1.
Collaborative mobile annotation for the exhibition Traces du Sacré Vincent Puig IRI / Centre Pompidou [email_address]

2.
Outline <ul><li>Instruments for the amateur </li></ul><ul><li>Traces du sacré </li></ul><ul><li>Technical setup </li></ul><ul><li>Usage study </li></ul><ul><li>Future perspectives </li></ul>

3.
Interactor / contributor / amateur SFMOMA, November, 2008-February, 2009

4.
Interactor / contributor / amateur You (SER), ZKM, until August 2009

5.
Interactor / contributor / amateur

6.
Interactor / contributor / amateur Enthusiasts, (White Chapel, April 2005/January 2006)

7.
The Amateur <ul><li>Ability to perform judgment, critics, comments (attraction for annotation technologies, tagging) </li></ul><ul><li>Long tail practice for reading / writing (deep attention vs. hyper attention) </li></ul><ul><li>Intensive production and exchange of metadata enriching content (collaborative technologies) </li></ul><ul><li>Sensitive/instrumental practices (“electronic pen”, up-stream, communication objects, multimodal interfaces). </li></ul><ul><li>What I have not drawn, I have never really understood - Goethe. </li></ul>

8.
1 - Instruments of the amateur Shift Space

9.
1 - Instruments of the amateur VoiceThread

10.
Lignes de temps

11.
Signed views

12.
Experimentation on NHK archives

13.
Experimentation on Showa archives, Kawasaki City Museum (Keio/DMC, Pr Junko Iwabuchi) Structure variations : from B&W to color

14.
2 - Traces du sacré exhibition context Centre pompidou (April-August 2008)

15.
2 - Traces du sacré exhibition context Yong Ping Nitsch Oulab

16.
2 - Traces du sacré exhibition context <ul><li>Sacred/spiritual dimension as a key contribution to modern and contemporary art (Jean de Loisy) </li></ul><ul><li>Anticipate strong opposition and open (control ?) the debate (combine top-down and bottom up) </li></ul><ul><li>Starting point : support from Jean de Loisy, recording of a polemical tour (1 hour) in video as the reference timeline (30 topics/rooms) </li></ul><ul><li>Recording of counterpoints : Michel Deguy, Marcel Gauchet, Jacqueline Lichtenstein, Barbara Cassin, Paul Ardenne, Youssef Ishaghpour </li></ul><ul><li>Excerpts (1-2 minutes) used in the audioguide, collaboration IRI/DAEP/Antenna Audio </li></ul>

17.
3 - Technical setup: three ways to contribute

19.
Vocal comments

20.
Drawings

22.
Polymorph Search engine based on pre-tagged content

23.
Tag-based navigation over A/V (video books)

26.
Building “my visit” (Lignes de temps and podcasts)

27.
Collaborative platform

28.
4 -Usage study <ul><li>Cécilia Jauniau, Master 2 Information & communication, University Paris 13 </li></ul><ul><li>Hypothesis on amateur behaviors (3 typologies : Proam, amateurs, non-amateurs) </li></ul><ul><li>Amateurs </li></ul><ul><ul><li>Take notes and drawings, read notices and catalogue, visit with friends, repeated visits reluctant to audioguide </li></ul></ul><ul><li>Non-amateurs </li></ul><ul><ul><li>Search emotions, interaction, mediation, pedagogy, souvenirs, audioguide, unfamiliar with audio recording tools (except mobiles) </li></ul></ul>

29.
Figures and methodology <ul><li>26 interviews in the exhibition and on the phone for the Web site </li></ul><ul><li>Equal split between the three typologies </li></ul><ul><li>216 contributions on the Web site </li></ul><ul><li>10 contributions published </li></ul><ul><li>1 radio mix for France Culture </li></ul>

30.
General feedback <ul><ul><li>Perceived positively by all (for different reasons), </li></ul></ul><ul><ul><li>Poor polemical activity, </li></ul></ul><ul><ul><li>Need to visualize this polemical activity in the exhibition, </li></ul></ul><ul><ul><li>Unable to record counterpoints on the spot, </li></ul></ul><ul><ul><li>Technical and cultural limitations to the use of recorders and phones, </li></ul></ul><ul><ul><li>Museum seen a quiet “sacred” place. </li></ul></ul>

31.
Amateurs feedback <ul><ul><li>High interest of amateurs for collective comments (open microphones, talking room, …), </li></ul></ul><ul><ul><li>Against segmentation by public profile, </li></ul></ul><ul><ul><li>Request for segmentation by disciplines, </li></ul></ul><ul><ul><li>Possibility to ask questions to the counterpoints. </li></ul></ul>

32.
Non-amateurs feedback <ul><ul><li>Request for comments on art works not only on topics, (Risk to lose access to shared data) </li></ul></ul><ul><ul><li>Request for simple Q & A like in guided visits, </li></ul></ul><ul><ul><li>Pedagogical and guided visits using the device, </li></ul></ul><ul><ul><li>Access to other visitors comments, </li></ul></ul><ul><ul><li>Scenarios and games would enhance contribution </li></ul></ul>

33.
Video comment after the projection Dialogue through Lignes de temps synchronized with films or conferences ( Hypervideo blogging ) 5 – Extensions: Cine Lab, comments through video

34.
5.2 - Semantic compass

35.
5.3 - THD project : Live Annotation

36.
Air Tagging : http://tonchidot.com/Sekai_Camera.html

37.
Traces of interaction LIRIS, Alain Mille/Yannick Prié

38.
Multi-touch table experiment

39.
Surface Search engine Gesture grammar Tagging/annotation Using gesture Collaborative : search, annotation, sharing Signed views, installations, … Gesture Enactive Cine

40.
A last issue : Desire <ul><li>Recover distance with content </li></ul><ul><li>Dialogue vs social link </li></ul><ul><li>Beyond calculability (Desirability) </li></ul><ul><li>Libidinal economy as a key factor of social interaction (desire, desire to be desired, how to provoke and sustain desire) </li></ul>

41.
Further information <ul><li>http://web.iri.centrepompidou.fr/traces </li></ul><ul><li>http://www.iri.centrepompidou.fr </li></ul><ul><ul><li>Similar experience soon conducted at Le Louvre </li></ul></ul><ul><ul><li>http://www.musetrek.com </li></ul></ul><ul><li>[email_address] </li></ul>