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.
“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.
Bill Nichols, who is an American film critic and theoretician best known for his pioneering work as founder of the contemporary study of documentary film, describes four main modes of representation in his writing called Representing Reality (1991) that then upgrades to six in his later book named Introduction to Documentary (2001).
- Expository mode: Expository mode is associated with a ‘factual’ documentation of reality. It can be argued that the expository mode arose from these inaccuracies that the poetic mode was susceptible in presenting, as well as the “distracting qualities” of fiction films. (Nichols, 1991) The mode’s goal is to educate people. Logical, chronological reality presentation came to the frontal place.
- Observational mode
- Participatory mode
- Poetic mode: Poetic mode depicts a transformation of historical material into a more abstract, lyrical form. The poetic mode was introduced into documentaries in the 1920’s.Camera angles, slow motion editing, sound effects are designed to amplify the dramatic affect on spectator. After all, the poetic mode doesn’t give an accurate representation to the audience. Subjectivity of the documentarian is on the front place. Leni Riefenstahl’s Olympia (1938) is a classic example of documentary with poetic mode. Chris Marker’s Sans Soleil (1982) is another well known example.
- Reflexive mode
- Performative mode
Interactivity to mean the ability of humans to participate in actions in a representational context.
“The prefix “inter” means “between”, telling us that we are talking about an active relationship between the user and the content. It’s two-way exchange. You do something, the content reaches to what you’ve done. or the content demands something from you, and you respond in some way.” Carolyn Handler Miller
“Interactivity exists on a continuum that could be characterised by three variables: frequency ( how often you could interact), range (how many choices were available), and significance (how much the choices really affected matters)” Laurel
The interactivity is not the sole ability to click in the digital environments. Each click gives its user to another sequence and each click end up with another destination. When the user faces with multiple possibilities, it’s the point that user performs its agency with an autonomous action. By this way, it is also possible to say that interactivity is a practice of becoming the agency. When the interactivity takes its place, it also means there are agencies in the actions. But, of course, there are levels of agency participation. For example, the easiest way to differentiate the level of agency participation considering games, thinking about the how chest based on low action but a high level of agency. The new environments of the digital, especially web base environments, involve the active process of navigation.
According to Roberto Simonovski “interactivity aims at motivating the recipient to co construct the work.”
“This encompasses several possibilities: (1) reaching the characteristic of the work (programmed interactivity: human-software), which includes first of all (but certainly not exclusively or primarily) multilinearity in hypertexts requiring readers to make navigational decisions on their own; and (2) reaching to activities of other recipients (network bound interactivity human human via software), which includes cooperative writing projects asking all readers entering a Website to become authors of a given project. ” (Digital art and meaning, pg31)