Rick Prelinger has had a hybrid career collecting and making films from ephemeral archival material since 1982. He began by collecting advertising, educational, industrial, and amateur films that were often thrown away. His collection grew to over 60,000 titles now housed at the Library of Congress. Prelinger sees his role as a "meta-archivist" focused on access and public history. He has gone through stages of viewing archival films from valuing every film, to being seduced by their style, to seeing them as evidence of social and cultural contexts or just as peripheral evidence without historicity.
When you look at the greatest design thinkers in history, you will see that they all worked in a deliberate fashion. They would research, practice, and network in a deliberate and calculated fashion. These slides show how Pablo Picasso, Agatha Christie, Thomas Edison, Hedy Lamarr, Leonardo Da Vinci, and Sherry Turkle perform deliberate research, deliberate practice, and deliberate networking.
"Lost Landscapes," delivered at Screening the Future 2012, University of Southern California, 22 May 2012. This talk includes three moving image sequences totalling 38 minutes, which unfortunately are not part of the Slideshare version.
This talk asserts that archives and archivists are presently governed by anxiety, and proposes that we replace anxiety with celebration and performance.
George Pal was a Hungarian-American film producer and director known for his work in science fiction films. He was born in Hungary in 1908 and graduated from the Budapest Academy of Arts in 1928. In 1931, he invented the Pal-Doll, better known as Puppetoons. He emigrated to the United States in 1940 where he worked for Paramount Pictures and created the Puppetoons series, for which he received an honorary Oscar in 1943. Over his career, George Pal received six Oscars for his contributions to films such as Destination Moon and The War of the Worlds and is best known for his 1960 adaptation of The Time Machine.
Personal Digital Archiving 2015, Keynote Talk by Howard Besser & Rick PrelingerRick Prelinger
These slides were presented during the "interactive" keynote talk at Personal Digital Archiving 2015, April 25, 2015 at New York University. "HB" denotes Howard Besser's slides; "RP" denotes Rick Prelinger's.
interview with the artist-tourist by Line Rosenving in kopenhagen.dk 7. febr...Emergency Art
The document is an interview with Colonel, a self-described "tourist-artist" known for unconventional art projects. Colonel discusses how he uses himself and roles from his own life, such as "soldier", "tourist", and "immigrant" to create art series that classify and portray figures. He sees his work as fast, mobile, and low-cost, using various media to reach broader audiences than traditional art circles. Colonel is influenced by Situationist ideas of drifting and views his work as therapeutic when it involves collecting the work of others rather than himself.
When you look at the greatest design thinkers in history, you will see that they all worked in a deliberate fashion. They would research, practice, and network in a deliberate and calculated fashion. These slides show how Pablo Picasso, Agatha Christie, Thomas Edison, Hedy Lamarr, Leonardo Da Vinci, and Sherry Turkle perform deliberate research, deliberate practice, and deliberate networking.
"Lost Landscapes," delivered at Screening the Future 2012, University of Southern California, 22 May 2012. This talk includes three moving image sequences totalling 38 minutes, which unfortunately are not part of the Slideshare version.
This talk asserts that archives and archivists are presently governed by anxiety, and proposes that we replace anxiety with celebration and performance.
George Pal was a Hungarian-American film producer and director known for his work in science fiction films. He was born in Hungary in 1908 and graduated from the Budapest Academy of Arts in 1928. In 1931, he invented the Pal-Doll, better known as Puppetoons. He emigrated to the United States in 1940 where he worked for Paramount Pictures and created the Puppetoons series, for which he received an honorary Oscar in 1943. Over his career, George Pal received six Oscars for his contributions to films such as Destination Moon and The War of the Worlds and is best known for his 1960 adaptation of The Time Machine.
Personal Digital Archiving 2015, Keynote Talk by Howard Besser & Rick PrelingerRick Prelinger
These slides were presented during the "interactive" keynote talk at Personal Digital Archiving 2015, April 25, 2015 at New York University. "HB" denotes Howard Besser's slides; "RP" denotes Rick Prelinger's.
interview with the artist-tourist by Line Rosenving in kopenhagen.dk 7. febr...Emergency Art
The document is an interview with Colonel, a self-described "tourist-artist" known for unconventional art projects. Colonel discusses how he uses himself and roles from his own life, such as "soldier", "tourist", and "immigrant" to create art series that classify and portray figures. He sees his work as fast, mobile, and low-cost, using various media to reach broader audiences than traditional art circles. Colonel is influenced by Situationist ideas of drifting and views his work as therapeutic when it involves collecting the work of others rather than himself.
Plenary talk delivered at the Rare Books & Manuscripts Preconference, American Library Association and Association of College & Research Libraries, Oakland, California, June 26, 2015
This is the Digit review of all that's inspired us in 2009. We hope it inspires you too.
What have you found inspiring lately? Let us know on http://blog.digitlondon.com/
Personal Study Essay Research Document Pro Forma.pptxELLIPRINCE
This document provides instructions for a personal study project. It outlines that the student will need to produce a research document that includes collected quotes and summarized information from a variety of sources on their chosen topic. The research document should also include an alphabetized bibliography. Several deadlines are provided for completing different stages of research and finalizing the project. The chosen topic, theories, and initial research are also documented. Guidance is given on structuring an essay that analyzes the topic through one of the provided media theories. Criteria are outlined for the research document and essay.
Rick Prelinger discusses the persistence of physical materials and their "inconveniences" despite the rise of digital media. He argues that while digital emergence has led to the marginalization of analog media, physical objects have not disappeared and archives still have to deal with them. Prelinger also notes tensions between conceptualizations of archives in critical theory versus the practical work of archivists in physical archives, and advocates for bringing these perspectives together and making archival labor more visible.
Sample Nursing Admission Essay. 022 Sample Of Nursing School Admission Letter...Samantha Brown
This document summarizes research on the effect of birth order on personality. Studies have found some correlations, such as firstborns being more conscientious and achievement-oriented, while later-borns tend to be more liberal and rebellious. However, other factors like family size, socioeconomic status, and parenting styles can also influence personality. More recent research using large datasets found few meaningful differences related solely to birth order. While birth order may have some impact, personality is shaped by a combination of genetic and environmental factors.
The document provides instructions for a secret agent mission to learn about life in the 1930s by reading the novel Bud, Not Buddy. Students will be transported back in time to experience life as the main character Bud Caldwell, keeping a diary and researching items from the era to place in a time capsule for future students. Working in literature circles, students will analyze chapters, discuss questions, and complete related history and language arts activities to understand the context of the novel and time period.
Who Am I Essay Ideas. . How Am I Essay Writing Help Examples Pro Essay HelpMorgan Daniels
How Am I Essay Writing Help Examples Pro Essay Help. 006 Essay Example Brilliant Ideas Of Who Am I Examples Charming Best .... 022 Who Am I Essay Writing Format In English Fresh Sample Introductions .... ️ Who am i essay examples free. FREE Who Am I Essay. 2019-02-20. Essay on who am i example. FREE Who Am I Essay - Example Essays. 002 Who Am I Essay Example Examples Personal Room Sample Thatsnotus. Who Am I Essay Essay on Who Am I for Students and Children in English .... Essay Sample: Who Am I? By Handmadewriting Blog. Who am i. SAMPLE ESSAY ON WHO AM I Telegraph. Who am I Essay Genetics Earth amp; Life Sciences. Who am i as a writer essay essaymania.com. Who am i essay examples free. My Definition of Who I Am. 2022-10-22. Example Of Who Am I Essay Telegraph. 021 Who Am I Essay Maxresdefault Thatsnotus. Who Am I Essay Examples PDF. 004 Who Am I Essay Example On Ideas Describe Yourself Clearly In .... HOW TO WRITE SHORT ESSAY ON WHO AM I HOW TO WRITE ARTICLE ABOUT WHO .... 10 Famous Who Am I Essay Ideas 2023. Who Am I Essay Ideas For 8Th. example of who am i essay. Amazing Who Am I Essay Examples Thatsnotus. Who Am I Essay Coretan. Essay on who am i - Writing And Editing Services : www.transetvih.net. Who am i writing assignment in 2021 Writing assignments, Essay .... Essay on Who Am I for Students and Children - The Study Cafe. Who Am I? - Essay I wrote this essay in high school, am ex Flickr Who Am I Essay Ideas Who Am I Essay Ideas. . How Am I Essay Writing Help Examples Pro Essay Help
The document outlines six key categories of documentaries as described by film critic Bill Nichols: poetic, expository, observational, participatory, reflexive, and performative. It provides examples and brief descriptions of each type, including key points about expository documentaries speaking directly to viewers authoritatively, participatory documentaries emphasizing the relationship between filmmaker and subject, and observational documentaries attempting to minimize interference with the subject matter. Examples of documentaries like Super Size Me, Frozen Planet, and Don't Look Back are also mentioned.
The document outlines a student's plans for creating a 5-minute documentary extract and supporting materials on the topic of events. The student explored various documentary genres and topics before settling on documenting the infamous Jack the Ripper murders in London. Research was conducted on Jack the Ripper through books, tours, and newspaper articles. The student considered how to structure the 5-minute extract, including by opening with a description of the East End location, comparing 1888 to present day, and potentially including an interview. Feedback was requested on the documentary idea and 5-minute planning.
Best Film Analysis Essay Examples PNG - scholarship. Striking Film Essay ~ Thatsnotus. Writing essays about movies. Essay examples for film. Film essay. 020 Year9shortfilmcharacterisationessay Phpapp02 Thumbnail Film Essay .... Film Studies Essay Help - A Guide to Writing a Film Studies Paper. 008 Film Evaluation Essay Example On Movie How To Write Review Analysis .... film essay. 017 Film Essay Example Rashomonessay Phpapp02 Thumbnail ~ Thatsnotus. Film Essay. 012 Movie Review Essay Cover Letters Of Exploratory Essays Good Basics .... Example Film Essay Thesis - How to Write an Evaluation Essay.
Chapple, R. M. 2013 George and the giant archaeological theory. Blogspot postRobert M Chapple
George was a notorious mature student at University College Galway in the late 1980s and early 1990s. He frequently interrupted class with ill-informed theories and failed to complete his degree in the allotted time. One of George's wild theories, which still brings a smile to the writer's face, was that the round towers built in early Irish monasteries were actually giant slingshots used to fling monks across long distances as a means of rapid travel. While humorous, this theory would completely change perspectives on the Irish Early Christian period if true.
Here are some tips for analyzing images:
- Describe what you see without making inferences. Focus on details.
- Note the composition - where is the subject located, angles, lighting, etc.
- Consider when and where it was created to understand context.
- Think about the intended audience and purpose. Was it meant to educate, persuade, etc.
- Compare and contrast images on the same topic from different eras or cultures.
- Identify any symbols and consider their meaning both originally and how meanings can change over time.
- Discuss how the image makes you feel and what message or ideas it conveys. Support with evidence from the image.
- Analyze the
Hello, it's me.
I'm an artist, a strategic consultant and a Global Shaper.
I'm trying to improve the state of the world with creativity, inspiration and practice.
That's a kind of story until now (a small part of it)
Enjoy the read! ;)
The document provides details about the history and development of books and flipbooks. It discusses how Gutenberg's printing press made books more widely available in the 15th century. The industrial revolution further increased mass media and accessibility in the 19th century. In the 21st century, e-readers like Kindles threatened book sales but nostalgia has kept physical books popular. The document then discusses design elements of books and provides ideas for creating narrative flipbooks, including being inspired by the film Powers of Ten. It outlines the creative process of developing and refining a storyboard and drawing illustrations for an original flipbook narrative.
Reimagining the Archive keynote presentationRick Prelinger
This document summarizes Rick Prelinger's talk about the changing role of archivists and archives. Prelinger argues that while digitization has increased access to archival materials, it also risks marginalizing original historical documents and formats like film and video. As more emphasis is placed on simulations and reproductions over authentic archival footage, archives risk becoming irrelevant if they don't adapt. However, archives still hold unique high-quality materials and contextual knowledge not available elsewhere on the internet. Prelinger calls on archivists to defend the value of original historical documents and explore new ways of engaging audiences.
Perishable Practices: Preserving New Documentary Forms in a Post-Archival MomentRick Prelinger
Talk delivered at the Update or Die: Future Proofing Emerging Digital Documentary Forms conference sponsored by the MIT Open Documentary Lab, PHI Centre, Montréal, May 5, 2017.
Evidence Over Story: Assembly Over AlgorithmRick Prelinger
Talk presented by Rick Prelinger at Future Histories Lab, UC Berkeley, September 27, 2021. Other speaker: Savannah Wood, Afro Charities, Baltimore. Many of the slides include archival video clips, which are not shown in this version.
Assembly Over Algorithm: Resisting OvernarrativizationRick Prelinger
This document discusses resisting overreliance on narrative storytelling and instead focusing on documentation and assembly. It provides examples of events where archival footage is shown to audiences who discuss and make their own interpretations, without heavy-handed narration. The author acknowledges their positionality and hopes to hand over control of the historical process to local communities. They are learning that documentation itself can be compelling without needing an excessive narrative framework. Resisting algorithmic and digital forms of interaction, public assemblies allow for participatory sense-making from archival materials.
Plenary talk delivered at the Rare Books & Manuscripts Preconference, American Library Association and Association of College & Research Libraries, Oakland, California, June 26, 2015
This is the Digit review of all that's inspired us in 2009. We hope it inspires you too.
What have you found inspiring lately? Let us know on http://blog.digitlondon.com/
Personal Study Essay Research Document Pro Forma.pptxELLIPRINCE
This document provides instructions for a personal study project. It outlines that the student will need to produce a research document that includes collected quotes and summarized information from a variety of sources on their chosen topic. The research document should also include an alphabetized bibliography. Several deadlines are provided for completing different stages of research and finalizing the project. The chosen topic, theories, and initial research are also documented. Guidance is given on structuring an essay that analyzes the topic through one of the provided media theories. Criteria are outlined for the research document and essay.
Rick Prelinger discusses the persistence of physical materials and their "inconveniences" despite the rise of digital media. He argues that while digital emergence has led to the marginalization of analog media, physical objects have not disappeared and archives still have to deal with them. Prelinger also notes tensions between conceptualizations of archives in critical theory versus the practical work of archivists in physical archives, and advocates for bringing these perspectives together and making archival labor more visible.
Sample Nursing Admission Essay. 022 Sample Of Nursing School Admission Letter...Samantha Brown
This document summarizes research on the effect of birth order on personality. Studies have found some correlations, such as firstborns being more conscientious and achievement-oriented, while later-borns tend to be more liberal and rebellious. However, other factors like family size, socioeconomic status, and parenting styles can also influence personality. More recent research using large datasets found few meaningful differences related solely to birth order. While birth order may have some impact, personality is shaped by a combination of genetic and environmental factors.
The document provides instructions for a secret agent mission to learn about life in the 1930s by reading the novel Bud, Not Buddy. Students will be transported back in time to experience life as the main character Bud Caldwell, keeping a diary and researching items from the era to place in a time capsule for future students. Working in literature circles, students will analyze chapters, discuss questions, and complete related history and language arts activities to understand the context of the novel and time period.
Who Am I Essay Ideas. . How Am I Essay Writing Help Examples Pro Essay HelpMorgan Daniels
How Am I Essay Writing Help Examples Pro Essay Help. 006 Essay Example Brilliant Ideas Of Who Am I Examples Charming Best .... 022 Who Am I Essay Writing Format In English Fresh Sample Introductions .... ️ Who am i essay examples free. FREE Who Am I Essay. 2019-02-20. Essay on who am i example. FREE Who Am I Essay - Example Essays. 002 Who Am I Essay Example Examples Personal Room Sample Thatsnotus. Who Am I Essay Essay on Who Am I for Students and Children in English .... Essay Sample: Who Am I? By Handmadewriting Blog. Who am i. SAMPLE ESSAY ON WHO AM I Telegraph. Who am I Essay Genetics Earth amp; Life Sciences. Who am i as a writer essay essaymania.com. Who am i essay examples free. My Definition of Who I Am. 2022-10-22. Example Of Who Am I Essay Telegraph. 021 Who Am I Essay Maxresdefault Thatsnotus. Who Am I Essay Examples PDF. 004 Who Am I Essay Example On Ideas Describe Yourself Clearly In .... HOW TO WRITE SHORT ESSAY ON WHO AM I HOW TO WRITE ARTICLE ABOUT WHO .... 10 Famous Who Am I Essay Ideas 2023. Who Am I Essay Ideas For 8Th. example of who am i essay. Amazing Who Am I Essay Examples Thatsnotus. Who Am I Essay Coretan. Essay on who am i - Writing And Editing Services : www.transetvih.net. Who am i writing assignment in 2021 Writing assignments, Essay .... Essay on Who Am I for Students and Children - The Study Cafe. Who Am I? - Essay I wrote this essay in high school, am ex Flickr Who Am I Essay Ideas Who Am I Essay Ideas. . How Am I Essay Writing Help Examples Pro Essay Help
The document outlines six key categories of documentaries as described by film critic Bill Nichols: poetic, expository, observational, participatory, reflexive, and performative. It provides examples and brief descriptions of each type, including key points about expository documentaries speaking directly to viewers authoritatively, participatory documentaries emphasizing the relationship between filmmaker and subject, and observational documentaries attempting to minimize interference with the subject matter. Examples of documentaries like Super Size Me, Frozen Planet, and Don't Look Back are also mentioned.
The document outlines a student's plans for creating a 5-minute documentary extract and supporting materials on the topic of events. The student explored various documentary genres and topics before settling on documenting the infamous Jack the Ripper murders in London. Research was conducted on Jack the Ripper through books, tours, and newspaper articles. The student considered how to structure the 5-minute extract, including by opening with a description of the East End location, comparing 1888 to present day, and potentially including an interview. Feedback was requested on the documentary idea and 5-minute planning.
Best Film Analysis Essay Examples PNG - scholarship. Striking Film Essay ~ Thatsnotus. Writing essays about movies. Essay examples for film. Film essay. 020 Year9shortfilmcharacterisationessay Phpapp02 Thumbnail Film Essay .... Film Studies Essay Help - A Guide to Writing a Film Studies Paper. 008 Film Evaluation Essay Example On Movie How To Write Review Analysis .... film essay. 017 Film Essay Example Rashomonessay Phpapp02 Thumbnail ~ Thatsnotus. Film Essay. 012 Movie Review Essay Cover Letters Of Exploratory Essays Good Basics .... Example Film Essay Thesis - How to Write an Evaluation Essay.
Chapple, R. M. 2013 George and the giant archaeological theory. Blogspot postRobert M Chapple
George was a notorious mature student at University College Galway in the late 1980s and early 1990s. He frequently interrupted class with ill-informed theories and failed to complete his degree in the allotted time. One of George's wild theories, which still brings a smile to the writer's face, was that the round towers built in early Irish monasteries were actually giant slingshots used to fling monks across long distances as a means of rapid travel. While humorous, this theory would completely change perspectives on the Irish Early Christian period if true.
Here are some tips for analyzing images:
- Describe what you see without making inferences. Focus on details.
- Note the composition - where is the subject located, angles, lighting, etc.
- Consider when and where it was created to understand context.
- Think about the intended audience and purpose. Was it meant to educate, persuade, etc.
- Compare and contrast images on the same topic from different eras or cultures.
- Identify any symbols and consider their meaning both originally and how meanings can change over time.
- Discuss how the image makes you feel and what message or ideas it conveys. Support with evidence from the image.
- Analyze the
Hello, it's me.
I'm an artist, a strategic consultant and a Global Shaper.
I'm trying to improve the state of the world with creativity, inspiration and practice.
That's a kind of story until now (a small part of it)
Enjoy the read! ;)
The document provides details about the history and development of books and flipbooks. It discusses how Gutenberg's printing press made books more widely available in the 15th century. The industrial revolution further increased mass media and accessibility in the 19th century. In the 21st century, e-readers like Kindles threatened book sales but nostalgia has kept physical books popular. The document then discusses design elements of books and provides ideas for creating narrative flipbooks, including being inspired by the film Powers of Ten. It outlines the creative process of developing and refining a storyboard and drawing illustrations for an original flipbook narrative.
Reimagining the Archive keynote presentationRick Prelinger
This document summarizes Rick Prelinger's talk about the changing role of archivists and archives. Prelinger argues that while digitization has increased access to archival materials, it also risks marginalizing original historical documents and formats like film and video. As more emphasis is placed on simulations and reproductions over authentic archival footage, archives risk becoming irrelevant if they don't adapt. However, archives still hold unique high-quality materials and contextual knowledge not available elsewhere on the internet. Prelinger calls on archivists to defend the value of original historical documents and explore new ways of engaging audiences.
Perishable Practices: Preserving New Documentary Forms in a Post-Archival MomentRick Prelinger
Talk delivered at the Update or Die: Future Proofing Emerging Digital Documentary Forms conference sponsored by the MIT Open Documentary Lab, PHI Centre, Montréal, May 5, 2017.
Evidence Over Story: Assembly Over AlgorithmRick Prelinger
Talk presented by Rick Prelinger at Future Histories Lab, UC Berkeley, September 27, 2021. Other speaker: Savannah Wood, Afro Charities, Baltimore. Many of the slides include archival video clips, which are not shown in this version.
Assembly Over Algorithm: Resisting OvernarrativizationRick Prelinger
This document discusses resisting overreliance on narrative storytelling and instead focusing on documentation and assembly. It provides examples of events where archival footage is shown to audiences who discuss and make their own interpretations, without heavy-handed narration. The author acknowledges their positionality and hopes to hand over control of the historical process to local communities. They are learning that documentation itself can be compelling without needing an excessive narrative framework. Resisting algorithmic and digital forms of interaction, public assemblies allow for participatory sense-making from archival materials.
Collecting Strategies for the AnthropoceneRick Prelinger
Talk delivered at Libraries and Archives in the Anthropocene conference, New York University, May 13, 2017. The talk runs away from the topic suggested by the title, but that turned out to be positive.
Silence, Cacophony, Crosstalk: New Talking PointsRick Prelinger
Talk presented on day 1 of Orphan Film Symposium 10, April 7, 2016, Packard Campus for Audiovisual Conservation, Library of Congress, Culpeper, Virginia
Populism, Digitization and Plenty: An Online Film Archives at 15Rick Prelinger
- The Prelinger Archives began in 1982 when Rick Prelinger started collecting ephemeral films like advertisements, educational films, and home movies that were being discarded. He funded the private archives by charging for access to the collection.
- In 1999, Prelinger was contacted by Brewster Kahle of Internet Archive who challenged him to put the collection online for free. Prelinger agreed and launched 1001 films on the Internet Archive site, with the Archive subsidizing costs. After 14 years the collection has grown to over 6,400 items that have been accessed around 100 million times.
- Prelinger pioneered an open access model, first adopting restrictive terms but then fully opening the collection and adopting a Creative Commons
This document summarizes a talk given by Rick Prelinger on the concept of "evidentiary cinema" and the potential role of home movies in archives. Some key points:
- Home movies challenge conventional archival practices due to their granular documentation of everyday life. They resist over-narrativization and bridge individuals to larger histories.
- Home movies could help archives by mobilizing public participation in collection, description, and analysis. This would help address the asymmetry between institutional and personal histories.
- Integrating personal records into archives presents opportunities to build new relationships with the public and enable new forms of scholarship through open access to large amounts of amateur footage.
The document discusses the current state of film archives and their potential. Most moving images are difficult to access and see, despite archives collecting film for 75 years. Archives are in a liminal state between being familiar cultural documents and unseen materials. While archives aim to preserve history, they also act as gatekeepers that can enable or block access to certain histories. The document argues that archives should be reengineered from passive repositories to active workshops to better fulfill their role of making history accessible.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
2. credentials
2Wednesday, June 5, 2013
So who am I? I've had a hybrid career. I'm going to lay out a brief version of my trajectory, not to tell
you stories, but to background some of the questions I want to propose. A few pieces of data:
I’ve been collecting historical film since 1982, and I still run a private collection of ephemeral film
and home movies. I call it an archives, aware that labels are always in dispute.
I’m also a maker -- I’ve made a bunch of long-form films with archival material, and doing museum
exhibits
I’m writing and talking a lot these days about archival issues and the future of archives.
I’m an outsider librarian in San Francisco
and
3. 3Wednesday, June 5, 2013
Now, I’m not a conventional archivist. Compared to legacy archivists, who might be more like
pastoralists, I'm a hunter-gatherer. From the beginning, I started collecting as an individual, outside
institutional boundaries. My hybrid career is built over a substrate of ephemeral objects. In the
1980s I started collecting material that almost no one else was collecting at the time, that others
were literally throwing away, and named it: ephemeral films.
4. ephemeral films
advertising films
industrial films (production, advertising)
educational films
government films
films made by associations and institutions
persuasion and propaganda
amateur films
home movies
personal, not corporate expression
4Wednesday, June 5, 2013
Ephemeral films were typically made for specific purposes at specific times. They weren’t designed
to be eternal. Sometimes they were even made for a single showing to a single person. When they
became outdated, they were thrown away, or perhaps kept so that the images or sound could be
used in another production. Typically they survive by accident. Perhaps 400,000 to 500,000 such
films (not counting home movies, which are almost infinite) were made between 1927-87. The US is
the richest of the media-rich countries. We throw away more media than most other nations ever
produce.
5. 5Wednesday, June 5, 2013
So I was working as a typesetter in the early 1980s. Friends made Atomic Cafe. Big hit; Heavy
Petting; I was hired as research director. How to find archival films about an idea or the social
Zeitgeist. Began getting interested in films made to manufacture and sustain consensus. Ephemeral
films were perfect.
6. Service de Ciné-Photographie, L'Office Provincial de Publicité, PQ, ca. 1940s
6Wednesday, June 5, 2013
Getting a start in collecting; first schools, colleges and libraries, then production companies. My
first film was WHEN YOU ARE A PEDESTRIAN, made in 1948 in Oakland, California.
7. [clip from WHENYOU ARE A PEDESTRIAN]
full film at http://archive.org/details/WhenYouA1948
7Wednesday, June 5, 2013
8. 8Wednesday, June 5, 2013
What interested me about this film wasn't just its weird dramaturgy (accidents function as wish-
fulfillment for the viewers) but the background, the periphery of the scenes. The movie documented
the look of Oakland in 1948, a city I was interested in and had once lived in, and the detail was rich
and fascinating. Film as landscape documentation, and more generally, film as evidence.
But soon I realized it would be a good idea to collect preprint materials (explain why), and this drew
me to Detroit: once the epicenter of industrial and sponsored film, no more than 400 railroad miles
from most of American production in the 1920s. Wonderful films were made in Detroit, many of
them for the auto industry. Here is one called "Get Going," from about 1937.
9. [clip from GET GOING]
http://archive.org/details/0762_Get_Going_04_29_26_00
9Wednesday, June 5, 2013
10. 10Wednesday, June 5, 2013
It's possible to look at this film as a kind of parable of industrialization, in the way it's described by
the British historian E.P. Thompson in his essay "Time, Work-Discipline and Industrial Capitalism."
The engine is the worker, and it takes force and ultimately the regulation of time -- the clock and
the bell -- to get the worker to work.
11. 11Wednesday, June 5, 2013
The collection grew very quickly. In a year it was several thousand films; by the late 1980s it was
tens of thousands of films, and by the late 1990s over fifty thousand completed films (edited films)
plus tens of thousands more cans of unedited materials (outtakes, home movies, actuality
materials, etc.). I began to worry about succession issues, and in 1996 started to look around for a
more permanent home for the collection. In 2002 the Library of Congress acquired the collection,
and since them we have made two more donations, so that the collection now totals some 60,000
titles; about 200,000 cans.
12. 12Wednesday, June 5, 2013
After the LC acquisition I took a break for awhile, but then I listened to many others around me and
realized I should be collecting home movies. This continues, and I've collected about 9,000 of them
by now. Home movies are documents of great density and emotional power, ethnographically thick
and deeply enigmatic. As many of you already know, it is an uncanny, privileged experience to
immerse yourself in the lives of others, and it's not a coincidence I'm referring to the German film of
a few years ago; home movies are intimate, private, mysterious. To watch them is to almost
inevitably commit trespass. Of course they also can be extremely long shots of landscape horizons
with few distinguishing features.
13. 13Wednesday, June 5, 2013
Back to the Eighties. I was assembling and running a private collection (with all the limits that
suggests, but also with the freedom it allows), but we were also becoming the default repository for
ephemeral film materials. And it was inevitable for us to begin thinking archivally. I started to go to
F/TAAC meetings (the first one I attended was here at UCLA in 1986, and I was intimidated as hell),
and later AMIA, and tried to internalize an archival consciousness, mostly by osmosis, because it
was very difficult to go to school and learn it at that time. It was a welcoming community, despite
my somewhat disreputable status as a seller of footage.
14. 14Wednesday, June 5, 2013
Describe: Screenings. Classes and lectures. Laserdiscs, videotapes, later CD-ROMs. Importance of
working with The Voyager Company.
I began to realize I was practicing public history. In an ideal world, this would be hard to distinguish
from archival activity, unless you define archival activity very narrowly. There was a great deal of
public response to my screenings and video releases, and the cultural status of these films started to
migrate from cultish oddities to more serious objects of study and concern. I think ephemeral films
are now in the midst of a third rediscovery, this time by emerging makers and scholars, and I'm
almost ready to watch films like ARE YOU POPULAR? again. It's been hard to look it for a few years.
15. 15Wednesday, June 5, 2013
And in 1999 I moved from NY to SF and came into contact with Brewster Kahle, who had recently
started Internet Archive, and asked me “Want to put your collection online for free?” Since I'd been
living in New York, where information wants to be expensive, I didn’t know how to respond to his
question, but in time I came to think he was right, and I agreed to start putting digitized films
online. That was a life-changing event for me. It got me thinking about access to archives in the
broad sense, and wondering why it was so difficult for most people to actually work with archival
material. Slowly, I started thinking of myself as a meta-archivist.
16. 16Wednesday, June 5, 2013
I wanted to talk a little about how my perspectives on working with archival material have evolved,
so I’m going to briefly describe my own “6 stages of archival consciousness.” Perhaps some of you
have experienced these, perhaps in a different order.
17. Every film is precious
Seduced by style
Overdetermined
Peripheral evidence
An egg is just an egg
Prophesies
17Wednesday, June 5, 2013
Upon discovering the world of what I came to call ephemeral films -- advertising, educational,
industrial and amateur film -- I was bowled over by a sense of new, undiscovered, formative terrain.
Each film was a fount of possibilities, the germ of many possible projects. It was as if each film had
been especially made to be recontextualized. Each contained images and representational strategies
I hadn't encountered in ten years of film study. Every film was precious.
18. Every film is precious
Seduced by style
Overdetermined
Peripheral evidence
An egg is just an egg
Prophesies
18Wednesday, June 5, 2013
As the films accumulated, I became exhausted with the sheer amount of novelty, and started to
focus on style. Style, as I use it here, is purposely a vague umbrella for various phenomenological
attributes that can amuse, captivate or overwhelm: the stentorian sound of a narrator's voice; the
look of original Kodachrome; the body language of Depression-era salesmen; a circular wipe; the
simultaneously familiar and alienating sound of library music; or perhaps the beauty of an old car. I
was preoccupied with style for years. Many of these films can be quite beautiful. And some are
unconsciously subversive. In the following clip from BRIDGING SAN FRANCISCO BAY the relationship
between music and images reminds me of the first few Buñuel films, especially LAND WITHOUT
BREAD and L'AGE D'OR.
19. Every film is precious
Seduced by style
Overdetermined
Peripheral evidence
An egg is just an egg
Prophesies
19Wednesday, June 5, 2013
As I've said, in the mid-1980s I started working with Voyager, which later evolved into Criterion, and did
14 CD-ROMs and laserdiscs, thematic anthologies of material from my collection. This was when I
realized I’d been collecting for a reason. Historically, these films had floated in time, lacking social and
cultural context, aside from the idle thoughts that surfaced while watching them. I became quite
interested in why and when they were made. Who wanted to persuade? Who paid for production? Who
profited? How did they fit into the history of persuasion? And what kind of subjects were they trying to
create or influence? I became focused on these and other sociocultural considerations.
20. [clip from BRIDGING SAN FRANCISCO BAY]
at http://archive.org/details/Bridging1937
20Wednesday, June 5, 2013
Bridging SF Bay
21. Every film is precious
Seduced by style
Overdetermined
Peripheral evidence
An egg is just an egg
Prophesies
21Wednesday, June 5, 2013
But after awhile I tried to escape sociocultural overdetermination and began to focus on a key
attribute of ephemeral film: their value as evidence. Evidentiary value often trumps attributes which
others might characterize as narrative, cinematic, or related to the production/distribution
apparatus. Focusing on evidentiary value sometimes means concentrating on the periphery of the
image, or on details that seem unrelated to the primary concerns of a work. Sometimes it's a
fundamentally anti-cinematic point of view.
Here follows a clip from my new film NO MORE ROAD TRIPS?
22. [clip from forthcoming film
NO MORE ROAD TRIPS?]
22Wednesday, June 5, 2013
Peripheral evidence NMRT clip 1
23. Every film is precious
Seduced by style
Overdetermined
Peripheral evidence
An egg is just an egg
Prophesies
23Wednesday, June 5, 2013
And then in 2004 I started to make a feature-length film (which I called Panorama Ephemera) and
realized that I'd boxed myself in. I wanted to make a kind of parable about the history of the
European settlement of North America and Western expansion, among other things, and it turned
out that the historicity of the clips themselves prevented me (and the audience) from exercising our
full imaginations. People connected the clips to specific moments and situations when instead I
wanted them to point to historical and social developments that might even be imaginary.
24. 24Wednesday, June 5, 2013
So I tried, at least tactically, to separate the historicity of films from what they actually were
depicting, so that I could use segments to construct alternate or imaginary histories, or comment
critically on histories that had actually happened. I wanted people to look at an egg and see just
that -- an egg, not a Pilgrim's egg or a factory-farmed egg, just an egg. Or to look at a record and
see the grooves rather than the pattern of soundwaves. I wanted to experiment with dehistoricizing
the archives.
25. 25Wednesday, June 5, 2013
[NMRT clip] In my forthcoming film, NO MORE ROAD TRIPS?, I use home movies to reconstruct a
dream trip from the Atlantic to the Pacific. While the source material shows no explicit historical
events, the footage is full of historical traces: the Great Depression, the New Deal, the runup to
World War II and its aftermath, and the massive reconfiguration of the American landscape that
started after 1933 and stepped up during the war and afterwards. Suburbia, sprawl and expansion
into unbuilt areas, and the buildout of the Interstate Highway system. The history isn't
foregrounded, but it is very present in the evidence, and I hope the audience (who is asked to speak
throughout the screening) will share what they see and engage in a kind of crowdsourced
contemplation. Another leading theme in the film is the nature-culture interface, and here is a clip
about that: [bears]
27. Every film is precious
Seduced by style
Overdetermined
Peripheral evidence
An egg is just an egg
Prophesies
27Wednesday, June 5, 2013
Finally, I realized that an engagement with archives tended to cause people to draw oversimplified,
mechanistic connections (and boundaries) between past and present. Or they get hung up in
presentism -- describing and judging history from a purely contemporary point of view. This would
never go over with most historians, but most people who watch and work with films aren't
historians. I became especially interested in how we regard the past.
28. East St. Louis, Illinois
28Wednesday, June 5, 2013
Take, for instance, sponsored and government films of the Cold War period, with which most of us
are familiar. Rather than characterizing them as documents of past mindsets and persuasions, what
would happen if we regarded them as possibly predictive? How would we look at the models they
promote if we let go of eternalizing the present and realized that they might regain hegemony in
the future?
29. 29Wednesday, June 5, 2013
Why am I going into historiography? Really because I want to underscore that what we think we know
about the potential uses and significance of our materials is only part of the story. Especially for
20th-century media, we tend to circumscribe the possibilities of reuse when we can't begin to
imagine how future generations might think. Could Mathew Brady have predicted that people would
reenact the Civil War? Or could any historically-minded photographer have imagined that their work
might float into a future flaneur's field of vision, reinvoked by a simple geotag? A consequence of
this condition is that we might try to resist tying ourselves to simplistic or limiting ways of telling
stories, because if we do, we may be doomed to use archives in such a way as to fall short of their
potential.
30. 30Wednesday, June 5, 2013
I think this is also true for archivists. Instead of prioritizing familiar preservation workflows and
encouraging certain modes of access, we might seek to positively reinforce and reward projects that
play in unfamiliar territory. Such projects could suggest new ways of looking at our materials and
thinking about what they might mean. And we could also let users help us to see our collections and
our work in new ways. We might try to deepen our implicit, ongoing relationship with users such
that it transforms us rather than reinforces the way we already are.
31. 31Wednesday, June 5, 2013
I myself was transformed by the project we undertook with Internet Archive, which was exposed to
the public at the end of 2000, when we cobbled together a website and put up 1001 films in mpeg2
format. There was relatively little broadband in the US, and it was difficult for most people to work
with the files. They were quite huge, 28MB/minute. Now this seems like almost nothing.
Now 4100 titles; an estimated 70-80 million views/downloads
Changed the nature of how many people access and use historical film footage
Now trying to do same with home movies; 3000 coming up.
32. 32Wednesday, June 5, 2013
These were PD materials. Explain CC licenses. Explain deriv works. Etc.
Copyfights.
Big fight coming up? The new Register of Copyrights, Maria Pallante, has announced an effort to
open up the law for rewrite. Extended collective licensing -- fair use -- anti-circumvention? It will
not be pretty.
33. 33Wednesday, June 5, 2013
So now we follow a model that some call "freemium" -- explain -- which is imperfect but fairly
functional. This allows us to keep the doors open. It makes smaller projects possible, but not grand
ones. You might recognize this situation yourselves. And we are just one of many small collections;
we happen to be private, but we try to have a public impact by opening our holdings as much as we
can. But we need to figure out how we can do more to infuse our presentist culture with a sense of
history, and encourage moving image authorship (and other kinds of creation) on a mass level. We
can't do this with tiny bits of stock footage income. It would be like running a library on the revenue
from copy machine cards.
34. 34Wednesday, June 5, 2013
So here's where I want to ask a few questions. In general these aren't the same ones I've been
asking for the past several years. And while I might have some opinions, but I don't really have
answers.
35. 35Wednesday, June 5, 2013
The turn to digital has forced librarians and archivists into a Faustian bargain. We now have no
alternative but to digitize our collections for access, and we're pretty much forced to reformat
analog materials to digital. And the fragility of digital objects turns archives into permanent rehab
centers for at-risk bits. This forces us to rework priorities, budgets, workflows and self-images so
that we can become nodes of digitization and access. This pushes us forward, but it also sets us
back. Expanded access to collections is a dramatic win.
36. 36Wednesday, June 5, 2013
But there are other implications, which I'd like to focus on today. We might think of today's theme as
"radical traditionalism."
37. 37Wednesday, June 5, 2013
Why do we do what we do?
Most moving image archives (and many collections of materials in other media) are accidental. They
sprouted up to address problems that existed at specific times -- principally when someone resisted
what often seems to be the natural destiny of moving images, which is to be thrown away. It's only
in recent years that archives specifically focused on collecting moving images have been established.
38. 38Wednesday, June 5, 2013
But it is difficult to collect moving images. Asserting that we can permanently hold and preserve
materials fixed in physically ephemeral forms is a kind of conceit. And it isn't always clear why we
are keeping what we keep. Policy-based acquisitions often cause material to be kept that's of less of
interest than other material we do not acquire or retain. (When we read stories about archival
material in the mainstream media, they're often concerned with material that survived IN SPITE OF
being ignored or neglected, IN SPITE OF the work archivists do.)
39. 39Wednesday, June 5, 2013
Many, perhaps most of the decisions we make to acquire, accession and preserve materials are
based on cinephilia. I love home movies myself, but unconditional love does not foster consciously
critical archival policies.
Should we stratify our collecting so that a portion of the material we acquire and retain is extrinsic
to our collecting policy? In other words, collect things we would NOT otherwise collect, or collect by
chance?
40. 40Wednesday, June 5, 2013
We're seeing an interesting twist on unthought acquisitions policies as we gear up to collect digital
materials at scale. At a certain point, probably in the last decade, a realization settled on [many of
us] that it was now technologically feasible to collect a great deal of the digital materials that were
being published or placed on the open web. Perhaps not economically or physically possible for
everyone yet, but feasible from the technical POV. This then quietly gave birth to the idea that is now
widely held that we should. No sense of selection or reason for collecting everything. But the
difficulties incumbent in collecting and preserving digital materials are causing us to neglect analog
accumulations.
41. 41Wednesday, June 5, 2013
And this is giving rise to a new question that fascinates me: Do physical objects have the right to
exist? [discuss]
43. Personal records: a new frontier
43Wednesday, June 5, 2013
How can institutional archives integrate personal and institutional materials? (explain)
We have focused on the fonds [the organizational scheme inherited from institutions whose records
we hold] rather than the flavor. The two kinds of collections constitute two oppositional, yet
codependent, ways of addressing the past.
There is a growing asymmetry in the historical record, especially in a time when it is starting to
become widely recognized that institutional histories fall far short of documenting lived and social
experience. The "digital turn" may ultimately be less wrenching to archives than the challenge of
merging personal and institutional. But I think we must take it on. There's no way we can simply
collect and display mass media, institutional and government records and call that history. We have
to merge the collective and the personal.
44. 44Wednesday, June 5, 2013
Making room for personal records in institutional collections, but even more than that, pushing
them to resonate, collide and hybridize, has interesting implications for research, and, to make
what could be a long story very short, might well create many new stakeholders interested in
assuring a long life for collections.
45. http://beetrooted.files.wordpress.com/2011/09/permacultureprinciples1.jpg
45Wednesday, June 5, 2013
Could we experiment with paradigms coming from other areas that may have relevance to the
archives? Bill Mollison & David Holmgren: permaculture principles
1. Observe and interact: By taking time to engage with nature we can design solutions that suit our particular situation.
2. Catch and store energy: By developing systems that collect resources at peak abundance, we can use them in times of need.
3. Obtain a yield: Ensure that you are getting truly useful rewards as part of the work that you are doing.
4. Apply self-regulation and accept feedback: We need to discourage inappropriate activity to ensure that systems can continue to
function well.
5. Use and value renewable resources and services: Make the best use of nature's abundance to reduce our consumptive behavior
and dependence on non-renewable resources.
6. Produce no waste: By valuing and making use of all the resources that are available to us, nothing goes to waste.
7. Design from patterns to details: By stepping back, we can observe patterns in nature and society. These can form the backbone of
our designs, with the details filled in as we go.
8. Integrate rather than segregate: By putting the right things in the right place, relationships develop between those things and they
work together to support each other.
9. Use small and slow solutions: Small and slow systems are easier to maintain than big ones, making better use of local resources
and producing more sustainable outcomes.
10. Use and value diversity: Diversity reduces vulnerability to a variety of threats and takes advantage of the unique nature of the
environment in which it resides.
11. Use edges and value the marginal: The interface between things is where the most interesting events take place. These are often
the most valuable, diverse and productive elements in the system.
12. Creatively use and respond to change: We can have a positive impact on inevitable change by carefully observing, and then
intervening at the right time.
46. 46Wednesday, June 5, 2013
-- Relational art & social practice
A current trend (though it actually dates back over 20 years) in the arts is to make projects whose
goal is to create community and change through shared activity and experience. We argue that we
do this with our library of printed materials in SF, creating community around a collection and the
transactions that spring up between users, librarians, and materials. This is a big stretch for archives
since it internalizes a process that is usually thought to occur outside the institution -- that
consciousness is changed as a result of encounters with materials or authorship using materials.
And of course the implication that there's a natural hop-skip-jump from collecting to community to
change is complex. But I would argue that museums and galleries already engage in this process,
and there is no reason why more archivally oriented institutions can't as well.
47. 47Wednesday, June 5, 2013
-- Participation, making participatory spaces? There are many ways to think about this. I am drawn,
from my own experience, to transforming archives into workshops. To bringing the process of
making derivative and archives-focused works into the archives, instead of fostering a takeout
culture.
There is a whole literature on participation -- see Nina K Simon, The Participatory Museum.
You already have an environment here that could serve this, the Research Commons. Can we build a
research commons around archival material? Or can we bring archival material into common spaces
for study and work?
48. 48Wednesday, June 5, 2013
If archives skew toward becoming digitizing centers and portals for digital material, what's the
action going to be at the archives itself? (This isn't a new question, of course. The process research
libraries have been going through for the past decade prefigures the current battles about MOOCs
-- what ought to happen remotely, and what needs to happen f2f on campus?)
49. 49Wednesday, June 5, 2013
I raise this because of our admittedly microcosmic, but riveting experiences with a little outsider
library in San Francisco. [discuss further]
explain library and its experience
50. 50Wednesday, June 5, 2013
Could archivists do archives like scientists do science? At the very least, could we open ourselves to
making experiments in preservation, access, documentation and transformation, rather than
repeating commonly accepted workflows time and again? And could we test our hypotheses against
reality as we perceive it? Can we infuse the arts & humanities with a sense of the scientific method?
For instance, what if we borrowed from environmental practice, and create an expectation that we'd
write preservation impact statements and access impact statements prior to undertaking new
projects? [explain]
51. 51Wednesday, June 5, 2013
Can we bring nonprofessionals into the back of the archives to work with materials, annotate, repair,
conserve, prepare for scanning and remediate backlogs? We've done this with digital collections, but
can we build what I'm calling participatory physical archives?
52. 52Wednesday, June 5, 2013
We've been doing this in San Francisco for a bit more than a year (explain).
Good results, disappointing ones.
53. 53Wednesday, June 5, 2013
As I've said, can we experiment? And can we do so without upfront funding? One of the
characteristics of the for-profit tech sector, which has become our competition, is that it makes
tools and services before figuring out the financial model that might obtain. Perhaps more relevant,
this is true for individuals who write open-source code and develop tools. These days people make
things, and if they catch on they figure out how to fund them. Can we give people a little paid time
to make something new and see whether it might work?
How can we make Darwinism into a friend rather than an enemy?
54. 54Wednesday, June 5, 2013
I have often wanted to run an archives like the legendary Valve Corporation, a game developer in
Bellevue, Wash. What if people could pick what projects they worked on?
But lack of practicality aside, could we open our objectives to discussion?
55. Modest objectives:
1. Move nontraditional materials into archival mainstream
2. Accelerate pace of traditional research, scholarly and
educational use of home movies and ephemeral films
3. Encourage new areas & forms of scholarship, esp. digital
4. Build accessible corpus of reusable footage
5. Move from boutique approach; open up massive amounts
of material
6. Teach machines to watch moving images
7. Skew online moving image environment away from more
established genres (YouTube did this, but retreated)
8. Encourage evolution of archival workflow & practice by
problematizing legacy practices
55Wednesday, June 5, 2013
Here is one set of possible objectives:
1. Move nontraditional materials, especially ephemeral films into archival & cultural mainstream
2. Accelerate pace of traditional research, scholarly and educational use of home movies and
ephemeral films
3. Enable new areas & forms of scholarship, incl. digital
4. Build corpus of reusable footage
5. Move from boutique approach; open up massive amounts of material
6. Enable automated & machine analysis -- teach machines to watch moving images
7. Skew online moving image environment away from more traditional genres (perhaps already
happened)
8. Geocodes, tropes, archaeology
9. Encourage evolution of archival workflow & practice by
problematizing legacy practices
56. 56Wednesday, June 5, 2013
I'm going to end with a little case study on transformative use. Here are a couple of clips from our
of our most boring films, AMERICAN THRIFT (1962), made by JHO for Chevrolet; it calls itself a
"tribute to the woman American." While it is well shot, its images are sanitized and uninteresting,
and its narration wouldn't have been out of place in the 1890s.
57. [clip from AMERICAN THRIFT]
http://archive.org/details/American1962
http://archive.org/details/American1962_2
57Wednesday, June 5, 2013
AMERICAN THRIFT
58. 58Wednesday, June 5, 2013
And here's what a British video artist and music video maker named Cyriak Harris made from that
film, which he downloaded at medium-low resolution from our collection at Internet Archive. It's a
clip for the band named Bonobo. In its dopiness I think it achieves a kind of transcendence.