Tag: multilinear


“Game world is a simplified subdomain of the real world.” Steve Swink

Game industry developed as the result of the military contract spin off some of their products around the 1980s. Flight simulators design their technology for the arcade games, including game council PC games muds was growing with a pace.

For example, Silicon Valley made the major products the Nintendo export for the play station and the extremely successful Super Mario series came out of that.



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.


Sir Tim Berners-Lee

He regarded as inventor of the World Wide Web in 1989 while he was working in the Cern.

There are three the key innovations that formed the Web;  HTTP (hypertext transfer protocol); allows you to click on a link and be brought to that document or Web page,  URLs (universal resource locators, which Tim originally referred to as URIs, for universal resource indicators); URLs serve as an address for finding that document or page, and HTML (hypertext markup language); gives you the ability to put links in documents and pages so they connect.

Tim Berners Lee has a analogy between web and  market economy:

“anyone can trade with anyone else without having to go to a physical market square to do it. The traders just need to know the rules. The hardest thing for people to grasp about the Web is that it has no center; any computer (or node, in mathematical terms) can link to any other computer directly, without having to go through a central connection point. They just need to know the rules for communicating.”

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.

Concept of Game

“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.


Interactive Documentary

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)


3d render eyeballsNash (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.