Speed used to be measured by miles or kilometers per hour, at least by the common people. In contemporary existence, bauds or bytes per second takes their place in order to tell about the measurement of speed.
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.
Voice and gesture at the graphics interface
Navigation is the calculation of position and direction.
The fundamental aim and working principal of the computer are much about navigation than usually missing. Many mechanical aids to calculation and measurement were designed for astronomical and navigational use.
Perception which is constitute from all former experiences, skills, concepts, misconceptions, thoughts and generalisations. The perceptual field, which is the established model of objective reality, of the real world around the subject. It is where the subject finds the background for perception.
“Play is a core human value; even a core mammalian value.” Bing Gordon.
Dutch philosopher and historian Huizinga explores the relationship between games, play, and culture and he discusses the importance of the play element of culture and society. According to Huizinga play is primary to and a necessary condition of the generation of culture and it exists in every culture.
Again according to Huizinga “The five most common experiences of game feel are:
1- The aesthetic sensation of control “with the right relationships between input and response, controlling something in a game can archive a kind of lyric beauty.”
2- The pleasure of learning, practising and mastering a skill
3- Extension of the senses
4- Extension of identity
5- Interaction with a unique physical reality within the game”
When player is given well defined task that makes player experience the game as a narrative game creates an impression in the player’s mind.
It is beyond doubt that computers stand by for human participation. Much like the window that helps to see the world. Who wants to see the metaphorically other worlds need to accept the looking thought the screen. (+Alice, +Matrix)
Human-computer interface comes to act as a new form through which all older forms of cultural production are being mediated. (Manovich)
When the telematics and virtual intelligence has met, the machine becomes a partner. The interactivity of materials has taken its place in our daily lives. In fact, human Computer interaction isn’t a field with 100 years of history. Yet, when the electronics started to take place of the mechanics our way of interaction with everything has changed.
“As computers begin to shape everyday life, we’re interested not only in what this technology can do for us, but also in what owning it means for us. When we buy something for our home, a toaster for instance, we choose it because it toast bread, certainly, but maybe also because how it looks, feels, sounds.”(Moggridge, 2007)
Human computer interaction is constrained not only by the computing problem but also includes media of representation. Human computer activity requires multisensory representation.
“Just as a person needs clothing, a computer needs a case to protect its insides and to allow us to enter and manipulate information in a convenient way (that is, a human-computer interface, typically a keyboard and a screen). Text needs to be displayed in ways suitable for us to be able to read it, be it on a screen, paper, or e- paper. Therefore, although the word “information” contains the world “form” inside it, in reality it is the other way around: in order to be useful to us, information always has to be wrapped up in some external form.” (Manovich, 2008)
Bill Verplank, who worked as a design consultant from 1986 to 1922 for bringing graphical user interfaces into the product design world, recapitulate interaction design by three questions about how you act, how you feel, and how you understand.
If we go though the some key concepts that delineate the interaction design, these are;
- Reassuring Feedback; by a well design system we are aware of what we have done when we have done it.
“The field of human computer interaction is really an amalgam of other fields, including computer science, sociology, psychology, communication, human factors engineering, industrial engineering, rehabilitation engineering, and many others.” (Johanattan Lazar, Research Methods)
Research methods in HCI are always changing and improving. Interaction researches have a broad scope from desktop computers to laptops, potable devices, smart phones, tangible and wearable computing, audio, touch and tactile computing. They are about what people can do with computers, how they perceive the environment, how they communicated and what kind of tools are becoming out of their interaction and needs.
Favourite Films about HCI Movies:
- The Matrix
- Artificial Intelligence
- Minority Report
- The Hitchhiker’s Guide to the Galaxy
With little notice, computer and web technologies just told us a lot about our contemporary world and its transformations. The developments have an impact on each level of human lives. Of course, As a way of narrational genre, the documentary is also affected by this revolutionary exploration.
By reflecting the logical connectives new form has the attributions of digital language, in other words its bases rely on the digital’s discreet nature. Remanding the basic syllogism with a well know example of “All men are mortal, Socrates is a man, Therefore Socrates is mortal” – it could also applied for the digital and the documentary relationship. Basically; quintessence of digital is discrete, interactive documentary is digital, Therefore quintessence of digital is discrete. It consist of small bricks that can be combine with each other variously.
In the linear documentary making, shots are recorded then combined together on a timeline on a linear scheme. The exported documentary is one video file made up of quite a few shots. In other words, it is fixed. In contrast, interactive documentaries are designed to present video in separate files and its users can decide which elements to display in which order or have a random access. In a way user can participate the co- creation of the work as the co-author.
There are many scholars who did their research on the field of interactive documentary. One of them; Whitelaw (2002) observes that—due to the expansion of bandwidth, the development of online video and the increasing emergence of interactive documentary forms—the formation of relations between shots is altered in a multilinear structure:
“New media forms pose a fundamental challenge to the principle of narrative coherence, which is at the core of traditional documentary. If we explode and open the structure, how can we be sure that the story is being conveyed?” (Whitewall, 2002)
Gaudenzi (2013) draws attention to the evolving nature of this form of documentary within a field that is also continually changing. Gaudenzi states:
“If documentary is a fuzzy concept, digital interactive documentary is a concept yet to be clearly defined. What is implicit in its terminology is that an interactive documentary needs to use a digital support, and be interactive. A linear documentary that has been shot with digital technology, and that is distributed on the Web, is a digital documentary but not an interactive one.” (Gaudenzi,2013)
Nash (2012) states that:
As new media technologies and new forms of communication emerge, contemporary documentary makers are engaging in a process of actively re-thinking the documentary project. They are imagining what documentary might become: non-linear, multi-media, interactive, hybrid, cross-platform, convergent, virtual, or something else as yet un-thought. Within this experimental space the webdoc has become an established mode of documentary production. (2012, p.197)
O’Flynn (2012), similar to Nash (2012) and Gaudenzi (2013), evaluates the emergence of different forms of interactive documentary across multiple digital platforms and connects this development with a transformation towards incorporating design into documentary practice. O’Flynn proposes that:
…notions of interactivity have changed over the past decade… [due to],a shift away from a binaristic ‘choose your own adventure’ orientation towards plot as an either/or structure and narrative causality to an exploration of experiential interface design. Here, i-docs of the last five years have demonstrated an increasing attention to interface and user experience design as dynamic structural elements expressive of a thematic core to the given narrative. (O’Flynn, 2012)
Game feel constitutes the new genre of documentary.
All interactive documentaries have the feel of game.
Even there is a novel genre of doc – games, which consist of the social events, mostly critical ones and the digital simulation of it. by allowing the users to participate in a scenario, the designers aim to give values and the strategic actions to their users as well as anticipate their reactions and get a data out of them. According to Dr Tim Lenoir, educators in the conflict resolution has recognised the role model simulation with the game playing. These lead major organisations like the Un and various similar organisations routinely use very sophisticated role-playing games in their classes. Learning by doing bridges the gap between the conflict resolution theory and its practical resolution in the world of crisis that requiring complex strategy, problem-solving and adapted thinking according to Dr Tim Lenoir.