less restrictive force in the formation of contemporary sound and image produc-
tion. Post-production is the stage where this mutability is executed and realized.
The aesthetics of post-production, and more specifically, the aspect involving
mutable temporality, is likely to stay with us and may also move more power-
fully into the language of cinema, where the temporal may offer unexplored
fields in an art form that has often been more spatial in its concerns. But the
urgent charge toward investigating something new, as mutable temporality has
been explored in music videos, will not endure, as the fronts of urgency keep
moving. Counter-reactions like Dogme–which shunned the“fix-it-in-post”
mentality–and interest in more or less abandoned media, as well as an interest
in traditional production methods, are also likely to remain. However, the new
mutability in audiovisual culture, whereby it has, in a sense, become more algo-
rithmic, is likely to see further blossoming, supported by the step-by-step mi-
gration of audiovisual production to digital platforms.
Notes
- I want to thank Liv Hausken and Kiersten Leigh Johnson for helpful comments and
suggestions, Kiersten also for improving my language.
. Paul Valery,“The Conquest of Ubiquity,”Aesthetics: The Collected Works of Paul Va-
lery, Volume XIII, ed. Jackson Mathews (London: Routledge,).
. Gene Youngblood,“Cinema and the Code,”Leonardo, Computer Art in Context
Supplemental Issue ():.
. W.S. Condon and W.D. Ogston,“Sound Film Analysis of Normal and Pathological
Behaviour Patterns.”The Journal of Nervous and Mental Disease. Volume()
():.
. Friedrich Nietzsche, quoted in Oliver Sacks,“The Power of Music.”Brain,
():.
. Walter Benjamin,“The Work of Art in the Age of Mechanical Reproduction,”Illumi-
nations(London: Fontana,)-.
. Alexander R. Galloway uses the term“algorithmic culture”in the subtitle for his
book on computer games. Though he is first and foremost concerned with the role
of algorithms in games, he is also connecting his analysis to the wider gamut of an
informational network society that realizes key elements in what Gilles Deleuze
called“the society of control.”Alexander R. Galloway,Gaming: Essays on Algorith-
mic Culture(Minneapolis: University of Minnesota Press,). Lev Manovich dis-
cusses various forms of algorithmic manipulation, as he tends to call it, inThe Lan-
guage of New Media, a trait he sees as characteristic of new media. Lev Manovich,The
Language of New Media(Cambridge, MA: MIT Press,).
. Beyond exploring an aesthetic of sampling, Susanne Østby Sæther presents a valu-
able account of terms like“collage,”“appropriation,”“sampling,”and related con-
cepts in Susanne Østby Sæther,The Aesthetics of Sampling: Engaging the Media in Re-
182 Arild Fetveit