Evolutionary archive structures

Transkript

1 Evolutionaryarchivestructures TRANZISTOR, FAMU PRAGUE Michal Klodner

2 insteadofonefilmpiecepresentedinsocialcontextasuniqueartisticarticulation ofcontemporaryaudiovisualmessage,anarchivemakespossibleimmediate viewingofhundreds,thousandsoffilmsfromvariousauthorsandhistoric periods,wecanseewholelifesofpeople,tunetoemotionalstatesandreinterpret thesocialexperience anarchiveisavisualcommunicationstructurewhichistranspersonaland transhistoricandgivesusentirelydifferentculturalposibilitiesthantheclassic environmentsbasedonsinglefilm,redefiningthevisualliteracyonhigherlevel

3 Memoryspace Themainideaofthearsmemoriaeistoimagineone'smemoryin"places" organizedintoanimaginaryarchitecture,e.g.theroomsofahouse.thisbasic architecturemustbewell knownandfamiliar,inordertoletoneselfwander easilywithinit.then,torememberparticularsequencesofthings,onewill populatetheseroomswith"images"thatshouldreferdirectlyorindirectlyto whathastoberemembered. Themainassumptionhere,whichgoesbackobviouslytoPlato,isthat(visual) imagesareeasiertorememberthanwords.withitsemphasisonthepowerof images,thistradition,especiallyinitslastincarnationssuchasgiordanobruno orleibniz,wouldthereforenaturallyleadtothenotionofaperfectlanguage basedonimagesinsteadofwords,asimages"speakmoredirectlytothesoul".

4 Memoryasaplace Chronicleof Dalimil,14th century fullyilluminated manuscripts allowedknowledge distributionintimes whenthebasic literacywasrare

5 Memoryasaplace wallpaintings illuminationofbiblicalorhistoricalstory squarehallwayinthechurchofemauzy,prague,14thcentury

6 Memoryasaplace Atechniqueputtouseby Comeniusandothersin 17thcenturyistoattach lettersornumbersto partsoftheimageandto refertothosesymbolsin thetext.hethereforehad recoursetoindexical signstomaketheimage workasaglobalpictorial diagram.

7 Memoryasaplace Abbeymemorysystem, 16thcentury Themainassumption imagesareeasierto rememberthanwords. Withitsemphasisonthe powerofimages,this tradition,especiallyinits lastincarnationssuchas GiordanoBrunoor Leibniz,wouldtherefore naturallyleadtothe notionofaperfect languagebasedon imagesinsteadofwords,

8 Reprezentationofhistoricreality After the war, everything was collected, what was left in cinemas, what remained after german companies, but also it was searched after such a materials, whichgermanswantedtoliquidateortodisallowtobeusedduringthewarbecause ofstrictcensorship.firstactivityafterthewar,itwasraceagainsttime.itwasabout who comes first, because there were two armies here, which had the same goals. They searched the territory Ofcourse there were no places to store the things. The first part was where is the Hotel Internacional indejvice. There was a brickworks building and a swimming pool. The things were gathered there, were identified, checked and taken to other places because there were no facility to store such an ammount of films. Yes, ofcourse then generation it was the generation of fans and collectors.theyhaddifferentapproachthanwehaveafter40years.theylikecertain kinds of cinematographies, certain genres ant it has precedence. There was no scientificapproach,itwasformulatedasfarasherein1965.

9 Reprezentationofhistoricreality EvenCinémathéquefrançaisewasinfactatfirstoneofthelargestcemeteriesof film.alotofworksdiedawaytherebeforecmc,archivalcentrehasarisen. Insteadofcatalogization,theyhadsuchbooklets,wheretherewaswrittenwhat theyhave.andwhentheirgreatestrepositoryburneddown,whichwasfivefloor departmentstore,andtothisdayisnotknowniftherewas8000or10000films, fromthestorageonlypiecesoftinremained.everythingevaporated.atfirstit wastotallydilettantearchive,theydidfabulouscine meetingsbuttheywereable toliquidatetheonlycopyintheworldandundertaketherisktheywouldplaythe filmanddamageitforever.sothiswastheapproachofthefirstgeneration.they werefans,enthusiasts,andtheywereabletodoanythingtoplaythefilmandnot topreserveit. Vladimir,Opela,NationalFilmArchivePrague

10 Reprezentationofhistoricreality Censorship,politicsofselection decisionsofwhatwillgetintoarchivetiedtoestablishment,poweretc. Socialandculturalvalue whatpeopleusuallyseeasimportantorrubbish thesevaluescanbechanged every15 20yearsbyreasonofwars,revolutions,socialchanges Individualfactor Economicfactor reusingtheexpensivetapes,deleting,choosingwhatiseconomicallypossible

11 Accessibility societyvs.archive WestudyCinematographyofWeimarrepublicandthisperiodonfilms,filmpercepcionetc.VNěmeckutehdy nastupovalfašismus,tadybylastandartnídemokracieavrakouskusepřipravovalpuč.takžetobylataková republika,kterámělaspíšblížekmussolinimunežkdemokracii.anazákladětohosestudujícenzurnípramenya ztohovyplýváněcozajímavého.napříkladmátejedenfilmatenbylunáscenzurovánproto,žetamněkdořekl sprostéslovo,vněmeckuproto,žetambylžidavrakouskuproto,žetambylysukněpřílišvysoko. Jsoudvatypyarchívů,kterézažilynejvětšítotalitu:sovětskýarchívaarchívnacistický.Vsovětskémsvazusety zakázanéfilmynezničily,jenomsenemohlydostatven,bylyvespecielnímoddělení.astejnětakreischfilm archiv,kdyžzabavilvěcižidovskýchautorů,takjenelikvidoval.stbhlídala,abysenicneudálo,aleněkdynato zapomněli.takžezhrubavroce1980,kdyžužlaboratořenemělymísto,kamdávatnovéfilmy,takprostěvšechny tyzakázanéfilmypřišlydoarchivuanikdonetušil,žetujsou.vrámciskartačníkomisebylozkrátkadáno,žetyto materiályjetřebapředatdoarchívu.alefilmysenemohlyhrátvenku.celářadatvůrcůsenaněpřišlapodívat, třebapolovičkazakázanýchfilmůbylavoddělenísportu.tadílasetampakpolotajněpromítala. Letosnapř.rozšířiliprávavýkonnýchumělcůna70let,ačprotitomuprotestovalyvšechnyarchívnísvazy,které pečujíosvětovékulturnídědictví.tadynejdeoto,žejetoprotismyslné,kdyžnajednustranuchtějíinformační společnostanadruhoutoblokují.jdeoto,ževtomtopřípadějdeoúplnějinýdruhaudiovizuálníhodědictví,které potřebujemnohemvětšípéčinežobyčejnákniha.jestližetadymáte50letprodukčníprávaapak70letposmrti posledníhoautora,taktoznamená,žeběhemtěch120letmusítedvakrátprovéstrestaurování,abysezachovaly barvyfilmu.natožádnýautornepřispějeanikorunou,natožádnáspolečnostochranyautorskýchprávnedánic. Platítotedyspolečnostzesvýchdaníanemáaniprávo,abytomohlobýtpoužitoproedukativníneboarchívní účely.

12 Accessibility societyvs.archive Emergenceofarchives variousfactorstiedto individualpeople,latercomethesystematic administration(1960's) Reprezentationofthepastisbasedonunstable factors,whichchangeovertime Weneedtounderstandthedeeperprinciplesof humancultureandundergocomplicated internationalstandardization

13 TaxonomyofgenresFAMU1990's absurddrama,agitka,actionfilm,alegory,poll,bajka,balada,balet,barevnáetuda,biografickédrama,biografický dokument,biografickýfilm,bláznivákomedie,budovatelskákomedie,budovatelskédrama,budovatelskýfilm, černákomedie,cestopisnýdokument,detektivka,detektivníkomedie,dětskýfilm,dobrodružnýfilm,dobrodružný historickýfilm,drama,duchařskákomedie,epickýfilm,erotickýfilm,erotickýthriller,esej,etnickýfilm, etnografickýdokument,fantastickákomedie,fantastickýfilm.fantastickýthriller,filmovábáseň,filmováfreska, filozofickýfilm,fraška,futuristickýfilm,gangsterskýfilm,generačnífilm,groteska,historickákomedie,historické drama,historickýfilm,hořkákomedie,horror,hranýdokument,hudebněobrazováfantazie,hudebnídokument, hudebnífilm,hudebníkomedie,hudebnírevue,katastrofickýfilm,komedie,komornídrama,komornífilm, komunálnísatira,koncipovanáreportáž,kreslenýfilm,kriminálnídrama,kriminálnífilm,kriminálníkomedie, legenda,loutkovýfilm,lyrickákomedie,lyrickýfilm,mediálnídrama,melancholickákomedie,melodrama, metafora,milostnákomedie,milostnédrama,milostnýfilm,muzikál,mystery,mystifikace,náboženskýfilm, okupačnífilm,opera,opereta,osudovédrama,osvětovýfilm,parafráze,parodie,počítačováanimace,poetická koláž,poetickýfilm,poetickýhorror,pohádka,politickédrama,politickýfilm,politickýthriller,populárněnaučný dokument,portrét,poválečnédrama,poválečnýfilm,povídkovýfilm,přírodopisnýfilm,protiválečnákomedie, protiválečnédrama,psychedelickákomedie,psychologickédrama,psychologickýfilm,psychothriller, rekonstruovanýdokument,reportáž,retrofilm,revolučnídrama,roadmovie,rodinnákomedie,romance, romantickákomedie,romantickédrama,romantickýfilm,rozhovor,satira,satirická,komedie,sci fifilm,sci fi komedie,sci fithriller,sociálnídrama,sociologickýdokument,spaghettiwestern,špionážnífilm,společenská komedie,společenskédrama,společensko kritickýfilm,sportovnífilm,surrealistickýfilm,tanečnífilm,thriller, tragédie,tragikomedie,uměleckýdokument,válečnédrama,válečnýfilm,vesnickédrama,western

14 Taxonomieschange EastSilvermarket,documentarydistribution 2008 Adventure,Anthropology,Archeology,Architecture,Art,Culture,Ecology, Entertainment,Ethnology,Experimental,Health,History,HumanInterest, Music,Mystification,Nature,PersonalView,Philosophy,Politics,Portrait, Religion,Science,ShortDocumentary,SocialIssues,Society,Sport, Technology,TravelFilm,YouthDocumentary,Zoology Thosetaxonomiescanberichandfine tunedfortelevisionprogramming,other hybridforquickandcleardistinction Withtaxonomiesthestructureofcategoriesisnotalawcuttedintostone.In CzechNationalLibrarycurrently50 100newkeywordsisaddedeverymonth toreflectthedevelopment(orparadigmchange)inparticularbranchesof science.moreover,theauthorsandpublisherscanparticipateonaccessibilityof theirpublications,createauthor'skeywords.

15 Organizationofarchiveand knowledge Taxonomiesarenotstaticsystems,theyare sociallyandculturallycontingent Thewaysofdiferentiation,vocabularies,values Differentmedia(institutionalstructureestablishesterminology) Differentscientificspecializations Differenthistoricperiods Differentwaysofuse Differentcountries

16 Folksonomies collaborativetagging,socialclassification,socialindexing,orsocialtagging Thepracticeandmethodofcollaborativelycreatingandmanagingtagsto annotateandcategorizecontent.folksonomyisthebottom upclassification system.incontrasttotraditionalsubjectindexing,metadataisgeneratednotonly byexpertsbutalsobycreatorsandconsumersofthecontent.usually,freely chosenkeywordsareusedinsteadofacontrolledvocabulary.

17 Folksonomies JorgeLuisBorges,literaryexampleofchineseencyclopedia,whereanimalsare dividedintofollowinggroups:a)belongingtoemperror;b)embalmed;c) domesticated;d)pigs;e)sirens;f)mythologic;g)piedogs;h)animalsinthis classification;i)thosewhoarelikecrazy;j)uncountable;k)paintedwiththin brushfromcamelhair;l)etcetera;m)thosewhichjustbrokethevase;n)those, whoarelikeflieslookingfromdistance. Thesamewaypeopleusetags.Withoutrespecttolargeterminologicalsystems theychooseforgiventopicatag,whichrepresentsimmediateassociation, personalandvalidonlyintheindividualspace.taggingismoreemotional accesstodistinction.thetermsareassumedfromfriendsandusedininformal coordinationandmixedwithestablishedtermsintheirexactmeaningthesame wayasinthemeaningshiftedbythewayofthinkingoftheindividualorhis network.inthecontentindexedsuchawaythesearchingisdifferent,, associative,broaderrange,notsosharp.

18 Informationmodel Informationmodelofartefact;information aktivitywithartefact Preservation keepingofinformationalintegrity andaccessibility Dichotomycontent carrier.thisideaallows accessiblecontentandpreservationofthecarrier Modelsofinformationalstructureareframeworks fordescription,analysisandstudy

19 3layersofon linearchive videographictimespace film,video,movingimage,text,soundastimespaceobjects continuumofhistoricandartisticreality themyth socialnetwork peoplemakearchives,socialrelationsareformingcollections,bringnew additionsandthegoalsofarchivesarebasedontheirdifferentbehaviors knowledgemanagement emergentknowledgefindsnaturalenvironmentatthesameplacewherethe researchisunderway

20 Interface Sphereofinterconnectionofthearchivelayers Clashofdifferentmedia(languages) Rendezvousofhumansandtechnology Interpretsandpresentscontentdependingon chosentaxonomies,navigationmodelandvisual code.inaninterdisciplinaryenvironmentevery communityneedsspecificinterface

21 Interface Interfaceasthetopoftheicebergreflects aktivitiesindifferentlayers: Archiveasagallery,meetingplace,research material,archivewithsocialnetworkingfeatures, asatoolforcollaborationknowledgemanagement Livingarchives

22 Interface Thesuccessofthecomputerasauniversalinformation processingmachineliesessentiallyinthefactthatthere existsauniversallanguageinwhichmanydifferent kindsofinformationcanbeencodedandthatthis languagecanbemechanized.thisoriginatesasadream ofleibniz universallanguagethatwouldbebotha linguacharacteristica,allowingthe"perfect"description ofknowledgebyexhibitingthe"realcharacters"of conceptsandthings,andacalculusratiocinator,making itpossibleforthemechanizationofreasoning. Themodernwayofmediaprocessingisbasedon developmentofcomputersoftwareandhardwareafter 1960'swhenNoamChomskyintroducedthetheoryog generativegrammars.theglobalelectronicmemory todayiscreatedbylanguages,whichoriginatedfromit

23 Interface Interfacelanguages WWW,DVD,VRML(3D)... VIDEO:RoyWroth,ChrisMarker

24 Interface videoannotation konvergence.info (FAMU) videoannotation system Anyregistereduser canaddtext, images,files,urls andtagstocertain timeofstreaming video Thisallowsfor collaborative research,study, knowledgesharing

25 Interface videoannotation Hyperkino (FAMU/) filmannotation systemfordvd Filmisoverlayedin certainpartswith numberedbuttons, whichleadintorich textualannotations withphotographs, analysis,otherfilm excerptsetc.

26 OneContentManyInterfaces

27 Evolutionofarchivalstructures Thepossibilitiesofrichon linetoolsetsandinterfacefeaturesarenotbrandnew, whatnewmediaandthetechnologybehindbrought.thosearebasedonthe experiencefromhundredsofyearsofhumanthinking,knowledgeandliteracy. Linear(quartesian)databaseorder Hypertextinterconnectionofinformation Contextualinterconnectionandkeywords Personalisedstructureofinformation,user generatedandindexedcontent,folksonomies, collaboration,differentkindsofactivities

28 Evolutionofarchivalstructures Whyaremediascatteringandtransforming,letitbeTV,radio,musicalindustry, film,whatisthenatureofstructures,wherearetheytryingtoanchorageandhow aretheyredefinedbyit? Wehavetogobeyondtheclassicalthinkingaboutmedia.Thetrendsoftoday crossmedia,intermedia,transmedia,digitization,compression,konvergence, remediation,aretheyneworonlyasideeffectofprocesses,whichhappenin differenttimesnaturallyagainandagain? Wehavetolearnhommediaareestablishedfrompre mediaformsof communication,whatistheirspecificwayofarticulation,whattypesofsemantic structuresaretheyusing(grammars,languages),whataretheinstitutional processesandapparatusneededfortheirfunction,themechanismstheyusefor spreadingthemessagesandthetheirabilitytorepresenthumanexperience.

29 Evolutionofarchivalstructures Usingtaxonomiesandfolksonomieswearecreatinga communicationspaceforsomehowlimitednumberofpeople,fora communitysharingsimilarphilosophyoflife.thereisalotof differentworlds,whichneedbridging. Thesameasaslettepresswasanamplificationoftextualcode,are artificialprogramminglanguagesabletoautomaticallymultiply semanticnetworks.it'sobviousthatthekeyforunderstanding postmediarealitytodayistolearngrammaticalstructuresof languages,whicharespokenhereandmultidimensionalpointsof networks,wherethelanguagesintersect.

30 ANNOTATION Demandsonarchivesaccesibilityfornetworkedresearchandparticipativeentertainmentmakethe archivesevolvefromsimpledatabaseandhypertextformstoopenlivingstructures.contentis rechargedwithhighlevelofinterconnectedcontextcreatingnewculturalvalues.thisnewparadigm makesusthinkaboutthreelayersinarchives.thevideographictimespaceasabasis,social networkinglayeraddingtoolsforcommunicationandcollaborationandthelayerofpersonal knowledgemanagement.thelivingarchivesallowdifferentuserbehaviorsandtheemergent knowledgefindsnaturalenvironmentatthesameplacewheretheresearchisunderway.publicand interdisciplinaryarchivesraisethequestionabouthowwethinkandorganizetheworldaroudus. Taxonomiesinarchivesaresubjecttospecialization,socio culturalenvironmentandhistoricalepoch. Seeminglyfixed,taxonomiesarerapidlyexpandingandchangingintimeandareuseddifferently dependingongivencommunity,leadingtopossibleunreachableorpoliticallyoreconomically rejectedcontent.thetopofthearchiveicebergisthepointwheredifferentmediaaremeetingor clashing,wherethedifferentmedialanguagesencounter theinterface.dependentonspecialization, peopleanticipationandexperience,trendsandstyles,theinterfaceremediatesandinterpretesthe contentandisouronlywayintothearchivespace.theformallanguageofcomputerinterfaces shouldcorrespondtothelanguagesofformermediaitcontains.mediataketheformsandmodesof archives,archivesarebecomingnewcommunicationmedia.