A philosophy of new media that defines the digital image as the process by which the body filters information to create images.
In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position—as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the digital era.Hansen examines new media art and theory in light of Henri Bergson's argument that affection and memory render perception impure—that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it. To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision. The book includes over 70 illustrations (in both black and white and color) from the works of these and many other new media artists.

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'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.

技术革新的时代中，我们沉浸于丰盈的物质生活，又面临前所未有的困惑。媒体艺术由此诞生。这门跨界的艺术，借助多种媒介对现实进行观察和思考，在与科技紧密结合的同时强调观众的参与和互动，体现出“科技与人文”的艺术理念。
《媒体艺术网络》全面呈现出20世纪媒体艺术发展的脉络与全景。国际知名的媒体艺术研究者围绕电视艺术、声响艺术、虚拟叙述、远程信息处理、沉浸与交互等话题，为读者描绘技术与艺术相互融合的图景，探寻媒体艺术与真实生活的界限。本书并具有新颖前卫的编排方式，将文本内容与全球媒体艺术作品的网络平台www.mediaartnet.org相结合，体现出实体书籍与虚拟网络相交互的新锐超文本阅读体验。
本书为“媒体艺术译丛”系列首个出版物。
“媒体艺术译丛”，主编：张尕、彼得•魏贝尔 （Peter Weibel)。策划：清华大学艺术与科学中心媒体实验室（TASML）。

Media Borders, Multimodality, and Intermediality is a collection of sixteen essays dealing with theoretical questions concerning the relations between various forms of art and new media. Intermediality and multimodality have become buzzwords over the last decade, but surprisingly little effort has been made to circumscribe theoretically what media and modes actually are and how the notions of intermediality and multimodality are related. The aim of the volume is to illuminate these very basic queries in order to facilitate communication and theoretical cross-fertilization over the borders between the aesthetic disciplines, media and communication studies, semiotics, linguistics, and other research fields. The essays deal with combinations, integrations, mediations and transformations of old and new media. Theoretical issues, centred on the core question of media borders, are foregrounded, but the volume also includes a wide range of case studies, including medieval ballads, biopoetry, Lettrism, television, field guides, music, film, digital media and performance.