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This article is the second part of the series devoted to the analysis of the new hybrid visual language of moving images that emerged during the period 1993–1998 and which today dominates our visual culture. In the first part the author suggested that the new language can be understood with the help of the concept of remixability if we use this concept in a new way. We can call this “deep remixability”, for what gets remixed is not only the content of different media but their fundamental techniques, working methods, and ways of representation and expression. In the earlier article discussion was started of how the new software-based methods of production – specifically software such as After Effects – made this language possible. In this part the author continues to explore different effects of software-based moving image production, and then uses this discussion to refine his analysis of how deep remixability functions. He discusses how today the design of moving image sequences takes place within three-dimensional space, with 3D compositing gradually replacing 2D compositing. He also looks at the shift from the concept “moving image” to a new concept of “media composition”. Finally, he analyzes how the typical production workflow in a contemporary digital studio the ways in which a project moves from one software application to another – affects contemporary visual aesthetics of not only moving but also still images. The article shows that this workflow has two fundamental effects. On the one hand, never before have we witnessed such a variety of forms as today. On the other hand, exactly the same techniques, compositions, and iconography can now appear in any media

This article is a first part of the series devoted to the analysis of the new hybrid visual language of moving images that emerged during the period 1993–1998. Today this language dominates our visual culture. It can be seen in commercials, music videos, motion graphics, TV graphics, and other types of short non-narrative films and moving image sequences being produced around the world by the media professionals including companies, individual designers and artists, and students. This article analyzes a particular software application which played the key role in the emergence of this language: After Effects. Introduced in 1993, After Effects was the first software designed to do animation, compositing, and special effects on the personal computer. Its broad effect on moving image production can be compared to the effects of Photoshop and Illustrator on photography, illustration, and graphic design. This analysis is used to support the author’s theory that the logic of the new visual language is that of remixability. Normally remixing involves combining content – for example, different music tracks. In this case what gets remixed is not only the content of different media or simply their aesthetics, but their fundamental techniques, working methods, languages, and assumptions. United within the common software environment, cinematography, animation, computer animation, special effects, graphic design, and typography have come to form a new metamedium. A work produced in this new metamedium can use all techniques that were previously unique to these different media, or any subset of these techniques.

Since 1996, artist Miltos Manetas has done paintings that systematically portray the new essential objects of contemporary life: joysticks, computers, computer game consoles, and computer cables (lots of them). Manetas also paints people who are usually intensely engaged in the activities made possible by consumer electronics devices, such as playing a computer game. But he never shows what games they are playing or what images they are looking at. Instead, he focuses on the humancomputer interface: hands clutching a joystick, a body stretched across the floor in the intense concentration or, alternatively, relaxing besides a laptop, a computer console, or a TV.

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Media visualization is a qualitative research method that allows us towork with big data without prior counting and translating images into numbers. The article discusses media visualization techniques in terms of image editing, temporal and spatial sampling, and remapping. Image editing helps organize visual data according to metadata or visual function distinguished from all images through image processing. Temporal sampling involves selecting a subset of images from a larger sequence defined by metadata. Spatial sampling entails selecting portions of images according to a specified procedure. Remapping involves actions such as geometric, isometric, and perspective projection techniques used to create two-dimensional representations of three-dimensional scenes. [ABSTRACT FROM AUTHOR]