multimodal online mediation. a typology of patterns for media art-mediation

MULTIMODAL ONLINE MEDIATION: A TYPOLOGY OF PATTERNS FOR MEDIA ART-MEDIATION

Florian Wiencek, Ognyan Seizov, Marion G. Müller; Jacobs University Bremen Research Center „Visual Communication and Expertise“ (VisComX) 13.10.2010

Presentation at the ECREA Conference 2010. Section 6 – Digital Culture & Communication – Panel 6-2: Art

Outline

  Meaning Generation in Digital Archives   Problem & Research Design   Preliminary Results

Wiencek, Seizov, Müller - Multimodal Online Mediation @ ECREA 2010 13.10.2010

Definition of the Term „Mediation“

13.10.2010 Wiencek, Seizov, Müller - Multimodal Online Mediation @ ECREA 2010

  use of the term “mediation” in the sense of the German word „Vermittlung“ of content, which can be described as the communication of content by different means (tools, media, etc.)

  mediation is about the „inbetween“ between recipient and e.g. an artwork or data about an artwork display   in the digital context we are talking about interfaces and

specific „interface-grammars“ (Manovich 2001, p. 73)

  mediation as translation-process (e.g. Grusin & Bolter 1996)

Definition of an Archive

  selection

  order + metadata retrieval

  accessibility   conservation of material

  decontextualization & re-contextualization

  construction of reality

(cf. e.g. Haber, 2006; Ernst, 2002b; Drechsel, 2005)


Archive

Digital Archives


  Michel Foucault (French Philosopher):

 archive as (institutional) site of discursive formation (Foucault 1973 – Archaeology of Knowledge)

  Lev Manovich (Media Theorist, UCLA, USA)

  the archive becomes a database enhanced functionality

Research Questions


1.  What are the the different modalities used in online-mediation of media art and what are their roles?

2.  Which modalities are used to mediate specific aspects of the artworks?

3.  Do the different modalities interact to mediate an artistic project in the different strategies?

  Categorization of the material

  Interactive processes of digital archives

  Visualization and contextualization of archive material   Retrieval

4 Dimensions of Meaning Generation in Digital Archives


Mediation Paradox (Dieter Daniels, 2004)


  media art projects are produced in electronic media but are not mediated in them   loss of specific qualities of the works in classical mediation in

museum catalogues (text + image)

  projects are not about the object but about the action they evoke in the user (cf. Mulder 2007, p.54)

 media qualities, „realms of possibilities“, configuration of the work need to be documented

  media art needs to be mediated by multimedia and related to relevant theory (cf. Daniels 2004, p. 90 ff)

Mediation Paradox (Dieter Daniels, 2004) (2)


  Web as medium is especially suited (Wiencek 2009)   use of several media types   processability of digital data   accessability   connection of information nodes inside a archive but also of

different archives discourse space (cf. Ernst, 2002; Haber, 2006; Manovich, 2001; Wiencek, 2009)

  BUT: translation of media art projects into a format for digital storage and display needed re-mediation (Bolter & Grusin, 1996) loss of information

Sample


  Ars Electronica Archiv   V2_archive   virtualart.at   Daniel Langlois Foundation   Medien Kunst Netz Educational Platform

  netzspannung.org

  GAMA Subject Gateway

Institutional Archives

Archives in Scientific Contexts

Educational Platform / Collaborative Online Platform

Documented Layers of Interactive Installations


Concept Setup

Technology

Space

Elements/Component

s of the Artwork

Interface

Interaction between Hard- & Software

Possible Experience

Interactive Process

Realm of Possibilities

Exhibition / Performance Situation(s)

User Experience Context

History

History of Technology

Art History

Archive-Context

Institutional Context

External Sources

Exhibitions

Literature

Project History

Versioning

Partial Projects

Specific Exhibited Version

Additional Information

Artist‘s Bio

Archive-Specific


Metadata

Title

Artist

Year

Keywords

Type

Archive-Specific

Metadata

Conclusions


  No correspondence between the function of the archive and the modalities used for documentation

  Text & images are still the most prevalent mediation-modalities, but also video, audio and other means such as hyperlinks, automated search (dynamic content) and interactive applications / visualizations are used.   Text is in part used as hypertext non-linearity

Documented Layers of Interactive Installations


Concept Setup

Technology

Space

Elements/Component

s of the Artwork

Interface

Interaction between Hard- & Software

Possible Experience

Interactive Process

Realm of Possibilities

Exhibition / Performance Situation(s)

User Experience Context

History

History of Technology

Art History

Archive-Context

Institutional Context

External Sources

Exhibitions

Literature

Project History

Versioning

Partial Projects

Specific Exhibited Version


Artist‘s Bio

Archive-Specific


Metadata

Title

Artist

Year

Keywords

Type

Archive-Specific

Metadata

Layers of the projects translated in other modalities than text.

[email protected] [email protected] [email protected]

Thank you for your attention!



References (1):

Assmann, A. (2004). Zur Mediengeschichte des kulturellen Gedächtnisses. In A. Erll & A. Nünning, . Berlin, New York.

Bolter, J. D., & Grusin, R. A. (1996). Remediation. Configurations, 4(3). Retrieved from http://muse.jhu.edu/journals/configurations/v004/4.3bolter.html.

Caianiello, T., & Giebeler, J. (2010). Conserving Interactivity. imai Case Study on Bill Seaman's "Exchange Fields." ISEA 2010, Panel "Still Accessible? Rethinking the Preservation of Media Art 1, 24.08.2010. Dortmund.

Daniels, D. (2004). Das Vermittlungsparadox der Medienkunst – Thesen und Modelle zur multimedialen Vermittlung. In G. J. Lischka & P. Weibel, Die Medien der Kunst – die Kunst der Medien (pp. 90-104). Wabern, Bern: Benteli.

Ernst, W. (2002). Das Rumoren der Archive : Ordnung aus Unordnung. Internationaler Merve-Diskurs ; 243. Berlin: Merve-Verl.

Haber, P. (2006). Gegenwart dokumentieren – Eine Annäherung aus historischer Sicht. In L. Reddeker, gegenwart dokumentieren. handbuch zur erschließung moderner und zeitgenössischer kunst in archiven und datenbanken (pp. 17-26). Wien: basis wien - Kunst, Information und Archiv.

Kampman, M. (2009). YouTube's Flagging System. Retrieved from http://www.minkekampman.nl/index.php/2009/09/04/index/.

Lemke, J. L. (2002). Travels in hypermodality. Visual Communication, 1(3), 299-325. doi: 10.1177/147035720200100303.

Lovink, G., & Niederer, S. (Eds.)(2008). Video Vortex Reader – Responses to Youtube. Amsterdam: Institute of Network Cultures. Retrieved from http://networkcultures.org/wpmu/portal/files/2008/10/vv_reader_small.pdf.

Ludwig Boltzmann Institut Medien.Kunst.Forschung. (2009). Abschlussbericht 09 des Ludwig Boltzmann Institut Medien.Kunst.Forschung. Retrieved from http://mediaartresearch.at/de/news.php?iMenuID=35&iNewsID=98.


References (2):

Ludwig Boltzmann Institute Media.Art.Research. (2009). Visualization Showcase - Projects. Retrieved from http://vis.mediaartresearch.at/webarchive/public/view/mid:1.

Manovich, L. (2001). The language of new media. Leonardo. Cambridge, Mass. [u.a.]: MIT Press.

Manovich, L. (2008). Software takes command. Retrieved from http://softwarestudies.com/softbook/manovich_softbook_11_20_2008.doc.

Morville, P., & Callender, J. (2010). Search Patterns (1 ed.). O'Reilly Media. Retrieved from http://www.amazon.de/dp/0596802277.

Mulder, A. (2007). The Exercise of Interactive Art. In J. Brouwer & A. Mulder, (pp. 52-69). Rotterdam: V2 Pub./NAi Publishers.

Rogers, R. (2009). The End of the Virtual – Digital Methods. Retrieved from http://www.govcom.org/rogers_oratie.pdf.

Snickars, P., & Vonderau, P. (Eds.) (2009). The YouTube Reader. Stockholm: National Library of Sweden. V2_ Institute for Unstable Media. (2004). Capturing Unstable Media. Retrieved from http://capturing.projects.v2.nl/recomm.html.

Wiencek, F. (2009). Gedanken zur Online-Vermittlung von Medienkunst. In A. Rotert, H. Nöring, & R. Sausmikat, Katalog des European Media Art Festival Osnabrück 2009 (pp. 216-217). Osnabrück.

netzspannung.org. (2009). netzspannung.org – Werkzeuge zur Wissenserschließung. Retrieved from http://netzspannung.org/about/tools/.


References (3):

Sample:

Ars Electronica Archive: http://90.146.8.18/de/archives/index.asp; http://90.146.8.18/de/archives/prix_archive/prix_projekt.asp?iProjectID=2475#

Daniel Langlois Foundation: http://www.fondation-langlois.org/html/e/; http://www.fondation-langlois.org/html/e/page.php?NumPage=2186

GAMA: http://www.gama-gateway.eu; http://www.gama-gateway.eu/index.php?id=search&workdetail=gama:ars-electronica:main:Work:966

Medien Kunst Netz: http://www.medienkunstnetz.de; http://www.medienkunstnetz.de/werke/very-nervous-system/

netzspannung.org: http://www.netzspannung.org; http://netzspannung.org/cat/servlet/CatServlet?cmd=document&subCommand=show&forward=%2fnetzkollektor%2foutput%2fproject.xml&entryId=147823&section=base&lang=de

Virtualart: http://www.virtualart.at; http://www.virtualart.at/database/general/work/very-nervous-system.html

V2_archive: http://www.v2.nl/archive; http://framework.v2.nl/archive/archive/node/work/default.xslt/nodenr-162937

multimodal online mediation. a typology of patterns for media art-mediation

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