NODEM 2014 Proceedings

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Affective and Rhythmic Engagement with Archival Material: Experiments with Augmented Reality Let’s pursue some rhythmic variations. The video had affective and rhythmic qualities reflecting the capture of live performance and the editing process, whether this was archival Ballet footage with limited editing or Kuindersma’s improvisation creatively shot and edited for affective depth by Ginslov. 17 Then each video clip tagged in the media space of AR constituted a sequence to be looped repetitively when triggered by a visual tag. Thus, besides the rhythmical qualities of the visual content, each clip received a rhythmic quality by being set in loop mode. If watched on a regular computer screen, the mechanical repetition was rather limited or heavy. However, while accessed at the Nikolaj via mobile devices, this repetition had a different experiential quality. The rhythmic qualities of using AR browsers are, at the very least, composites of the following: physical adjustments of the position of the viewer’s hand holding the device in front of the tags; alterations resulting from an attempt to find a better angle; shifts to find an optimal place amongst other viewers; and motion caused by the weight and physical properties of the device (fig.8). All aspects of this composite of kinaesthetic shifts add idiosyncratic unsteadiness to the mechanical character of the looping effect, to some extent creating an illusion of control or even editing power over the streamed material. The combination of visual material and devices inspired viewers to respond with their own rhythmic and playful reactions that sometimes corresponded with kinetic qualities of the video clips and at other times worked in counterpoint. The bodily gestures manipulating the video display enabled a more nuanced, immersive, and rhythmical dialogue with the material. Two provocations: “That is not an archive” and “We do not look at images easily” “That is not an archive” was the oft-repeated statement that resonated like a refrain after attending LARM, the large international conference on archiving at the University of Copenhagen in November 2013. 18 Archivists took care to distinguish their archives from what were merely collections, and those who cherished collections make a distinction between theses and simple ad hoc assemblies of material, as if the latter were storage dumps. While refined definitions are valuable, implicit hierarchies supporting such distinctions can be questioned. This invites a, perhaps obvious, reference to Jacques Derrida’s argument that archives are power structures more than materials, archiving is an perpetual negotiation between those who have access and those who do not. 19 Combine this provocation with a recent statement by Temi Odumosu, an art historian and now Post Doctorate researcher with the Living Archives project, that despite being saturated visually by all varieties of media “We do not look at images easily.” In the context of archiving, what does it mean not to look at an image easily? It means the past cannot be looked at neutrally. What does it mean to say that a collection is not an archive? It means archival material is contested. Of course these questions can be answered in many other ways, or only ever be provisionally answered, but addressing them through affect and rhythm may yield different responses, and produce different reactions. The work for the performative strand of Living Archives is driven by the notions of artistic research that can be seen as a convergence of materialities; sometimes a clash, other times a smooth flow, occasionally it is as if different rhythms play in counterpoint pulling the researcher in different directions (Kozel 2010). These types of design explorations are important aspects of research and allow the designers to use their personal experiences as sounding boards for the systems they create (Gaver, 2012). The design sketches produced allow for the inversion of archives and opening up of new processes. Adams and colleagues (2013) argue the benefits of such research activities can be described as boundary crossings that negotiate between different communities and context as a means to support and investigate innovative perspectives. 17 For phenomenological accounts of Ginslov’s capture and editing processes see Kozel (2012). 18 http://larm.blogs.ku.dk/conference/ 19 Derrida (1996). NODEM 2014 Conference & Expo 302
Affective and Rhythmic Engagement with Archival Material: Experiments with Augmented Reality Figure 8. An example of a tag placed in an inauspicious place requiring physical adjustment of the viewer’s hand How to conclude the discussion of a process that is not yet concluded? First, the emphasis on affect and rhythm reveals how archival material is never neutral and how presenting it to an audience is rarely simple, particularly when this presentation involves digital or new media technologies. It is over-simplistic to say that digital technologies immediately create access and connection, or to dismiss them for being cold extractions from the analogue materials. They simply add another layer to our archival choreographies. Second, an encounter with archival material rarely occurs purely intellectually. It might be traumatic or trivial, seeping under our skin and lingering, or disturbing precisely because it feels so distant and meaningless. Such an encounter might make us stop or accelerate, recoil, or draw closer. If we attend to these qualities we can begin to choreograph different relations with archives and their circulation. References Adams, A., Fitzgerald, E., & Priestnall, G. (2013). Of Catwalk Technologies and Boundary Creatures. Transactions on Computer-Human Interaction (TOCHI, 20(3). Amad, Paula. 2010. Counter-Archive: Film, the Everyday, and Albert Kahn’s Archives De La Planete. (New York: Columbia University Press). Bolter, Jay, Maria Engberg and Blair McIntyre ”Media Studies, Mobile Augmented Reality and Interaction Design” in Interactions, xx.1 January + February 2013. Gregg, Melissa and Gregory Seigworth. The Affect Theory Reader. Durham and London: Duke University Press, 2010. Derrida, Jacques. Archive Fever: A Freudian Impression. Chicago: University of Chicago Press, 1996. Gaver, William. “What should we expect from research through design?.”Proceedings of the SIGCHI conference on human factors in computing systems. ACM, 2012. Kozel, Susan “AffeXity: Performing Affect using Augmented Reality,” in Fibreculture Journal Issue 21 on “Exploring affect in interaction design, interaction-based art and digital art” eds. Jonas Fritsch, Thomas Markussen and Andrew Murphie, 2012. Kozel, Susan. “Relational Choreographies,” Yearbook for Artistic Research of the Swedish National Research Council, Stockholm: 2013. NODEM 2014 Conference & Expo 303
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Engaging Spaces Interpretation, Des
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Welcome to the NODEM 2014 Conferenc
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Editorial board Andrea Nanetti, Sha
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Parallel Exhibits: Combining Physic
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TACTEC, Transforming Art and Cultur
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Restaging a Garden Party: Sharing S
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Proactive Spaces. An Insight on the
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Archives as New Spaces for Engaging
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Seen/Unseen. Dancing Art Inside and
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Seen/Unseen. Dancing Art Inside and
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Cross Cutting Concepts for Change:
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ArtMaps: Framing Public Engagement
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Thresholds of Technological Remembe
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The Rotterdam Heritage Coalition: C
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“You could have told me!” Colla
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The Widget Art Gallery - A Gallery
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The Whisperers: An Interactive Exhi
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Towards a Significant Portuguese Cu
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Confabulated Architecture surfaces.
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Confabulated Architecture Mapping (
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Confabulated Architecture Findings
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Exhibiting Fashion: Museums as Myth
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The Exquisite Cabinet: An Experimen
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The Exquisite Cabinet: An Experimen
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Wonderful Stories on Digital Device
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When Different Types of Visitors Si
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Mobile Technology and Museum Educat
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Transmedia & Charms: The Opportunit
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Mobile Solutions and the Museum Exp
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Domus: An On-Gallery Digital Museum
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Innovative Museum Exhibits: Telling
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Materials Story of Sir John Soane
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Materials Story of Sir John Soane
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Spiritual Wonder Project: Crossing
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A Case Study to Make Use of Cross-c
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The Luostarinmäki Adventure - An A
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Service Design for a Unique Experie
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Multi-narrative Serious Game Design
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NODEM 2014 Proceedings

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