The audio visual archive can, for the first time, be organized not just by metadata but according to proper media inherent criteria – a sonic and visual memory in its own. Contrary to traditional semantic research in the history of ideas, such an endogenic audiovisual archive will no longer list sound and image sequences exclusively according to their authors , subjects, and time and space metadata of recording. Instead, digital data banks will allow audio-visual sequences to be systematised according to genuinely signal-paramethic notions (mediation rather than narrative topoi), revealing new insights into their informative qualities and aesthetics. (Jussi Parrika, Media Archaeology as a Transatlantic Bridge)
Pan.do/ra is one of those digital video archive software, which was developed and maintained by Jan Gerber and Sebastian Lütgert at 0x2620 in Berlin and Sanjay Bhangar at CAMP in Bombay. It allows you to manage large, decentralised collections of video, to collaboratively create metadata and time-based annotations, and to serve your archive as a desktop-class web application. It is a free and open source.
The programme called Pan.do/ra consists the function of the computer having an attribution of being encyclopaedic, spatial, procedural, participatory and modular. The program involves small sufficient modules; scripts. The system allows its users find separate videos, in the form of shots and sequences and thus create a sequence out of them into different combinations. In other words, participants engage with a closed system, and access multiple clips stored in a database. The users, acting as a curator, select and assemble clips into different combinations, navigate within the database.
Programmers by sharing the program as an open source, which allows users/designers to build their own version, they give the opportunity to social context designer having a platform to digitalised, organise and frame the data easily. The software also allows users to become the creator of their own documentaries by containing the possibilities of combining different clips, as well as setting various relationships between all these by determined keywords—and it thus it develops the avant-garde idea of a documentary under the name of personal list as an abstract visual score to its logical end, and beyond. The software has the potential to bring a new level of objectivity and taste to the documentary culture. The line between archive and documentary becomes more blurred by this computer based new compositing points the next generation of narration, which puts the emphasis on behaviour, choice, and action rather than composition.
As programmers came to visit and gave lecture us into the class that I have taken from Andreas Treske, I thought “it would be the best point to use it.” Thanks to my dorm friend who is a continuing physics student we set up the programme. I started to upload videos from the festival archive each year as I have already separated and exported some of them in a right format.
The most important factor that made me experiment with the program is its usability. Usability is a buzzword for all types of software and applications. But of course what is significant as much as usability is usefulness. Traditionally, in art practice, the artists made a unique piece within a particular medium. There is no difference between the interface and the work that has done. In contemporary age, with the new media, there are new ways of collaborating while practising art. For instance, as a software, Pan.do/ra needs social context and an editor who enter the keywords to make the categorisation.
The most significant problem with the digital archive is a contingency. As a fact, digital archives can be instantaneously erased and this might be faster than any fire in the library at Alexandria. Like the all other new technologies, digital archives constantly required to keep it up to date.