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We are surrounded by images as never before: on Flickr, Facebook, and YouTube; on thousands of television channels; in digital games and virtual worlds; in media art and science.

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The digital image represents endless options for manipulation; images seem capable of changing interactively or even autonomously. This volume offers systematic and interdisciplinary reflections on these new image worlds and new analytical approaches to the visual. Imagery in the 21st Century examines this revolution in various fields, with researchers from the natural sciences and the humanities meeting to achieve a deeper understanding of the meaning and impact of the image in our time.

The contributors explore and discuss new critical terms of multidisciplinary scope, from database economy to the dramaturgy of hypermedia, from visualizations in neurosciences to the image in bio art. This means the ledger keeper is not supposed to make arbitrary changes to the data on the ledger, and must have some reason to do it, or be abiding by a set of rules. The account holder will shout at them until they re-edit the system. It is these information rules that help to establish the idea of the data being subject to restrictions that prevent it arbitrarily expanding, altering or morphing.

Rather than being arbitrarily changeable, there must be both rules for the 1 creation of data, or its initial recording and 2 altering of previously created recordings of data. In a ledger system there is only simultaneous editing of two account entries that creates a positive and negative change to the respective balances.

To date all visual imagery around digital money continually replicates the movement analogy, for example by showing cash notes flying through a fibre optic cable.

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Note the two following examples: A person walks into an old bank and talks communication system to a clerk recording agent with an old ledger book database ledger and quill pen recording technology. This is conceptually the same as a person sending a message via their mobile phone communication system to a bank database system database ledger that utilises automated hardware recording agent to imprint atoms representing binary code recording technology on a hard-drive.

Digital money is a particular implementation of ledger money in which the recording takes the form of atomic structures imprinted on hard drive materials that are interpreted as binary code. These transactions are delivered into the system via multiple communications infrastructures, including.

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In terms of imagery, this opens up a number of areas we can explore. In the old days it was simple — it was literally a book. Nowadays it is harder. Entries in databases — or data objects — used to be created with strokes of a quill pen. Nowadays though, we use binary code… or do we? Actually we use atomic structures imprinted on hard drives, which is then interpreted as binary code.


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Can you show money with binary code, or is that like zooming in on the drying ink on an old ledger book? How do these look? Does a bank datacentre look anything different from any other datacentre? And if not, how would showing a datacentre convey anything about money in particular? It makes a difference who controls the arrays of databases.

They are run by large banks. Here is an image — at least in theory — of a datacentre run by Barclays Bank in the UK:.

Money systems, though, are larger than just single banks running datacentres. They operate as networks of different bank datacentres communicating with both their customers and each other via various protocols. They are all connected into the central bank datacentres too.

Art Movements 20th & 21st Century

This is where we get into the deep essence of money systems. The money system has layers of accounts — the commercial banks have reserve accounts at the central bank, and it is against the backdrop of these that they set up accounts for ordinary people.

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The bank datacentres are essentially tools for accounting. It is essentially a liability for them, set against their assets at the central bank. We might simplify this by drawing accounting tables. In the image below we merge datacentre imagery with accounting tables and Bank Logos:. We can then start to internationalise this.

Introduction: Imagery in the 21st Century

The UK pound data ecosystem interacts with all the other currencies around the world via international financial data exchange protocols and the correspondent bank network. This starts to get very complex to represent. The unit that is deleted represents the retraction of an old promise by the bank.

Aumentar la imagen. Imagery in the 21st Century is a fabulous resource for the reflection on contemporary visuality. The anthology Imagery in the 21st Century by Oliver Grau has seen and understood this prophetic writing on the wall by Walter Benjamin. All books are subject to prior sale. RETURNS are accepted within 2 weeks for any reason; please notify us in advance so that we'll know to expect the book.

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