he is being carried forward by the automobile, he cranks the handle of his camera. A loop, a repetition, created by the circular movement of the handle, gives birth to a progression of events-a very basic nartative that is also quintes sentially modern-a camera moving through space recording whatever is i its wray. $⟶$$⟶$longrightarrow\longrightarrow
电影的诞生在历史上至少重演过一次。在《马乌与莫维相机》的一个片段中，维尔托夫展示了一位摄影师站在一辆行驶中的汽车后面。当汽车向前行驶时，他转动着相机的手柄。手柄的圆周运动形成了一个循环和重复，诞生了一系列事件——这是一个非常基本的叙事，同时也是本质上现代的——一台相机在空间中移动，记录着它所经过的一切。

[322] Sparia! montage represents an alternative to traditional cinematic temporall montage, replacing its traditional sequential mode with a spatial one. Ford’s assembly line rellied on the separation of the production process into sets of simple, reperitive, and sequential activities. The same principle made computer programming possible: A computer program breaks a task into a series of elemental operations to be executed one at a time. Cinema followed this logic of industrial production as well. It replaced all orther modes of narration with a sequential narrative, an assembly line of shots that appear on the screen one at a time. This rype of narrative turned our to be particiularly incompatible with the spatial narrative that had played a prominent role in European wisual culture for centuries.
[322] Sparia！蒙太奇提供了一种替代传统电影时间蒙太奇的方式，通过空间模式取代了传统的顺序模式。福特的流水线依赖于将生产过程分解为一系列简单、重复和顺序的活动。相同的原则使计算机编程成为可能：计算机程序将任务分解为一系列基本操作，逐一执行。电影同样遵循了这种工业生产的逻辑，采用顺序叙事取代了其他叙事模式，形成了一条一个接一个出现在屏幕上的镜头流水线。 这种叙述方式与在欧洲视觉文化中长期占据重要地位的空间叙述格格不入。

[324] Since the development of the Xerox PAB the Xerox PARC Alto workstation, the alice Interface (GUI) has used multiple windows. It would be logical to expect that cultural forms based on moving images will eventually adopt similar conventions. . . . We may expect that computer-based cinema will eventually go in the same direction-especially once the limitations of communication bandwidth disappear while the resolution of displays significaintly increases, from the typical $1-2\mathrm{K}$$1-2\mathrm{K}$1-2K1-2 \mathrm{~K} in 2000 to $4\mathrm{K},8\mathrm{K}$$4\mathrm{K},8\mathrm{K}$4K,8K4 \mathrm{~K}, 8 \mathrm{~K}, or beyond. I believe that the next generation of cinema-broadland or macrocinemia-will add multiple windows to its language.
自从施乐 PAB 和施乐 PARC Alto 工作站的开发以来，爱丽丝界面（GUI）就开始使用多个窗口。我们可以合理地预期，基于动态图像的文化形式最终会采用类似的惯例……我们可以预见，基于计算机的电影也会朝着同样的方向发展——尤其是在通信带宽的限制消失、显示器的分辨率显著提高，从 2000 年的典型 $1-2\mathrm{K}$$1-2\mathrm{K}$1-2K1-2 \mathrm{~K} 到 $4\mathrm{K},8\mathrm{K}$$4\mathrm{K},8\mathrm{K}$4K,8K4 \mathrm{~K}, 8 \mathrm{~K} 或更高的情况下。我相信下一代电影——宽带电影或宏观电影——将会在其语言中引入多个窗口。

326-3271 If the Human Computer Interface ( HCD ) is an interface to computer data, and a book is an interface to text, cinema can be thought of as an interface to events taking place in 3-D space. Just as painting before it, cinema presents us with familiar images of visible reality-interiors, landscapes, human characters-arranged within a rectangular frame. The aeschetics of these arrangements ranges from extreme scarcity to extreme density… It would take only a sratll leap to relate this density of “pictocial displays” to the density of contemporary information displays such as Web portals, which may contain a few dozen hyperlinked elements, or the interfaces of popular software packages, which similarly present the user with dozens of commands at once.
如果人机界面（HCD）是计算机数据的接口，而书籍是文本的接口，那么电影可以被视为在三维空间中发生事件的接口。就像绘画一样，电影向我们展示了可见现实中熟悉的图像——室内、风景和人物——这些图像被安排在一个矩形框架内。这些安排的美学从极度稀缺到极度密集不等……我们只需简单地将这种“图像展示”的密度与当代信息展示的密度相联系，例如网络门户，可能包含几十个超链接元素，或者流行软件包的界面，这些界面同样一次性向用户展示数十个命令。

Acknowledgments 致谢

Mobile phone: Nokia. 手机品牌：诺基亚。

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   “可导航空间。”（德语翻译）收录于《ONSCREEN/OFFSCREEN：流动空间的边界、过渡与变革》，由汉斯·贝勒、马丁·埃梅尔和迈克尔·舒斯特编辑（斯图加特：Cantz Verlag，1999 年）。
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   “'数字电影：Vuk Cosic 的 ASCII 电影。” 见 Vuk Casic: 当代 ASCII（斯洛文尼亚卢布尔雅那：Galerija Š.O.U. Kapelica, 2000）。 (huttp:///www. vuk.orglascii/)
   “New Media: A User’s Guide.” In NETCONDITHON (ZKM/Zentrum für Kunst und Medientechnologie Karlsruhe and The MIT Press, forthcoming).
   “新媒体：用户指南。” 收录于 NETCONDITHON（卡尔斯鲁厄艺术与媒体技术中心与麻省理工学院出版社，即将出版）。

A Personal Chronology 个人时间线

Introduction 引言

Theory of the Present
现今理论

Mapping New Media: The Method
新媒体的映射：方法论

• the parallels between cinema history and the history of new media;
  电影历史与新媒体历史之间的相似之处；
• the identity of digital cinema;
  数字电影的本质;

• the relations between the language of multimedia and nineteenth century pro-cinematic cultural forms;
  多媒体语言与十九世纪亲电影文化形式之间的关系
• the functions of screen, mobile camera, and montage in new media as compared to cinema;
  新媒体中屏幕、手机摄像头和剪辑的功能与电影的比较；
• the historical ties between new media and avant-garde fillm.
  新媒体与先锋电影之间的历史渊源。
  discumsion of why this promise may mewer be fulfilled, see the “Navigable Space” section.) For example, Syllicon Graphics developed a 3-D file system that was showcased in the movie Jerassii Parts Sony used a picrune of a room as an ingeffece in its MagicLink personal communicator. Apple’s short-lived E-Wonld greened its users with a drawing of a ciry. Web designers offer use pictures of buildings, acrial wiews of cities, and maps as interface metaphors. In che words of the scientists from Sony’s The Wirtual Sociery Project (wwwricsl.sony.co.jp/project/VS), “It is our belief that fucure online systems will be characterized by a luigh degree of interaction, support for multi-media and most importantly the ability to support shared 3-D spaces. In our vision, wers. will not simply access textual based chat forums, bur will enter into 3-D worlds where they will be able to jnteract with the world and with other users in that world.”
  讨论为什么这个承诺可能永远无法实现，请参见“可导航空间”部分。例如，Silicon Graphics 开发了一个 3D 文件系统，该系统在电影《侏罗纪公园》中展示。索尼在其 MagicLink 个人通讯器中使用了一个房间的图片作为界面。苹果短暂存在的 E-Wonld 用一幅城市的画作来吸引用户。网页设计师使用建筑物的图片、城市的鸟瞰图和地图作为界面隐喻。索尼的《虚拟社会项目》（wwwricsl.sony.co.jp/project/VS）中的科学家们表示：“我们相信，未来的在线系统将具有高度的互动性，支持多媒体，最重要的是能够支持共享的 3D 空间。在我们的愿景中，用户将会...” 不仅会访问基于文本的聊天论坛，还会进入 3D 世界，在那里他们可以与环境和其他用户进行互动。”

Mapping New Media: Organization
新媒体的映射与组织

1. “What Is New Media?”-the digital medium itself, its material and logical organization.
   “什么是新媒体？”-数字媒介及其材料和逻辑结构。
2. “The Interface”-the human-computer interface; the operating system (OS).
   “接口”-人机交互界面；操作系统（OS）。
3. “The Operations”-software applications that ruin on top of the OS, their interfaces, and typical operations.
   “操作” - 在操作系统上运行的软件应用程序，包括它们的界面和常见操作。
4. “The Illusions”-appearance, and the new logic of digital images created using software applications.
   “幻觉”-外观，以及通过软件应用程序生成的数字图像的新逻辑。
5. “The Forms”-commonly used conventions for organizing a new media object as a whole.
   “形式” - 常用的组织新媒体对象整体的方式。

The Terms: Language, Object, Representation
条款：语言、对象与表现形式

• other ants and media traditions: their visual languages and their strategies for organizing information and structuring the viewer’s experience;
  其他蚂蚁及媒体传统：它们的视觉语言以及组织信息和构建观众体验的策略
  computer technology: the material properties of the computer, the ways in which it is used in modern society; the structure of its interface, and key software applications;
  计算机技术：计算机的物理特性及其在现代社会中的应用方式；界面的结构和主要软件应用；
• contemporary visual culturee the internal organization, iconography, iconology, and viewer experience of various visual sites in our culture-fashion and advertising, supermarkets and fine art objects, television programs and publicity banners, offices and techno-chubs;
  当代视觉文化的内部组织、图标学、图像学，以及我们文化中各种视觉场所的观众体验——包括时尚与广告、超市与艺术品、电视节目与宣传横幅、办公室与科技中心；
• contemporary information cultures
  现代信息文化

1. Reppresentation-simulation (“Screen” section). Here, representation refers to warious screen technologies such as post-Renaissance painting, film, radar, and television. I define screen as a rectangular surface that frames a wirtual world and that exists within the physical world of a viewer without completely blocking her visual feld. Sinnulation refers to technologies that aim to immerse the viewer completely within a virtual universe-Baroque Jesuit churches, nineteenth-century panorama, twentieth-century mowie theaters. 2. Representation-control (“Cultural Interfaces” section). Here I oppose the image as a representation of an illusionary fictional universe and the image as a simulation of a control panel (for instance, GUI with its different icons and menus) that alllows the user to controll a computer. This new type of im- age can be called inarge-interfatale. The opposition representation-control corresponds to an opposition berween depth and surface: a computer screen as windorw into illusionistic space versus computer screen as flat control panel, 3. Refiresentation-action (“Telearction” section). This is the opposition between technologies used to create illlusions (fashion, realist paintings, dioramas, military decoys, film montage, digital compositing) and representational technologies used to enable action, that is, to allow the wiewer to manipulate reality through representations (maps, architectural drawings, x -tays, telepresence). I refer to images produced by later technologies as image-instruments.
   表现与模拟（“屏幕”部分）。在这里，表现指的是各种屏幕技术，如后文艺复兴时期的绘画、电影、雷达和电视。我将屏幕定义为一个矩形表面，它框定了一个虚拟世界，并且存在于观众的物理世界中，而不会完全遮挡她的视野。模拟指的是旨在让观众完全沉浸在虚拟宇宙中的技术——巴洛克耶稣会教堂、十九世纪全景画和二十世纪的电影剧院。2. 表现与控制（“文化接口”部分）。 在这里，我将图像视为一种虚幻的虚构宇宙的表现，同时也将其视为控制面板的模拟（例如，具有不同图标和菜单的图形用户界面），允许用户控制计算机。这种新类型的图像可以称为图像-接口。表现与控制的对立反映了深度与表面之间的对立：计算机屏幕作为通往幻觉空间的窗口，与计算机屏幕作为平面控制面板之间的对比，3. 表现与行动（“远程行动”部分）。 这是创造幻觉的技术（如时尚、现实主义绘画、立体模型、军事诱饵、电影剪辑、数字合成）与用于实现行动的表现技术之间的对立，后者使观众能够通过表现（如地图、建筑图纸、X 光、远程呈现）操控现实。我将后期技术产生的图像称为图像工具。
2. Refresentation-communication (“Teleaction” section). This is the opposition between representational technologies (film, audio, and video magneric tape, digital storage formats) and real-ime communication technologies, that is, everything that begins with tele-(telegraph, telephone, tellex, television, telepresence). Representational technologies allow for the creation of traditional aesthetic objects, that is, objects that are fixed in space or time and refer to some referent(s) outside themselwes. By foregrounding the importance of person-to-person telecommunication, and teleculutural forms in general that do not produce any objects, new media force us to reconsides the traditional equation berween culture and objects.
   表现-沟通（“远程行动”部分）探讨了表现技术（如电影、音频、视频磁带和数字存储格式）与实时通信技术（如电报、电话、远程传真、电视和远程存在）之间的对立。表现技术使我们能够创造传统的美学对象，这些对象在空间或时间上是固定的，并指向某些外部参照物。通过强调人与人之间远程通信的重要性，以及那些不产生任何对象的远程文化形式，新媒体促使我们重新思考文化与对象之间的传统关系。
3. Visual illusionisn-siamalation (incroduction to “Illusions” chapter). Illusionism here refers boch to representation and simulation as these terms are used in the “Screen” section. Thus illusionism combines traditional techniques and technologies that aim to create a visual resemblance of reality-perspectival painting, cinema, panorama, etc. Simnlation refers to warious computer methods for modeling other aspects of reality beyond visual appearance-movement of physical objects, shape changes occurring over time in natural phenomena (water surface, smoke), motivations, behawior, speech and language comprehension in human beings.
   视觉幻觉主义-模拟（“幻觉”章节的介绍）。在这里，幻觉主义既指表现也指模拟，这两个术语在“屏幕”部分中使用。因此，幻觉主义结合了旨在创造现实视觉相似性的传统技术和方法——如透视画、电影、全景等。模拟则指各种计算机方法，用于建模现实中视觉外观以外的其他方面——例如物体的运动、自然现象中随时间变化的形状（如水面、烟雾）、动机、行为以及人类的语言理解等。
4. Reprerentation-information (introduction to “Forms” chapter). This opposition refers to two opposing goals of new media design: immersing users in an imaginary fictional universe similar to traditional fiction and giving users efficient access to a body of information (for instance, a search engine, Web site, or on-line encyclopedia).
   表现信息（“表单”章节的介绍）。这种对立指的是新媒体设计的两个相反目标：一方面让用户沉浸在类似于传统小说的虚构世界中，另一方面则是为用户提供高效的信息访问方式（例如，搜索引擎、网站或在线百科全书）。

What Is New Media?
新媒体是什么？

ed. (New York Museum of Modern Art, 1964), 18.
纽约现代艺术博物馆，1964 年，第 18 页。
2. Newhallin The Hithom of Phoutrgrapby. $17-22$$17-22$17-2217-22
2. 新霍尔的普特格拉比的希索姆。
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which Babbage referred to as a “mill,” performed operations on the data and wrote the results to memory; final results were to be printed out on a printer. The Engine was designed to be capable of doing any mathemarical operation; not only would it follow the program fed into it by cards, but it would also decide which instructions to execute next, based on intermediate results. However, in contrast to the daguerreotype, not a single copy of the Engine was completed. While the invention of the daguerreotype, a modern media tool for the reproduction of reality, impacted society immediately, the impacr of the computer was yet to be seen.
巴贝奇所称的“磨坊”对数据进行了处理，并将结果写入内存；最终结果将通过打印机输出。该引擎被设计为能够执行任何数学运算；它不仅会按照卡片输入的程序执行，还会根据中间结果决定接下来执行哪些指令。然而，与银版画不同的是，没有一台引擎被完成。尽管银版画的发明作为一种现代媒体工具立即对社会产生了影响，但计算机的影响尚未显现。

Principles of New Media
新媒体的基本原则

1. Numerical Representation
数字的表示方式

1. A new media object can be described formally (mathematically). For instance, an image or a shape can be described using a mathematical function.
   新的媒体对象可以用正式的方式（数学上）进行描述。例如，图像或形状可以通过数学函数来表达。
2. A new media object is subject to algorithmic manipulation. For instance, by applying appropriate algorithms, we can autornatically remove “noise” from a photograph, improve its contrast, locate the edges of the shapes, or change its proportions. In short, media bensmer prugrammzable.
   新的媒体对象会受到算法的影响。例如，通过使用合适的算法，我们可以自动去除照片中的“噪音”，提高对比度，找到形状的边缘，或调整其比例。总之，媒体是可以编程的。

2. Modularity 2. 模块化设计

3. Automation 3. 自动化技术

4. Variability 4. 变异性分析

1. Media elements are stored in a media database; a variety of end-user objects, which vary in resolution and in form and content, can be generated, either beforehand or on demand, from this database. At first, we might think that this is simply a particular technological implementacion of the variability principle, but, as I will show in the “Database” section, in a computer age the database comes to function as a cultural form in its own right. It offers a particular model of the world and of the human experience. It also affects how the user conceives the dara it contains.
   媒体元素存储在媒体数据库中；可以从这个数据库中生成各种终端用户对象，这些对象在分辨率、形式和内容上各不相同，可以是预先生成的，也可以是按需生成的。起初，我们可能会认为这只是变异原则的一种特定技术实现，但正如我将在“数据库”部分中展示的那样，在计算机时代，数据库作为一种文化形式发挥着重要作用。它提供了一个特定的世界观和人类经验的模型，同时也影响用户对其所包含数据的理解。
2. It becomes possible to separate the levels of “content” (data) and interface. A number of different intuerfanes can be created from the same data. A new media object can be defined as one ar more interfaces to a multimedia database. ${}^{18}$${}^{18}$^(18){ }^{18}
   可以将“内容”（数据）与界面分开。可以基于相同的数据创建多种不同的界面。一个新的媒体对象可以被定义为一个或多个多媒体数据库的接口。 ${}^{18}$${}^{18}$^(18){ }^{18}
3. Information abowt the aser cans be bused by a conatputer programn to custonize au-
   用户信息可以被计算机程序用于个性化定制

Web sites use information about the type of hardware and browser or user’s network address to customize automatically the site the user will see; interactive computer installations use information about the user’s body movements to generate sounds, shapes, and images, or to control the behaviot of artificial creatures.
网站会根据用户的硬件类型、浏览器或网络地址自动定制用户所看到的内容；交互式计算机系统则利用用户的身体动作生成声音、形状和图像，或控制人工生物的行为。
18. For an experiment in creating different rnultimedia interfaces to the same text, see my Fremed-Lissizzey Nayigator (herps/wisarts.ucsd.edu/ manovich/FLN).
18. 关于为同一文本创建不同多媒体界面的实验，请查看我的 Fremed-Lissizzey 导航器（herps/wisarts.ucsd.edu/manovich/FLN）。
4. A particular case of this customization is bramobing-type interactivity (sometimes also called “menz-based interactivity”). The term refers to programs in which all the possible objects the user can visit form a branching tree structure. When the user reaches a particular object, the program presents her with choices and allows her to choose among them. Depending on the walue chosen, the user advances along a particular branch of the tree. In this case the information used by a program is the ourput of the user’s cognitive process, rather than the network address or body position.
4. 这种定制的一个特定案例是 bramobing 类型的互动（有时也称为“基于 menz 的互动”）。这个术语指的是用户可以访问的所有可能对象形成的分支树结构。当用户到达某个特定对象时，程序会向她提供选择，并允许她进行选择。根据所选的选项，用户沿着树的特定分支前进。在这种情况下，程序使用的信息是用户认知过程的输出，而不是网络地址或身体位置。
5. Hypernedia is anorher popular new media structure, which is conceptiaally close to branching-type interactivity (because quite often the elements are connected using a branch tree structure). In hypermedia, the multimedia elements making a document are connected through hyperlinks. Thus the elements and the structure are independent of each other-rather than hard-wired togerher, as in eraditional media. The World Wide Web is a particular implementation of hypermedia in which the elements are distributed throughour the network. Hypertext is a particular case of hypermedia that uses only one media type-text. How does the principle of variability work in this case? We can think of all possible parths through a hypermedia document as being different versions of it. By following the links, the user retrieves a particular version of a document.
超媒体是另一种流行的新媒体结构，概念上与分支型互动非常接近（因为元素通常通过分支树结构连接）。在超媒体中，构成文档的多媒体元素通过超链接相互连接。因此，元素和结构是相互独立的，而不是像传统媒体那样紧密结合在一起。万维网是超媒体的一种特定实现，其中元素分布在整个网络中。超文本是超媒体的一个特定案例，仅使用一种媒体类型——文本。在这种情况下，变异性原理是如何运作的？我们可以将超媒体文档中的所有可能路径视为其不同版本。 用户通过点击链接，可以获取文档的特定版本。
6. A mother way in which different versions of the same media objects are commondy gemerated in computer culture is through periodic updates. For instance, modern software applications can periodically check for updates on the Internet and then download and install these updates, sometimes withour any action on the part of the user. Most Web sites are also periodically updared either manually or automatically, when the data in the darabases that driwe the sites changes. A particularly interesting case of this “updateability” feature is those sites that conitinuously update informarion such as stock prices or weather.
在计算机文化中，不同版本的相同媒体对象通常通过定期更新的方式生成。例如，现代软件应用程序可以定期在互联网上检查更新，然后下载并安装这些更新，有时用户无需任何操作。大多数网站也会定期更新，无论是手动还是自动，当驱动网站的数据的数据库发生变化时。这种“可更新性”特征的一个特别有趣的例子是那些持续更新信息的网站，例如股票价格或天气。
7. One of the most basic cases of the wariability principle is scalability, in which different wersions of the same media object can be generated at various sizes or lewels of detail. The metaphor of a map is useful in thinking about the scallability principle. If we equate a new media object with a physical territory, different versions of this object are like maps of this territory generated at different scales. Depending on the scale chosen, a map provides more or less detail abour the territory. Indeed, different versions of a new media object may wary strictly quantitatively, that is, in the amount of de- tail present: For instance, a full-size image and its icon, automatically generated by Photoshop; a full text and its shorter version, generaced by the “Autosummarize” command in Microsaft Word; or the different versions that can be created using the “Outline” command in Word. Beginning with version 3 (1997), Apple’s QuickTime format made it possible to embed a number of different versions that differ in size within a single QuickTime movie; when a Web user accesses the movie, a version is automatically selecred depending on connection speed. A conceptuilly similar technique called “distancing” or “level of detail” is used in interactive wirtual worlds such as VRML scenes. A designer creates a number of models of the same object, each with progressively less detail. When the virtual camera is close to the object, a highly detailled model is used; if the object is far away, a less detailed version is automatically substituted by a program to save unnecessary computation of detail that cannor bé seen anyway.
可变性原则最基本的案例之一是可扩展性，即可以生成同一媒体对象的不同版本，具有不同的大小或细节级别。在思考可扩展性原则时，地图的比喻非常有用。如果我们将一个新媒体对象视为一个物理领土，那么这个对象的不同版本就像是在不同尺度下生成的该领土的地图。根据选择的尺度，地图提供的领土细节会有所不同。 确实，不同版本的新媒体对象在数量上可能会有严格的变化，即在细节的数量上有所不同：例如，一个全尺寸的图像及其由 Photoshop 自动生成的图标；一个完整的文本及其由 Microsoft Word 中的“自动摘要”命令生成的简短版本；或者使用 Word 中的“大纲”命令创建的不同版本。从第 3 版（1997 年）开始，苹果的 QuickTime 格式使得在单个 QuickTime 电影中嵌入多个不同大小的版本成为可能；当网络用户访问电影时，会根据连接速度自动选择一个版本。在交互式虚拟世界中，如 VRML 场景中，使用了一种概念上类似的技术，称为“距离”或“细节级别”。 设计师制作了多个相同物体的模型，每个模型的细节逐渐减少。当虚拟相机靠近物体时，会使用高细节的模型；而当物体远离时，程序会自动替换为细节较少的版本，以节省不必要的计算，因为那些细节根本无法被看到。

(Spring 1995), hutc://www.sva.eduMEJ/jaumalpages/MFJ28/GWOCEAN.HTML.
（1995 年春季），hutc://www.sva.eduMEJ/jaumalpages/MFJ28/GWOCEAN.HTML。

guoced in Wince Passaro, “Unlikely Stories,” Hayper’s Magazine vol. 299, no. 1791 (August 1999 , $88-89$$88-89$88-8988-89 their genders, or ortherwise alter then, I should make her hoyfriend a husband, I showld explicate all the tributaries of my extended family (tits remarriages, its intemecine politics), I should novelize the whole thing, I should make it multigenerarionall, I should work is my forefarthers (stonemasons and nusspepermen), I should Let autifice create an elegant surface, I should make the events orderty, I should wait and write about it later, I should waic untill I’m not angry, I shouldnit clurter a narrative with fragments, with mere recollections of good times, or with regrets, I shmould make Meredith’s death shapely and persuasive, nom bunt and disjunctive, I sthouldn’t have to think the unthinkable, I shouldn’t have ro suffer, I should address her here directly (these are the ways I miss you), I should wrice ondy of affection, I should make our travels in this earthly landscape safe and secure, II should have a berter ending, I shouldn’t say her life was short and often sad, I shouldn’t say she had clemams, as I do too.
在温斯·帕萨罗的《不太可能的故事》一文中，发表于海珀杂志第 299 卷。1791 年（1999 年 8 月， $88-89$$88-89$88-8988-89 他们的性别，或以其他方式改变他们。我应该把她的女朋友变成丈夫，详细说明我大家庭的所有支流（再婚、内部政治）。我应该将这一切小说化，让它多代相传，研究我的祖先（石匠和报纸商）。我应该让艺术家创造一个优雅的表面，确保事件有序。我应该等待，稍后再写，等到我不再生气。我不应该用片段、仅仅是美好时光的回忆或遗憾来混淆叙述。我应该让梅雷迪斯的死亡形状优美且有说服力，而不是笨拙和不连贯。我不应该考虑不可思议的事情，也不应该受苦，我应该直接在这里对她说y（我想念你的方式），我应该写下爱的诗句，我应该让我们在这片人间的旅程中安全无忧，我应该有一个更好的结局，我不该说她的生命短暂且常常悲伤，我不该说她有清晰的记忆，就像我一样。

5. Transcoding 5. 转换编码

What New Media Is Not
新媒体并非如此

1. New media is analog media converted to a digitall representation. In contrast to analog media, which is continuous, digitally encoded media is discrete.
   新媒体是将模拟媒体转换为数字形式。与连续的模拟媒体不同，数字编码的媒体是离散的。
2. All digital media (texts, still images, visual or audio time data, shapes, 3-D spaces) share the same digital code. This allows different media types to be displayed using one machine-a computer-which acts as a mulcimedia display device.
   所有数字媒体（文本、静态图像、视觉或音频时间数据、形状、三维空间）都使用相同的数字代码。这使得不同类型的媒体可以通过一台计算机作为多媒体显示设备进行展示。
3. New media allows for random access. In contrast to film or videotape, which store daca sequentially, computer storage devices make it possible to access any data element equally fast.
   新媒体允许随机访问。与按顺序存储数据的电影或录像带不同，计算机存储设备使得访问任何数据元素的速度都一样快。
4. Digitization inevitably involves loss of information. In contrast to an analog representation, a digitally encoded representation contains a fixed amount of information.
   数字化不可避免地会导致信息的丢失。与模拟表示相比，数字编码的表示方式包含固定量的信息。
5. In contrast to analog media where each successive copy loses quality, digitally encoded media can be copied endlessly without degradation. 6. New media is interactive. In contrast to old media where the order of presentation is fixed, the user can now interact with a media object. In the process of interaction the user can choose which elements to display or which parhs to follow, thus generating a unique work In this way the user becomes the co-auchor of che work.
   与每一份副本质量逐渐下降的模拟媒体相比，数字编码媒体可以无限复制而不会退化。新媒体是互动的。与顺序固定的旧媒体不同，用户现在可以与媒体对象进行互动。在互动过程中，用户可以选择显示哪些元素或遵循哪些路径，从而创造出独特的作品。通过这种方式，用户成为作品的共同创作者。

Cinema as New Media
电影作为一种新兴媒体

University of California Press, 19555, 15-24. (whether the intertitles of the silent era or the ritle sequences of the later period) for whole century. Cinema was thus the original modern “multimedia.” We can also point to much earlier examples of multiple-media displays, such as medieval illuminated manuscripts that combine text, graphics, and representational images.
加州大学出版社，1955 年，15-24。（无论是无声电影时代的字幕，还是后期的标题序列）整整一个世纪。因此，电影成为了最早的现代“多媒体”。我们还可以提到更早的多媒体展示例子，比如结合了文本、图形和表现性图像的中世纪彩绘手稿。
(3) New media allow for random access. In contrast to film or wideotape, which store dara sequentially, computer scorage devices make it possible to access any data element equally fast.
新媒体允许随机访问。与顺序存储数据的电影或录像带不同，计算机存储设备使得访问任何数据元素的速度都一样快。

• The Myth of the Digital
  数字时代的神话

representation altogether, instead representing an image via different mathematical constructs (such as transforms).
整体表示，而不是通过不同的数学构造（例如变换）来呈现图像。
(5) In contrast to analog media where each successive copy loses quality, digically encoded media can be copied endlessly withour degradation.
与每一份副本都会失去质量的模拟媒体相比，数字编码媒体可以无限复制而不会降低质量。

The Myth of Interactivity
互动的迷思

“Consumer Cullure and the Technologiral Imperative: The Artist in Deacaspace,” in Simon Penny ed., Grititarl Issuer in Electromic Media (Albany: State University of New Yotk Press, 1993), 47-74.
“消费者文化与技术的必然性：深空中的艺术家”，收录于西蒙·佩尼编辑的《电子媒体中的吉他议题》（奥尔巴尼：纽约州立大学出版社，1993 年），第 47-74 页。
34. This argument relies on a cognitivist perspective that stresses the actiwe mental processes inwolved in comprehension of any cultural text. For examples of a cognitiwist approach in film studies, see Bordwell and Thompson, Fitm Art, and David Bordwell, Narration in sbe Fitrous Filfert Madison: University of Wisconsin Press, 1989).
34. 这个论点基于认知主义的视角，强调在理解任何文化文本时所涉及的积极心理过程。有关电影研究中认知主义方法的例子，请参见博德威尔和汤普森的《电影艺术》以及大卫·博德威尔的《虚构电影中的叙事》，出版于 1989 年，威斯康星大学出版社。
35. For a more detailed analysis of this trend, see nyy article “From the Externalization of the Psychee to the Implantation of Technology”’ in Mind Revolution: Interface BrainkCompponter, ed. Florian Rörzer Münigh: Akadenie Zum Dritren Jahtrausend, 1995). 90-100.
35. 关于这一趋势的更详细分析，请参阅 nyy 文章“从心灵的外化到技术的植入”，收录于《心灵革命：界面大脑计算机》，编辑：Florian Rörzer，慕尼黑：第三千年学院，1995 年，90-100 页。
in common with . . . so-called abstract ideas" but in fact he proposed to tename abstract ideas "cumulative ideas."36 According to Münsterberg, who was a Professor of Psychology at Harvard University and an author of one of the earliest theoretical treatments of cumema entitled Tbe Film: A PsychologicaI Study (1916), the essence of film lies in its ability to reproduce or “objectify” various mental functions on the screen: "The photoplay obeys the laws of the mind rather than those of the outer world. ${}^{37}$${}^{37}$^(37){ }^{37} In the 1920 Eisenstein speculated that film could be used to externalize-and control-thinking. As an experiment in this direction, he boldly conceived a screen adaptation of Marx"s Gaprital.“The content of CAPITAL (its aim) is now formulated: to teach the worker to think dialectically” Eisenstein writes enthusiastically in April of $1928.{}^{38}$$1928.{}^{38}$1928.^(38)1928 .{ }^{38} In accordance with the principles of “Marxist dialectics” as canonized by the official Soviet phillosophy, Eisenstein planned to present the viewer with the wisual equivalents of thesis and anti-chesis so that the viewer could then proceed to arrive at synthesis, that is, the correct conclusion, as pre-programmed by Eisenstein.
与所谓的抽象思想有共同之处，但实际上他提议将抽象思想称为“累积思想”。根据明斯特伯格的说法，他是哈佛大学的心理学教授，也是早期关于累积的理论著作《电影：心理学研究》（1916）的作者，电影的本质在于其能够在屏幕上再现或“客观化”各种心理功能：“电影遵循的是心智的法则，而不是外部世界的法则。”在 1920 年，爱森斯坦推测电影可以用来外化和控制思维。作为这个方向的实验，他大胆构思了马克思的《资本》的银幕改编。“资本的内容（目标）现在被明确为：教导工人进行辩证思考。”艾森斯坦在 $1928.{}^{38}$$1928.{}^{38}$1928.^(38)1928 .{ }^{38} 年四月热情地写道。根据官方苏联哲学所确立的“马克思主义辩证法”原则，艾森斯坦计划向观众展示论题和反论题的视觉等价物，以便观众能够得出合成，即正确的结论，这正是艾森斯坦所预设的。

sian Formalism (Princeton, NJ.: Princeton University Press, 1972).
西安形式主义（普林斯顿，NJ：普林斯顿大学出版社，1972 年）。
41. Jürgen Habermas, The Them of Communicative Action: Reason and Rationalizatrour of Society (The Theory of Communicarive Action, Vol. 1), trans. Thomas McCarthy (Bioston: Eeacon Press, 1985).
41. 赫伯马斯，《交往行动的主题：社会的理性与合理化》（交往行动理论，第 1 卷），翻译：托马斯·麦卡锡（波士顿：伊根出版社，1985 年）。
42. Druckrey, “Rewenge of the Nerds,” 6.
42. Druckrey，《书呆子的复仇》，第 6 页。
43. Sigmund Freud, Standard Edition of the Complete Prychological Works (London: Hogarth Press, 1953), 4: 293.
43. 西格蒙德·弗洛伊德，《完整心理学著作标准版》（伦敦：霍加斯出版社，1953 年），第 4 卷，第 293 页。
opened the discussion of the nature of abstract ideas in his textbook of psychology by noting that "the suggestion has been made that an abstract idea is a sort of composite photograph, a mental picture which results from the superimposition of many particular perceptions or ideas, and which therefore shows the common elements distinct and the individual elements blurred. ${}^{044}\mathrm{He}$${}^{044}\mathrm{He}$^(044)He{ }^{044} \mathrm{He} then proceeds to consider the pros and cons of this view. We should not wonder why Titchener, Freud, and orther psychologists take the comparison for granted rather than presenting it as a simple metaphorcontemporary cognitive psychologists also do mot question why their models of the mind are so similar to the computer workstations on which they are constructed. The linguist George Lakoff asserted that "natural reasoning makes use of at least some unconscious and automatic image-based processes such as superimposing umages, scanning them, foccusing on part of them, ${}^{\text{mis}}$${}^{\text{mis }}$^("mis "){ }^{\text {mis }} and che psychologist Philip Johnson-Laird proposed that logical reasoning is a matter of scanning wisual models. ${}^{46}$${}^{46}$^(46){ }^{46} Such notions would have been impossible before the emergence of television and compluter graphics. These wisual technologies made operations on images such as scanning, focusing, and superimposition seem natural.
在他的心理学教科书中，他提到“有人认为，抽象概念就像是一种复合照片，是由许多具体的感知或观念叠加而成的心理图像，因此共同元素清晰，而个别元素则模糊。” ${}^{044}\mathrm{He}$${}^{044}\mathrm{He}$^(044)He{ }^{044} \mathrm{He} 接着，他继续探讨这种观点的利与弊。我们不必惊讶，为什么提奇纳、弗洛伊德和其他心理学家将这种比较视为理所当然，而不是简单地将其作为隐喻；当代的认知心理学家也没有质疑他们的思维模型为何与构建它们的计算机工作站如此相似。 语言学家乔治·莱科夫指出，“自然推理至少依赖于一些无意识和自动的图像处理过程，比如叠加图像、扫描图像、聚焦于部分图像， ${}^{\text{mis}}$${}^{\text{mis }}$^("mis "){ }^{\text {mis }} 而心理学家菲利普·约翰逊-莱尔德则认为，逻辑推理是扫描视觉模型的过程。 ${}^{46}$${}^{46}$^(46){ }^{46} 这些概念在电视和计算机图形技术出现之前是无法想象的。这些视觉技术使得对图像的操作，如扫描、聚焦和叠加，变得自然而然。

Cansrioustress (Cambridge: Cambridge University Press, 1983). distributed. What was private became public. What was unique became mass-produced. What was hudden in an individual’s mind becarne shared.
Cansrioustress（剑桥：剑桥大学出版社，1983 年）。传播。私密的变成了公开的，独特的变成了大众化的，隐藏在个人心中的变成了共享的。

The Interface 用户界面

45. Gers 格尔斯（Gers）
46. Philip Johus 菲利普·约翰逊

1. Stephen Jahnsonis Jmserface Calture makes a claim for the cultural significance of computer interface.
   斯蒂芬·贾恩森的《界面文化》强调了计算机界面的文化重要性。
2. Other examples of cultural theories chat rely on the “moin-transparency of the code” idea are Yuri Lotmian’s theory of secondary modeling syscems, George Lakoff’s cognitive linguistics, Jacques Derrida"s critique of logecenerism, and Marshall McLuhan’s media theory. shapes how the computer user conceives of the computer itself. It also determines how users think of any media object accessed via a computer. Stripping different media of their original distinctions, the interface imposes its own logic on them. Finallly, by organizing computer data in particular ways, the interface provides distinct modells of the world. For instance, a hierarchical file system assurnes that the world can be organized in a logical multilevel hierarchy. In contrast, a hypertext tuadel of the World Wide Web arranges the world as a nonhierarchical system ruled by metonymy. In short, far from being a transparent window into the data inside a computer, the interface brings with it strong messages of its own.
   其他文化理论的例子依赖于“代码透明性”这一理念，包括尤里·洛特曼的二级建模系统理论、乔治·莱考夫的认知语言学、雅克·德里达对逻辑中心主义的批判，以及马歇尔·麦克卢汉的媒体理论。这些理论塑造了计算机用户对计算机本身的理解，并决定了用户如何看待通过计算机访问的任何媒体对象。界面剥离了不同媒体的原始特征，强加了自身的逻辑。最后，通过特定方式组织计算机数据，界面提供了世界的不同模型。例如，层次文件系统假设世界可以以逻辑的多级层次进行组织。 相比之下，万维网的超文本结构将世界视为一个由转喻主导的非等级系统。简而言之，界面并不是计算机内部数据的透明窗口，而是传达了强烈的信息。
   As an example of how the interface imposes its own logic on media, consider “cut and paste” operations, standard in all software running under the modern GUI. This operation renders insignificant the traditional distinction berween spatial and temporal media, since the user can cut and paste parts of images, regions of space, and parts of a temporal composition in exactly the same way. It is also “blind” to traditional distinctions in scale: the user can cut and paste a single pixel, an image, or a whole digital movie in the same way. And last, this operation also renders insignificant the traditional distinctions between media: “cut and paste” can be applied to texts, still and moving images, sounds, and 3-D objects in the same way.
   作为界面如何对媒体施加自身逻辑的一个例子，可以考虑“剪切和粘贴”操作，这是现代图形用户界面下所有软件的标准功能。这个操作使得空间媒体和时间媒体之间的传统区别变得不再重要，因为用户可以以完全相同的方式剪切和粘贴图像的部分、空间的区域以及时间作品的片段。它对传统尺度的区别也是“盲”的：用户可以以相同的方式剪切和粘贴单个像素、一幅图像或一部完整的数字电影。最后，这个操作也使得媒体之间的传统区别变得不再重要：“剪切和粘贴”同样适用于文本、静态和动态图像、声音以及三维物体。

online, trading stocks, and so on. Yee in performing all these differemt activities, the user in essence is always using the same few tools and commands: a computer screen and a mouse; a Web browser; a search engine; cut, passe, copy, delete, and find commands.
在线交易股票等。在进行这些不同活动时，用户实际上总是使用相同的几种工具和命令：计算机屏幕和鼠标、网页浏览器、搜索引擎，以及剪切、粘贴、复制、删除和查找等命令。

The Language of Cultural Interfaces
文化界面的语言表达

Cultural Interfaces 文化交互界面

Printed Word 印刷文字

iseakey.huml. 这是一个重要的.huml 文件。
stretches bark for thousands of years, I think it is unlikely that it will disappear so quickly.
树皮已经存在了几千年，我认为它不太可能会这么快消失。

Cinema 电影馆

15. In The Address of tbe Eyer Yivian Sobchack discusses the three metaphons of frame, window, and mirror chat underlie modern film theary. The metaphor of the frame comes from modern paincing and is central to formalist theory, which is concertaed with signification. The metaphar of the window underties realist film theory (Aazin), which stresses the act of perception. Reealist theory follows Alberti in conceptualizing the cinema screen as a transparent window onto the world. Finally, che metaphor of the mirror is central to psychoanalytic film theory. In terms of these discrinctionss, myy disccussion here is concerned with the window meraphac. The disstinctions shemselves, however, open up a yery productive space for thirking further about che relationshi; sh between cinemma and computer media, in particular, the cinema screen and the computer window. See Wiswian Sobcltack, The Adihes of the Eye: A Phemumetudlagy of Film Experience (Princeton, N.J.: Princeton University Press, 1992). famous formulation of Leon Battista Alberti, the frame acts as a window onto the world. Or, in the more recent formulation of French film theorist Jacques, Aumont and his co-aurthors, “The onscreen space is habitually perceived as included within a more wast scenographic space. Even though the onscreen space is the only visible part, this larger scenographic part is nonetheless considered to exist around it.” "m,
15. 在《眼睛的地址》中，Yivian Sobchack 讨论了现代电影理论中的三种隐喻：框架、窗口和镜子。框架隐喻源于现代绘画，是形式主义理论的核心，形式主义理论关注符号的意义。窗口隐喻支撑着现实主义电影理论（Aazin），强调感知的过程。现实主义理论遵循阿尔贝蒂的观点，将电影屏幕视为通往世界的透明窗口。最后，镜子隐喻是精神分析电影理论的核心。基于这些区别，我在这里的讨论主要集中在窗口隐喻上。 然而，这些区别本身为进一步思考电影与计算机媒体之间的关系，尤其是电影屏幕与计算机窗口之间的关系，创造了一个非常富有成效的空间。参见 Wiswian Sobcltack 的《眼睛的寓言：电影体验的现象学》（新泽西州普林斯顿：普林斯顿大学出版社，1992 年）。莱昂·巴蒂斯塔·阿尔贝蒂著名地指出，框架就像通往世界的窗口。或者，法国电影理论家雅克·奥蒙特及其合著者最近的表述中提到，“屏幕上的空间通常被视为包含在一个更广阔的场景空间内。尽管屏幕上的空间是唯一可见的部分，但这个更大的场景部分仍然被认为存在于其周围。” "m,

20. See John Hartmian end Josie Wernecke, The VRML 20 Hawdbook: Building Mowing Worlds (the Whe (Reading. Mass. Addison-Wesley, 1996), 363. els smoothly through space from the current wiewpoint to the next as though on a dolly, its mowement automatically calculated by the software. Selecting the “jump cuts” option makes it cur from one view to the mext. Both modes are obviously derived from cinema. Both are more efficient than trying to explore the world on its own.
20. 参考约翰·哈特米安和乔西·维尔内克的《VRML 20 手册：构建虚拟世界》（马萨诸塞州雷丁，阿迪森-韦斯利，1996 年），第 363 页。软件自动计算运动，使视点像在滑轨上平滑移动，从当前视点切换到下一个视点。选择“跳切”选项会使视图从一个切换到另一个。这两种模式显然都源自电影，且都比单独探索世界更为高效。
With a VRML interface, nature is firmly subsumed under culture. The eye is subordinated to the kino-eye. The body is subordinated to the virtual body of the virtual camera. While the user can investigate the world on her own, freely selecting trajectories and wiewpoints, the interface privileges cinematic perception-cuts, precomputed, dolly-like motions, preselected wiewpoints.
通过 VRML 接口，自然被深深融入文化之中。眼睛被电影的视角所主导，身体则被虚拟相机的虚拟形态所支配。尽管用户可以独立探索世界，自由选择路径和视角，但接口更倾向于电影化的感知切换、预先计算的推镜运动以及预设的视角。
The area of computer culture where the cinematic interface is being transformed into a cultural interface most aggressively is computer games. By the 1990 s, game designers had mowed from two to three dimensions and had begun to incorporate cinematic language in an increasingly systematic fashion. Games began to fearure lavish opening cinematic sequences (called “cinematics” in the game business) that set the mood, established the setting, and introduced the narrative. Frequently, the whole game would be structured as an oscillation between interactive fragments requiring the user’s inpur and noninteractive cinematic sequences, that is, “cinematics.” As the decade progressed, game designers created increasingly complex and increasingly cinematic-interactive wirtual worlds. Regardless of a game’s genre, it came to rely on cinematography techniques borrowed from traditional cinema, including the expressive use of camera angles and depth of field, and dramatic lighting of 3-D computer-generated sers to create mood and atmosphere. In the begimning of the decade, many games such as The 7th Gwest (Trilobyte, 1993) or Voyear (Philips Interactive Media, 1994) used digital video of actors superimposed ower 2-D or 3-D backgrounds; by its end, they had switched to fully synthetic characters rendered in real time. ${}^{21}$${}^{21}$^(21){ }^{21} This switch allowed game designers to go beyond the branching-type structure of earlier games based on digital video in which all possible scenes had to be taped beforehand. In contrast, 3-D characters animated in real time move
在计算机文化领域，电影界面最为激烈地转变为文化界面的地方是计算机游戏。到 1990 年代，游戏设计师们已经从二维转向三维，并开始以越来越系统的方式融入电影语言。游戏中开始出现奢华的开场电影序列（在游戏行业中称为“电影”），这些序列设定了氛围，构建了背景，并引入了叙事。通常，整个游戏的结构是用户输入的互动片段与非互动的电影序列之间的交替，即“电影”。随着十年的发展，游戏设计师创造了越来越复杂且越来越具电影互动性的虚拟世界。 无论游戏的类型如何，它开始依赖于从传统电影中借用的摄影技巧，包括镜头角度和景深的表现性使用，以及 3D 计算机生成角色的戏剧性照明，以营造氛围和情感。在十年初期，许多游戏如《第七个客人》（Trilobyte，1993）和《窥视者》（Philips Interactive Media，1994）使用了演员的数字视频叠加在 2D 或 3D 背景上；到十年末，他们已经转向实时渲染的完全合成角色。 ${}^{21}$${}^{21}$^(21){ }^{21} 这种转变使游戏设计师能够超越早期基于数字视频的游戏的分支结构，因为这些游戏中所有可能的场景都必须事先录制。与此相比，实时动画的 3D 角色会移动
21. Examples of the earlier trend ate Return to Zork (Actiwision, 1993) and The 7 th Gmert (TilobyterWirgin Games, 1993). Examples of the later trend are Sonlblade (Namco, 1997) and Tousb Raider (Eidos, 1996).
21. 早期趋势的例子包括《回归佐克》（Actiwision，1993）和《第七个游戏》（TilobyterWirgin Games，1993）。而后期趋势的例子则是《剑魂》（Namco，1997）和《古墓丽影》（Eidos，1996）。
arbitrarily around the space, an." the space itself can change during the game. (For instance, when a player returns to an already wisited area, she will find any objects that she left there earlier.) This switch also made virtual words more cinematic, as characters could be better visually integrated with their environments. ${}^{22}$${}^{22}$^(22){ }^{22}
在空间中任意移动，空间本身在游戏中会发生变化。（例如，当玩家返回到已经访问过的区域时，她会发现之前留下的物品。）这种变化也使虚拟世界更加电影化，因为角色能够更好地与环境融为一体。

Litcle, Browa, 1997). lewels.". In games such as this one, cinematic perception functions as the subject in ins own right, ${}^{23}$${}^{23}$^(23){ }^{23} suggesting the return of “The New Vision” movement of the 1920s (Moholy-Nagy, Rodchenko, Vertov, and others), which foregrounded the new mobility of the photo and film camera, and made unconwentional points of view a key part of its poetics.
在这样的游戏中，电影感知作为一个独立的主题运作， ${}^{23}$${}^{23}$^(23){ }^{23} 暗示了 1920 年代“新视觉”运动的回归（莫霍利-纳吉、罗杰琴科、维尔托夫等），该运动强调了摄影和电影摄像机的新移动性，并将非常规视角作为其诗学的关键部分。

HCI: Representation wersus Control
HCI：表现与控制

A Screen's Genealogy 屏幕的家族谱系

1996). For a shorter summary of his aggument, see Paul Edwards, “The Closed Wortdd: Systems Discourse, Millitary Policy and Post-World War II LSS. Historical Consciousness.” in Cyterg Wartds: The Milititary Information Sariets, eds. Les Levidow and Kevin Robins (London: Frec Association Bociks, 1999), See also Howmand Rhtheingeld, Wertaral Reality (ONew Yock: Simon and Sclluster, 1999 , 6 , $68-93$$68-93$68-9368-93.
1996 年）。有关他论点的简要总结，请参见保罗·爱德华兹的《封闭的世界：系统话语、军事政策与二战后历史意识》。该书收录于莱斯·莱维多和凯文·罗宾斯主编的《赛特格·沃尔兹：军事信息系列》（伦敦：自由协会书籍，1999 年）。另见霍曼·瑞廷格尔的《虚幻现实》（纽约：西蒙与舒斯特，1999 年，第 6 页， $68-93$$68-93$68-9368-93 ）。
41. Edwards, “The Closed Worid” (19899, 142 .
41. 爱德华兹，《封闭的世界》（1989 年，第 142 页）。
would tell the compurer to follow the plane. To do this, the officer simply had to touch the dor with a special "light pen."ts
会指示计算机跟随飞机。为此，官员只需用特殊的“光笔”轻触门。