@book {3081,
	title = {Software Studies. A Lexicon},
	year = {2006},
	note = {THE 12},
	publisher = {The MIT Press},
	organization = {The MIT Press},
	address = {Cambridge/London},
	abstract = {
A cultural field guide to software: artists, computer scientists, designers, cultural theorists, programmers, and others define a new field of study and practice.

This collection of short expository, critical, and speculative texts offers a field guide to the cultural, political, social, and aesthetic impact of software. Computing and digital media are essential to the way we work and live, and much has been said about their influence. But the very material of software has often been left invisible. In Software Studies, computer scientists, artists, designers, cultural theorists, programmers, and others from a range of disciplines each take on a key topic in the understanding of software and the work that surrounds it. These include algorithms; logical structures; ways of thinking and doing that leak out of the domain of logic and into everyday life; the value and aesthetic judgments built into computing; programming{\textquoteright}s own subcultures; and the tightly formulated building blocks that work to make, name, multiply, control, and interweave reality. The growing importance of software requires a new kind of cultural theory that can understand the politics of pixels or the poetry of a loop and engage in the microanalysis of everyday digital objects. The contributors to Software Studies are both literate in computing (and involved in some way in the production of software) and active in making and theorizing culture. Software Studies offers not only studies of software but proposes an agenda for a discipline that sees software as an object of study from new perspectives.

},
	keywords = {Puzzled},
	author = {Alison Adam and Wilfried Hou Je Bek and Morten Breinbjerg and Ted Byfield and Wendy Hui Kyong Chun and Geoff Cox and Florian Cramer and Cecile Crutzen and Marco Deseriis and Ron Eglash and Matthew Fuller and Andrew Goffey and Steve Goodman and Olga Goriunova and Graham Harwood and Friedrich Kittler and Erna Kotkamp and Joasia Krysa and Adrian Mackenzie and Lev Manovich and Michael Mateas and Nick Montfort and Michael Murtaugh and Jussi Parikka and S{\o}ren Pold and Derek Robinson and Warren Sack and Grzesiek Sedek and Alexei Shulgin and Matti Tedre and Adrian Ward and Richard Wright and Simon Yuill},
	editor = {Matthew Fuller}
}
@book {3053,
	title = {The Language of New Media},
	year = {2002},
	note = {THE 633},
	publisher = {MIT Press},
	organization = {MIT Press},
	address = {Cambridge},
	abstract = {Eine anregende, eklektische Darstellung der neuen Medien, die ihre Urspr{\"u}nge in den alten Medien, insbesondere dem Kino, finden.

In diesem Buch bietet Lev Manovich die erste systematische und rigorose Theorie der neuen Medien. Er ordnet die neuen Medien in die Geschichte der visuellen und medialen Kulturen der letzten Jahrhunderte ein. Er diskutiert die Abh{\"a}ngigkeit der neuen Medien von Konventionen der alten Medien, wie dem rechteckigen Rahmen und der beweglichen Kamera, und zeigt, wie die Werke der neuen Medien die Illusion von Realit{\"a}t erzeugen, den Betrachter ansprechen und Raum repr{\"a}sentieren. Er analysiert auch Kategorien und Formen, die den neuen Medien eigen sind, wie z. B. Interface und Datenbank.

Manovich verwendet Konzepte aus der Filmtheorie, der Kunstgeschichte, der Literaturtheorie und der Informatik und entwickelt dar{\"u}ber hinaus neue theoretische Konstrukte wie das kulturelle Interface, die r{\"a}umliche Montage und die Cinegratographie. Die Theorie und Geschichte des Kinos spielen in dem Buch eine besonders wichtige Rolle. Manovich diskutiert unter anderem Parallelen zwischen der Geschichte des Kinos und der Neuen Medien, das digitale Kino, Leinwand und Montage im Kino und in den Neuen Medien sowie historische Verbindungen zwischen Avantgardefilm und Neuen Medien.

_________________________
A stimulating, eclectic accountof new media that finds its origins in old media, particularly the cinema.

In this book Lev Manovich offers the first systematic and rigorous theory of new media. He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media{\textquoteright}s reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.

Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.
},
	keywords = {Algorithmus, Database, Daten, Film, Illusion, Kamera, Kino, Medienkultur, Narrative, Neue Medien, Puzzled, Realit{\"a}t, Software, Sprache, Virtualit{\"a}t},
	issn = {9780262632553},
	author = {Lev Manovich}
}
