Tag: spatiality

Nam June Paik (1932–2006)

Our life is half natural and half technological. Half-and-half is good. You cannot deny that high-tech is progress. We need it for jobs. Yet if you make only high-tech, you make war. So we must have a strong human element to keep modesty and natural life.  Nam June Paik

Korean-born American artist Paik influence the art of video and television intensely.

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TV Garden (1974)

 

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V-yramid (1982)
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Computerised One Hundred Flowers, 1998

 

 

Electronic super highway –

“Skin has become inadequate in interfacing with reality. Technology has become the body’s new membrane of existence.” —Nam June Paik

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Games

“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.

Spatiality

 

Spatiality of the Digital Environment

For the first time, space becomes media type. (Manovich, 2001)

Much like the other types of media such as text, audio, video and stills space has become media type.

While  linear media such as books and films can depict space,only digital environments can present space that we can move through.

Being able to navigate into the digital space give a dramatic engagement for the users.

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Spatiality

I will mention about the spatiality in twofold. One is related with spatiality of digital environments, which are virtual environments without physical qualities, the second is digitalised physical environments; environments that physically exist and digitalised into virtual by enabling technologies.

People have tendency to pick the closer one and count the other one as a  object or subject is becoming irrelevant. The law of proximity says that what is close is more important, true, or concrete than what is far away, smaller, and more difficult to access.  By the combination of presentation technologies and real time communication the proximity has challenged. As vicarial presence came to the scene, what is important is determined by their value rather than distance.

“During mechanical ages we had extended our bodies in space. Today, after more than a century of electric technology, we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned.”(McLuhan)

Along the past decades, many people have been working on new space. The collaboratively constructed slice of the space now allow us to move, play, perform inside it.

As Lefebvre claim, “Space is socially produced and serves as a tool of thought and of action , as a means of production, control, domination and power.” By transcending the barrier of space and time, contemporary networks change the space-time bound power relations. Many digital media environments act like public spaces. These new spaces can be taken as a training ground for individuals to express themselves within the digital circuits while space can use storing the given data and turning them into statistical knowledge.

In terms of archive, people will not deal with lost papers no more, rather than send it to me directly, don’t forget the duplicate your data, you can always copy and paste, just give the right key terms to allow a machine to process.

Represented physical space

For the first time, space becomes media type. (Manovich, 2001)

Much like the other types of media such as text, audio, video and stills space has become media type by contemporary developments.While  linear media such as books and films can depict space,only digital environments can present space that we can move through.

Being able to navigate into the digital space give a dramatic engagement for the users.

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.