Personal Dynamic Media

To think that the Dynabook was just a starting point for our technology now, and to see how far we have come as creators is amazing, and to think that they were afraid how people would accept this new technology. The drawing and painting aspect of the Dynabook resembles what we would call photoshop, or any other online website that allows you to manipulate photos now, and for free. You were also able to read books through the Dynabook, which now we can do on pretty much any tablet or kindle. Although they were worried about the Dynabook being "too many different tools for too many people", technology always needs a starting point and now ideas like the Dynabook have now been refined, and will continue to be developed throughout the future of technology.

Kay and Goldberg; Personal Dynamic Media

I find it really interesting how important children were to the purpose and creation of the dynabook. It shows how important learning and teaching was to the design process and overall purpose of the program. It makes me wonder why programming was ever taken, or never placed, in the curriculum of high school, middle school or even elementary school settings. I think had it been incorporated today's youth be more interested in creating their own platforms rather than the social media obsessed youth we have today. What i mean is today's youth is prone to using platforms such as social media, programs that have been created as a input/output cookie cutter function, rather than using the technology available to them to create their own programs and really utilize such technology in a more unique, artistic way. In addition I wonder how different my work, and myself as a person , would be had I been taught about computers and programming at a young(er) age.

Kay and Goldberg Article

The more into the future we go, the less human interaction we create and more we will really on the dynamics of technology to do some of the basic human functions. The data that was explained in the article goes more towards the computers than the people. For this article to be dated decades ago, it reveals how technology uses the same formula as they did then as they do now.

Kay and Goldberg_PierceH_Week11

        When reading this piece by Kay and Goldberg, I get perplexed at when Kay says, 

     "the interactions of humans with their media have been primarily nonconversational and passive in the sense that marks on paper, paint on walls, even "motion" pictures and television, do not change in response to the viewers wishes." (Pg.393)

              The reason this confuses me is because it is a complete one-eighty from Vertov's prowess and manipulation over his viewer. Not to mention, in Television we experience emotional reactions when a politician does something stupid or when your favorite sports team does poorly, to name a few. Maybe I'm taking this to a more literal sense than what Kay had in context. While I do agree that our interactions with media are nonconversational, I think that for the most part, we aren't passive to any degree.

Week 11

The Dynabook is helpful in many different fields, but it is also decreasing the amount of human interaction. Instead people would be interacting with the Dynabook because that is where all of the information is held and stored. I thought it was interesting to read this article because it was written in the late 70's and when computers were being released to the public. From it being written in the past and with the current knowledge about the present, it is interesting to see how successful the personal computer was and how it continues to grow as a product.

Kay and Goldberg

The meta medium of computers causes it to help you be able to learn, solve problems and to work on assignments that might be coming up.  This therefore puts a reverse on the human interaction causing us to mover further away from face to face interaction. The idea of having a "two way conversation" instead of face to face. The dynabook stores information and data just like your brain stores information in order for you to remember things and keep track of certain events. The two connect in the way your brain works and in the way you interact with others, making them related and going off of each other.

Week 7 | Dziga Vertov

Up until this class I haven't really given much attention to film. With the occasional cinema and an abundance of YouTube binging. Of course I "Netflixed and chilled", but I never really sat down and thought about the work, the mind set, the continuous editing shot after shot. It's incredibly impressive to say the least. Reading the excerpt of Dziga Vertov gave me a glimpse behind the artists train of thought. It was as if every frame was thought of like a painting. The carful planning that goes into a shot even before you begin is amazing. My favorite line from this excerpt is, "The main and essential thing is: The sensory exploration of the world through film. We therefore take as the point of departure the use of the eye as a kino-eye, more perfect than the human eye, for the exploration of the chaos of visual phenomena that fills space". Is it appropriate to close my thoughts with a hashtag? I don't really care. #brilliantasfuck

Kino Eye

Upon reading about the Kino Eye i can't help but think about the writer of this piece. He t talks about changing the way situations and ideas are perceived and it makes me think about media during WW2.
Circumstances can't look different from different angles both literally and metaphorically.  It also made me think about that nifty line from V for Vendetta "Artists use lies to tell the truth while politicians use them to cover the truth up." But is there such a thing as real truth anymore? If we can change virtually everything about a live experience simply with the manipulation of technology, what is real?
I find this both fascinating and terrifying for the same reasons. We rely on news media and other non fiction (i use the term loosely coughcoughFoxNewscough) outlets to deliver truth since we can't be everywhere at the same time. But we also value artists for almost the opposite reason. We are looking at their version of reality. As a whole, the camera and its developing technology artistically renders truth in a way that the human eye can't.

Kino Eye

Using the camera in the way Vertov suggests, filming the actions that than being a spectator is the best way to film. The human eye can’t improve and the camera can of course, but the human eye is still going to filter through what the human eye sees and humans can’t achieve beyond that. To Vertov, kino-eye is the ultimate way to capture human movement and action, but to others, that form of montage may not be appealing. To think that the kino-eye can become so much greater than human capabilities kino-eye may work for more artful films, but for mainstream films today, not all directors are out to make the most artistic film because they also want to make a film that sells. If kino-eye style of film isn't appealing to the greater masses, it will never become a standard as a way of filming.

Kino Eye

The Kino Eye is know as the mechanical eye. Cameras allow for the viewer to experience 3rd dimension in the 2nd dimension. This reminded me of Microsoft's HoloLens. These lens are used to put gamers into a virtual world. This proved how cameras are improving and the viewer is becoming more reliant on the camera, because it is able to produce more information in a more interesting fashion.

Kino Eye

The Kino Eye is being compared to the human eye and how we view certain things through our eyes in real life and how we view things through a camera. The challenges the kino eye has for the director is to translate the regular human view to the screen with the camera.

Kino Eye

The Kino Eye is repeatedly compared to a camera, with the eye acting as the camera eye. What we see in the camera is similar to that of what we see in reality. Although the camera is continually perfected, we simply cannot improve our eyes to focus or zoom in on certain areas. Since the Kino Eye is more than just an eye, it is an extension of an eye or a mechanical eye. It challenges what is truly seen as visual representation. The human body is seen as a living camera, with legs to support the kino eye and mobility to move the kino eye from place to place. This comparison is quite unique and shows how similar humans are to cameras. Although we lack the technology of cameras, our discernment of reality is quite astounding.

Kino Eye

Kino-Eye is in a sense an extension of the imagination. The same way weapons and tools are extensions of the limbs, computers are extensions of the mind, and art is an extension of the soul. The Kino-Eye as a concept is using the camera not to replicate what the human eye can do, but expand it to see things that the normal eye never could. It's not trying to be realistic and perfectly replicate what the human body can do, but transcend human capabilities to sort of idealize what our minds can imagine, and stretch our capabilities even further.

Kino Eye

The Kino eye is the keen eye, things that cannot be recreated or reinterpreted on film. The camera should no longer merely imitate the human eye; as that vision is not true. The kino eye is a perfected vision of the director, not just perfecting the vision of the camera neglecting real life instances.

kino eye

This excerpt from Dziga Vertov expresses his dislike for cinema and film that captures what our eyes can already see. It's interesting to read this perspective of the Kino eye and recall many scenes in movies utilizing this approach of close up alternating shots. I especially engaged with this understanding when he spoke about the ballet and the boxers. Vertov really does not like the theater and is definitely pushing for a more artistic use for film. The Kino eye is the solution to boring cinema because the kino eye " lives and moves in time and space; it gathers and records impressions in a manner wholly different from that of the human eye". 

Kino-Eye

The human eye cannot see the beautiful chaos that cameras do. I agree with Vertov, on his statement regarding sensory exploration. Cameras do an excellent job at perceiving irregularities in world, and then turn them into art.  In this way, we share can express ourselves to others. Vertov brings to focus the “mechanical eye” (17). An expression he uses to describe a camera, and its ability to synthesize perfect pictures and scenarios. I am fairly new to the film world, but from what I have perceived, cameras are a wonderful tool that allows us to stitch together what once were meaningless visual scraps into emotional montages.

Kino - Eye

The way Kino - Eye is explained painted a scene in my mind that would relate to watching a movie. If your whole day was a movie and your eye was the camera, that recorded every bit of information from the day, Kino - Eye would be all the most aesthetically pleasing scenes that display the most important bits of information to form a montage of your day. It would skip over useless scenes and could condense what could be one of the most boring days, into a couple of beautiful shots all put together. It would be able to show you perspectives of your day from the sky or the ground, not just from where your standing. Time can be sped up or slowed down because there is no real concept of time when you're not seeing something in real time from your own eyes. Kino - Eye can show everything we wish we could see with just our eyes.

week 7

Dziga talk about the human eye and kino-eye. He talk about how the human eye has an weakness which is manifest. Kino-eye are more perfect and can be improve compare to the human eye.

The Kino - Eye

              The reading helped me realize what is more perfect form visuals from the human eye thus calling it the Kino-Eye. The Kino-Eye challenged what the human eye is perceiving and the visual representation of it in the world. This creates things like in film that have never been seen before due altering film that in a way so detailed that are visual preference can not even begin to understand it. That is that the beauty of film and it lets you look at thing differently like never before. The most simple things that you see around you in day to day life could be the most complex situations when looked at differently. The Kino-Eye saved the creativity of what the human can not see and started a brand new world of visual art.  

Kino-Eye_Pierce Hunt

Overall I found this reading very amusing of Dziga's God complex over the way he orientates his work. On page 16, I view Vertov's tone as a pompous dominatrix in control over the viewer when he says,"I make the viewer see in the manner best suited to my presentation..." Although I don't appreciate this tone over control with his medium being photography, I can appreciate his assertiveness to get down to a point in his prints.

Week 7: Kino Eye (Kierra M.)

In this excerpt the author talked about how the kino-eye was a representation of "challenging the human eye's visual representation of the world". The kino-eye is more perfect than the human eye, therefore it captures events and movements that our eye's can't. This is taking things to the level of film development and how we change things on the camera to match what our eyes see which could in turn affect the way it is displayed for the viewer to see. Being able to capture exactly what we see with the kino-eye delivers us with more action and interpretation of the subject matter.