Tag: Granularity

Computing without Computers

Because computers are sensory deprived and physically limited there is new search to present computing without computers. Integrating the nanotechnology into the other tools and the environments is a popular trend of the day.

Technology transforms the unintelligent, static objects to mobile, intelligent, active forms. These artefacts are designed to record, categorise, and serve as reflecting personalised taste in return.

On the other hand, these technological artefacts are also in a relationship with each other.



Artificial Satellites

They are the nexus of many tasks. Weather prediction, navigation, broadcasting.

The first satellite in space was Sputnik 1 which means as a word fellow traveller was send in 1950 by Russians. After 7 years, the first biological spacecraft that called Sputnik 2 was sent by carrying a terrier female dog. By the following year, 1958, Sputnik 3 has taken its place in space as a first launched orbit. In the same year, 1958, America also started to launch the orbits. The satellite Score has become the world’s first communication satellite.

In 1960, several satellites were sent to space by Nasa. One of them was successfully acting as a passive reflector of microwave signals, communication signals were bounced off it from one point on Earth to another point. This was the satellite making the radio communication possible. Another one called Courier 1B could record messages from an earth station and rebroadcast them.

In 1962, while British and Canada sent their satellites into space, Telstar 1 has become the world’s first active communication satellite that makes the TV programs to be broadcast across the Atlantic.

In 1964, Italy became the fifth country to have artificial satellite. And following year French launched the Asterix. Also, same year first Soviet communication satellite Molniya launched.Germany sends its artificial satellite in 1969 just one year before the Japan and China.

Intelsat III counted as a significant one by enabling the live TV.

In 1974, Spain and Netherlands send the artificial satellites. Ans, which is was send by Netherlands was a space-based X-ray and ultraviolet telescope.

In 1975, India’s first artificial satellite was launch. The next year, Indonesian and 2 years later Czechoslovakian artificial satellites were launched.

“Nothing is harder to image than the past. It is imperative that all Landsat observations are archived and made available to users.”

Bound of Literature – Science fiction and Satellites 

Arthur C. Clark was the first known author who talks about artificial satellites before the satellites were sent to space. Clarke was a science writer, futurist and scuba diver. He was an avid populariser of space travel. Clarke contributed to the popularity of the idea that geostationary satellites would be ideal telecommunications relays.


Archive of the J-Fest

Digital Video Archive screen-shot-2016-11-18-at-19-26-48

In analytic philosophy, as Ernst (pg 184) mentioned, “the event represents an ontological being that is not a static object but a process”.  Festival as an event indicates a process. It can be represented in many different ways in a digital realm. It may be documentaries, or games, films or animations. However, Since digital archive’s flexible structure can deal with constant updates,  and it can grow over time with upcoming festivals/years, what is fittest for events ontology is the way of the digital archive.


This archive exist to aggregate videos which belongs to past 10 years of the Turkish Juggling Convention J-Fest.
Archive consists of the videos that describe the sense of the festival more than any existing materials. Some of the videos are not very qualified or professionally recorded but the aim is to put the collection as a whole.


According to the Video theory, which is written by Andreas Treske, media technologies require us to navigate through the world of meaning, into images that make our memories. These timeless or time thickened images change the atmosphere, take us to the ground zero feeling. “We are immersing in video atmospheres”, says Treske. Videos as forms of realness give us a new space under the different light in time. Inevitably, video becomes atmospheric. Collectively produced sphere consist of many space that mirrors the subjectivity of the user and determines the user’s interaction with society. Video spreads meaningful acts around the network, inhabited spaces, and environments. According to Treske, our imagination helps us to avoid to become dizzy and create a whole video out of the fragmented clips. Therefore, our imagination will determine our future more than ever in the history.

The beauty of video, says Treske comes from the uncontrolled and unstructured nature of it; it does not underlie a system of narrative dictatorship.

Digital Compassion with online video


Multimedia is not solely for human eyes. Undetachable loss for human eye might be detect by machines easily and might cause a salient error.

The Database Logic

By the advent of camera and computing, historical data; which is in symbolic order by alphabetic symbols enhances its quality with  photography; which belongs to physical real. These epistemological enhancements changed the way of perception as well requirements of organisation, categorization and access of the data.

The database is a structured data for managing, processing and accessing. The ultimate goal of the database is having an organised information and retaining the comprehensiveness of recording result of the specified data. All of the media objects inherently interface of the database while some of them comprise structural  construction of the database logic.

“Perhaps, “Man with a Movie Camera” is an example of a database imagination in modern media art. Man with a Movie Camera is not only a database of the city in the 1920s according to Manovich, “a database of film techniques, and a database of new operations of visual epistemology, but also a database of new interface operations that together aim to go beyond simple human navigation through physical space.” (Manovich, 2001)

But the main database is a word comes with computers. By their talent in the calculation, computers are intrinsically available for various database operations.

The computer age brought with it a new cultural algorithm: reality->media->data->database. (Monavich, 2001)

The database supports both the pure database form and the narration. One of the  arguments of Manovich claims that the logic of the database replaces that of the narrative in digital media.

Much like Maravich Ernst also affirm the similar ideas that dominant model for organising information and structural tradition of Aristotle has begun to destroy with new media. By emphasising the centrality of temporality, there might be a change for the long term read only memory ROM with RAM random access memories. The archive is much more dynamic, transformative and productive in terms of history just like the organic memory, not in rest in the fixed position, always shifts with other factors. According to Ernst, there is a shift through micro-temporal approach refers to archives in motion. This transformation is not much about the human activity rather it is much about technological amelioration.

Once things are being digitalised, you can analyse every bit and this allows to investigate and navigate in them.

Data mining as a result of big data on the digital environments


Locus of copying.

“The math is simple: one byte = one typed alphabetic character. One page of text contains about 2.000characters, so one million bytes, aka one megabyte (MB) would hold about 500 pages of text data. Most books are much less than 500 pages. … If the average length of a book is 350 pages,then the whole of the Library of the Congress would fit in less space. If the average length of a book is 250 pages, it would fit on an 18 TB drive with little room to spare.”

Gutenberg Project founded in 1971 is the oldest online library.




Miles explains that:

Granularity is a term common to the hypertext literature… and refers to the scale of the units used within a larger system. For example, the Web can be considered highly granular (in general) because it is made up of many millions of individual parts, each of which appears well suited to being interconnected in quite unstructured (non hierarchical and multilinear) ways. (2005)

In an analysis of granularity, Brooks points out the multifunctional nature of video in this type of multilinear structuration:

For metalinear story, granularity has to do with the representation of meaning for each story piece. Given the
fluid and flexible nature of digital media, the meaning of a granule is based not on physical limitations, but more on how (or how many ways) the granule can be used to tell a part of a story. When a writer writes a metalinear story granule, what that writer is creating is a multifunctional cog that can be positioned in many different places within the linear story. The writer must, therefore, be aware of the issues connected with the creation of each granule—economy of size vs. precision in use. A balance or compromise must be struck, keeping in mind the complexity required to communicate the story at hand. (1999, p.50)