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The Meta-Experience of (Media) Art. Activating the Archive

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Slides of the presentation "The Meta-Experience of (Media) Art. Activating the Archive", at Media Art Histories 2013: RENEW, Panel "New Imagery", 08.-11. Oct 2013, Riga, Latvia

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The Meta-Experience of (Media) Art. Activating the Archive

  1. 1. THE META- EXPERIENCE OF (MEDIA) ART Activating the Archive RENEW | New Imagery | 11.10.2013 Florian Wiencek Jacobs University Bremen
  2. 2. DIGITAL HERITAGE DATA
  3. 3. REPRODUCTION / RECONSTRUCTION OF ART & CULTURAL ARTIFACTS Google Art Project – High Resolution Image of the drawing “Two Public Sculptures” (Andrea Zittel, 1999, MOMA)
  4. 4. REPRODUCTION / RECONSTRUCTION OF ART & CULTURAL ARTIFACTS Digital Reconstructions produced in the course “Digital Cities”, Jacobs University / Duke University, Spring 2013 A CB A: Digital 3D model created by a student using Google Sketchup . B: Colored 3D point cloud image acquired with laser scanning technology, courtesy of Andreas Neuchter (Jacobs U). C: Development of the St. Catherine district over time created by students in Google Sketchup. Source: Timothy Senior.
  5. 5. REPRODUCTION / RECONSTRUCTION OF ART & CULTURAL ARTIFACTS Photogrammetry for the Alife Arch Project, Joe Williams & Kiki Fox, Spring 2012; Duke Wired! Lab http://www.dukewired.org/project/ the-alife-arch/ Apostles Photogrammetry in 123D Catch, class “Museum Inside- Out”, Duke University, Spring 2012. Image courtesy of Mark Olson. Photogrammetry as method of digital reconstruction
  6. 6. DIGITIZATION •  we move beyond the mere exhibition- and cult-value (Walter Benjamin) of a cultural object towards its manipulation value (Jos de Mul 2009) •  interaction and behaviour determined by software and its interfaces (Manovich 2013)
  7. 7. DOCUMENTATION •! Documentation translates a (ephemeral, timebased, process-based, experience- based) project into data about the project and meta-data, or in short into information. •! documentation as embodiment of memory of the project until its re-realization (Jean-Marc Poinsot) •! formal vs. informal documentation botaniq.org: „A-Volve“ (1994) by Christa Sommerer and Laurent Mignonneau, documented by Isabella Haaf Screenshot of the detail view of “A- Volve” (Christa Sommerer & Laurent Mignonneau, 1994) of virtualart.at
  8. 8. DATABASE & CULTURAL LEARNING
  9. 9. ARCHIVES, COLLECTIONS, DATABASES
  10. 10. IDEA OF THE NETWORK Screenshot of the V2_ Knowledge Base
  11. 11. CRITICAL MEDIATION OF ART Production of new knowledge with the visitor instead of reproduction of existing knowledge. Fostering the engagement of the visitor with the item on display and his/her own interpretation. PARTICIPATORY MUSEUM Goals Carmen Moersch (2011) Nina Simon (2010) Participatory design is about the people. Museum space as a space for social experience, facilitator for meaningful interaction with the artistic projects and with other visitors. Goals
  12. 12. CO-CREATIVE KNOWLEDGE GENERATION
  13. 13. CONTEXT ONLINE + LOCATIVE
  14. 14. MAKING DATA ACCESSIBLE / RE-USABLE / DISCOVERABLE
  15. 15. “BEING OF THE WEB, NOT ONLY ON THE WEB” (SEBASTIAN CHAN) cooper-hewitt.org
  16. 16. ART GENOME PROJECT artsy.net related art search
  17. 17. CURATED CONTEXT
  18. 18. ONLINE EXHIBITION Google Cultural Institute – Online Exhibition “Recalling the Lost Neighborhoods”
  19. 19. GUIDED TOUR GAMA-WIKI wiki.gama-gateway.eu/
  20. 20. CO-CREATIVE KNOWLEDGE GENERATION
  21. 21. BUILDING NETWORKS Meta-Image Project as part of Prometheus Bildarchiv (prometheus-bildarchiv.de); Source: http://www2.leuphana.de/meta-image/ Anleitungen.php
  22. 22. COLLABORATIVE EXHIBITION / MAPPING http://www.europeana1989.eu/en/
  23. 23. EXPERIENCING ART & CULTURE IN THE METAVERSE
  24. 24. METAVERSE CONCEPT lifelog inside a mirror or virtual world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oogle Map of World of Warcraft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ace ! Source: Smart, Cascio, Pfaffendorf 2007, 17
  25. 25. EXPLORATION OF EXHIBITION / GALLERY CONTEXTS Google Art Project – Indoor Street View of MOMA depicting an installed video installation in its exhibition context at the time of exposure
  26. 26. VIRTUAL REENACTMENT VR - Reenactment of Valie Export & Peter Weibel – “Tapp & Tastkino”, Secondlife Eva & Franco Mattes, 2007, 0100101110101101.org/
  27. 27. AUGMENTED REALITY AR-Tour: Jan Rothuizen: This Is Not A Church (2010) Source: http://www.stedelijk.nl/artours/artours-app/jan- rothuizens-nieuwe-editie-van-zijn-this-is-not-a-church-tour Sander Veenhof & Mark Skwarek: Exhibition “WeARinMoMA” (2010) (Source: www.sndrv.nl/moma/) "Banksky in MoMA" re-enactment Photo: Will Pappeneheimer Source: http://www.sndrv.nl/moma/?page=photos
  28. 28. GALLERY ONE CLEVELAND MUSEUM OF ART Images courtesy of Local Projects and Cleveland Museum of Art
  29. 29. multimedia guide http://nasher.fluxguide.com Photographs: Nasher Museum of Art, J Caldwell Digital Mediation in the Exhibition “Eat, Pray, Weave” Nasher Museum of Art at Duke University, 15.09.2012 – 13.01.2013
  30. 30. DIGITAL CITIES – FINAL PRESENTATIONS ISIS 380S, Spring 2013, Duke University, Department of Art, Art Histories & Visual Studies – Instructor: Florian Wiencek !"#$%&"#'$()*$+,--./ Bring your mobile device! "0102.034056457$890$:;< =>?94578:5$@AB0$C:80; Daniel Chander, Rebecca Dickerson, Brianca King ':6>84:5, Corner N Corcoran Street / E Chapel Hill Street =C#D&E Michael Di Nunzio, Madeleine Clark, Eleanor Mehlenbacher, Michael Koh ':6>84:5, Roney Street, Durham Brazing and Welding Works %$@>F$:5$890$G:H>66:$G3>4; Jenny Kuo, Rebecca Lai, Yu Zhou Lee ':6>84:5, American Tobacco Campus, Blackwell Street I008457.:458, Corner N Corcoran Street / E Chapel Hill Street, Durham, NC
  31. 31. DIGITAL CITIES DUKE U / JACOBS U, SPRING 2013 Left: starting page of “A Day On The Tobacco Trail”, by Rebecca Lai, Jenny Kuo and Yu Zhou Lee; Right: Eleanor Mehlenbacher demonstrating “Whisp”.
  32. 32. META-EXPERIENCE •  meta is used in the sense of “abstraction” and “about” (see http://en.wikipedia.org/wiki/Meta) •  re-experience vs. new experience on the basis of cultural data
  33. 33. QUESTIONS? YOU WANT TO FOLLOW UP? GET IN CONTACT! Email: florian.wiencek@googlemail.com Twitter: @austrianflow www: www.florianwiencek.com

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