Wednesday, 3 December 2014

scrolling gadgets {moving panoramas}

http://www.frieze.com/issue/review/tomas_saraceno/
Tomas Saraceno, Cumulus at Barbican


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Some time ago I wrote a post digitised scrolls: from the Pond at Deuchar to the Trip to London, at the bottom of which I mentioned a charming Georgian device Trip to London that had been digitised by Princeton University. Trip to London is a box containing a twelve plate scroll that displays a humorous story of a honeymoon trip. It is a close development of the very popular moving panoramas, which came to Europe in late 17th century and by early 19th century they were so common, that there were even ladies' fans with miniature scrolled pictures incorporated into the designs. 


Trip to London

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Moving panorama - to put it simply - is a long panorama in a scroll, which has ends of it attached to two rods. The handles on the rods are then turned to allow the panorama to move across the screen, very much like a basic animation film. Moving panoramas were available in handheld scrolling devices as well as a form of large screen/stage entertainment. They were hugely popular: successful shows drew crowds and boasted years of performances. For example, Albert Smith's Ascent of Mont Blanc was performed for seven years at the Egyptian Hall in London, while Hugo d'Alesi's Mareorama allowed seven hundred spectators per viewing of this show, that offered a multisensory sea voyage illusion, complete with thunder, wind and local dancers.



a card promoting Hugo d'Alesi's Mareorama



Moving panoramas were extraordinary pieces of engineering. They often featured special enhanced sets and effects, merging of medias and mediums into one immersive spectacle. For example, touring panoramas of the late nineteen century England frequently included such novelties as mechanical puppets and slide projections. The most impressive ones, of course, were present at Exposition Universelle in Paris, 1900. The above mentioned Hugo d'Alesi's Mareorama incorporated two screens, each 2,500 feet long and forty feet in height, which were scrolled for the viewers present on board of the full size boat. The boat required hydraulic piston engines and pumps driven by electric motors to stimulate motion. 

 

Hugo d'Alesi's Mareorama
Hugo d'Alesi's Mareorama



Another immersive panorama at Exposition Universelle in Paris was Pavel Yakovlevich Pyasetsky's Great Siberian Railway Panorama in the Russian pavilion. It offered a 45 minute experience of Trans Siberian rail journey complete with stuffed polar bears on papier-mache icebergs, a dinner of caviar and sturgeon in a luxury imitation train with a library, gymnasium, marble bath, smoking and music salons.


This 45-minute experience was an essay in detail. It offered a chance to experience the 14-day journey by rail from Moscow to Peking, a 6300-mile journey over tracks not yet completed at the time of the Paris Fair of 1900.
There were three realistic railway cars, each 70 feet long, with saloons, dining rooms, bars, bedrooms, and other elements of a luxury train. Totally detailed and lavishly equipped, the cars were elevated a little above a place for spectators in conventional rows of seats. The gallery faced a stage-like arena where the simulated views along the train trip were presented by an inventive contraption.
The immediate reality of a vehicular trip is that nearby objects seem to pass by more rapidly than distant ones. So, nearest to the participants was a horizontal belt covered with sand, rocks, and boulders, driven at a speed of 1000 feet per minute! Behind that was a low vertical screen painted with shrubs and brush, travelling at 400 feet per minute. A second, slightly higher screen, painted to show more distant scenery, scrolled along at 130 feet per minute. The most distant one, 25 feet tall and 350 feet long painted with mountains, forests, clouds and cities, moved at 16 feet per minute.
Real geographical features along the way were depicted on this screen: Moscow, Omsk, Irkutsk, the shores of great lakes and rivers, the Great Wall of China, and Peking. The screens, moving in one direction only, were implemented as a belt system. Due to the inexact speeds of the scenery,the 'journey' never repeated itself exactly, providing an ever-changing combination of scenes and a reason to pay to see the attraction again.  (from The Past Was No Illusion  by Walt Bransford)


Pavel Yakovlevich Pyasetsky's Great Siberian Railway Panorama

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Apart from the great spectacles at Exposition Universelle, 1900, there was a range of other - more common and more humble - weird and wonderful panorama devices. There existed pleoramas, dioramas, padoramas, myrioramas, phantom rides for public viewing as well as personal hand panorama reels, magic lanterns and peep-shows.


http://dip9.aaschool.ac.uk/references/
The Kaiserpanorama, 1900
http://motherboard.vice.com/en_uk/blog/remembering-the-human-gopros-that-gave-the-world
Phantom Ride
https://ore.exeter.ac.uk/repository/handle/10472/2843
Rotunda, Leicester Square
https://ore.exeter.ac.uk/repository/handle/10472/212
Coronation Procession of King George IV
https://ore.exeter.ac.uk/repository/handle/10472/4717
Tableau of the procession at the Queen's coronation June 28, 1838
http://writhingsociety.blogspot.co.uk/2010/02/myriorama.html
Myriorama or tableau polyoptique by Jean-Pierre Brès
(a set of cards that can be arranged in any order)



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Here are a few of the contemporary moving panoramas that range between overwhelming digital installations of Tomas Saraceno to painted paper scrolls of Adam Cvijanovic.

http://helendouglas.onlineculture.co.uk/ttp/ttp.html
Helen Douglas, The Pond at Deuchar
http://www.frieze.com/issue/review/tomas_saraceno/
Tomas Saraceno, Cumulus at Barbican
https://erindziedzic.files.wordpress.com/2013/09/rolling-panaorama-1_cvijanovic.jpg
Adam Cvijanovic, Rolling Panorama Number 1
http://upload.wikimedia.org/wikipedia/commons/8/8d/Panoramic_View_of_Old_City_lane_%28Pole%29_Ahmedabad.jpg
Panorama of Achmedabad


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The Trip to London scroll box is a story telling gadget that bridged book and upcoming cinema. It's situation is not dissimilar to the hybrid publishing projects emerging today as a result of media arts niche-ing themselves into the book market, such as FakePress and HybridBook. Moving panoramas were defeated by the cinema, of course. Which of the contemporary story telling gadgets are going to stay?




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Printed book sources:
Huhtamo, Erkki.  Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles, The MIT Press, Cambridge, London, 2013
Schwartz, Vanessa. Spectacular Realities: Early Mass Culture in Fin-de-SiècleParis. Berkeley: University of California Press, 1998.







[Egidija]


Wednesday, 12 November 2014

#metadata #narrative #archive

The original was posted on Wednesday Post.


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The images on this page are generated by "visually similar" Google image search for brass pull cord bayonet type lightbulb lamp holder traditional earthed.  An algorithm pulled them out from the vast archive of Google images for me. 

Somebody said that digital database defines the 21st century.


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A couple of weeks ago Books in Browsers 2014 took place in San Francisco. Most of their talks are now available on YouTube, including the one from Johanna Drucker Database Narratives in Book and Online. She gives a neat introduction into what she believes to count as a book*. She then admits homicidal feelings towards those who think otherwise, and continues with her fascinating talk on the structuring of a narrative as an online database and a consecutive print output.

At the core of Johanna Drucker’s talk is her personal project, where she attempts to reign in the archive of her unpublished works, the records of which span about 40 years of writing. In the process of this experiment she scans her unpublished works to create an online representation of the library and to explore it’s relationship to the potential printed book as well as the original manuscript. She works in xml format and her archive is heavy with metadata. Metadata fields, she says, allow to structure multiple kinds of chronological and temporal organisational filters: they allow to redistribute literal temporality built into most of the narratives.
Johanna Drucker talks about the relationship between the networked resource and a printed output. What would the role of the printed book be in relation to the database? Is it a catalogue of the archive? Is it a guidebook? Is it an interface providing an augmented experience of the web environment?

Those questions, of course, can be asked about any book published from a database. Wolfgang Ernst in his essay The Archive as Metaphor** observes that archive as such does not contain narratives: it is a purely technical practice of data storage.
The archive does not tell stories; only secondary narratives give meaningful coherence to its discontinuous elements. In its very discreteness the archive mirrors the operative level of the present, calculating rather than telling. In the archive, nothing and nobody ‘speaks’ to us – neither the dead not anything else. The archive is a storage agency in spatial architecture. Let us not confuse public discourse (which turns data into narratives) with the silence of discrete archival files.
When traditional paper archives migrate into digital forms, their contents get reduced to a binary code. As a result, computer stops separating stored file information and processing rules (as in traditional archives).
When both data and procedures are located in one and the same operative field, the classical documentary difference between data and meta-data (as in libraries, where books and signatures are considered as two different data sets) implodes.
Digitalised memory undoes the traditional supremacy of letters in paper-based archives; instead, sound and images enter as well which can be addressed in their own medium: melodies can be retrieved by similar melodies, images by images, patterns by patterns.
Metadata allows to break the syntagmatic relationship between the items in the traditional database, in favour of highlighting paradigmatic links. While a collection of data in its own right has no narrative, it is how we travel through the archive: how we connect its fragments and how we fill in the gaps, that gives linearity to the experience. 
Is clever manipulation of metadata enough to function as a guide for the reader? Or would database benefit from a printed interface providing an augmented experience of the web environment?



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An expansive volume of writing and artwork is available on the subject of archives, database generated narratives, collaborative authorship, etc. Below I have chosen a couple of works and texts that I had found fascinating:

art:  
Listening Post by Mark Hansen and Ben Rubin  
Pockets Full of Memories by George Legrad
Postcards From Google Earth by Clement Valla
I’m Google  by Dina Kelberman. (I did not get to the end of it. If you did, can you let us know what’s there at the bottom?)
Girls on White by Rebecca Lieberman

articles/(almost)books:
Lev Manovich : Database as a Genre of New Media
Wolfgang Ernst : Digital Memory and the Archive
Wolfgang Ernst : The archive as metaphor ** 
Brooke Belisle : Total Archive: Picturing History from the Stereographic Library to the Digital Database
 D|N|A: Seven Interactive Essays on Nonlinear Storytelling


Other almost relevant links: 
The Internet Archive
UK Web Archive
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oScope visual search
TinEye multicolour search
retrievr search by sketch 
Musipedia melody search




* Book is a a structured sequence of intertextual components that have a structural relationship to each other, each of which is coded in order to participate in the semantic field of the book as a whole.










Wednesday, 22 October 2014

frivolous female readers / body and book


 The original was published as Wednesday Post for Collective Investigations





This blog post is based on the research that I made for (in)discreet editions publications the discreet book of bathroom reading and those frivolous readers, which - in their own turn - were inspired by the material collected for codex: between one hand and another. 




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Young Woman Reading

Young Woman Reading Jean Honoré Fragonard  (French, Grasse 1732–1806 Paris)




When collecting images of female readers one cannot escape an overwhelming amount of eroticised reading women,: half-dressed or with their clothes barely holding on; women draped across beds, sofas, armchairs or frozen in a blush, contemplating the contents of their naughty read. Their hair flows. Their hands are gentle. Their skin is porcelain. Their touch is sensual: the book is a tactile object; pages are frozen in the middle of movement. There might be a glimpse of breast exposed. There might be a suggestive vessel or a protruding handle somewhere close by. Their eyes are seductively lowered towards the book held at the height of the chest.


The images come from across the centuries: charged with the intimacy of body and book.

There are Belle Epoque oil paintings, vintage postcards, prints, photos in contemporary press and online social media. Apart from a couple of sightings in Medieval imagery, eroticised women readers more prominently first appear in Renaissance. At that time majority of female portraits commissioned by men were intended as decorative possessions to be "absorbed into the overall ornamentation of ostentatious domestic environment"2. 18th century saw the birth of the novel and a further rise in reading - and new concerns, in particular, about the damaging psychological effects that reading had on female body and mind. 
Terry Castle suggests that even the solitary practice of reading was seen to harbour "dangers" that included a complex dynamics of self-involvement. She explains that once "reading became dangerous because it prompted obsessional thoughts", it became possible to diagnose the reader as the victim of hallucinatory disease. 4
The processes of reading, then were gendered - eroticised and sexualised. The active masculine reader with pen in hand mastered the text no less then his household... The early modern woman as a sexual object was figured and described as a book to be opened. Female reading was frequently eroticised and implicated in the sexual body. The book held to the breast, in the lap, or concealed under the petticoats fetishised both the text and the reader. Male suspicion, even anxiety, variously imagined female reading as a source of ungovernable pleasure, in the eighteenth century even as self-pleasuring. 3
Inaccurate though the image of the idle, frivolous female novel-reader was, the stereotype did not disappear with the close of the eighteenth century1, James Raven says. 

Neither did it disappear with the close of the centuries that followed either.

What fascinates me is that the image of a "sensual reading female" predates the "sexy librarian" by good few centuries. While both images feed off each other in contemporary depiction of books and females (see the very last three images at the very end) the latter one is linked to the erotisation of intelligence as such - the same phenomenon that gives us reading Marlon Brando or reading Gregory Peck as sex symbols (not that they need a book for that!). 
Sensual reading female does not eroticise intelligence. That is sure. She is alone, relaxed, withdrawn and observed. Could she be related to the sleeping nude? If so, what does it say about the role of the book in those image?  Female sexuality? What does it say about the idea of reading? What does it say about the idea of the book?



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images:
 Book (reading)(woman)(sensual)   

 sources:
1 James Raven, Hellen Small and Naomi Tadmor (2007) “Introduction: The Practice and Representation of Reading in England,” in The Practice and Representation of Reading in England. Cambridge: Cambridge University Press (p.19)
2 Ponton, Marcia (2013) Portrayal and the Search for Identity, London: Reaktion Books Ltd. (p. 14)
3 Sharpe, Kevin and Stephen Zwicker (2003) Reading, Society and Politics in Early Modern England. Cambridge: Cambridge University Press (p.15)
4 Haggerty, Geroge E. (1998) Unnatural Affections. Women and Fiction in the Later 18th Century. Indiana: Indiana University Press.
 

 

 

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Wednesday, 15 October 2014

Digital scrolls (again)


Helen Douglas at Whitechapel Art Book fair, 2014

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The Art Book Fair at Whitechapel certainly looked different from the last year: upstairs had a much happier feel, with more tables filling the space and a refreshingly (!) large number of Canadian presses. Downstairs seemed as usual - big publishers and big tables. The cafe, however, was almost gone, with it's space in-between the floors occupied by a Blurb commission Unbinding the Book [why in the cafe?), which ranged between underwhelming and truly exciting. [Anyone knows what Imprimatur is? Is it a real imprint? Or is it merely a metaphysical concept from Blurb marketing department?] On the whole - a few hits and misses later - Whitechapel Art Book Fair was an improvement from the year before. 
  
(My personal favorite at Whitechapel, however, remained Kader Attia's Continuum of Repair: The Light of Jacob’s Ladder: a magnificent bookwork or a piece of installation - the choice is yours. )

One of the highlights of the fair itself was Helen Douglas’ new book, produced as a result of her residency in Mexico, where she traveled under the invitation from Martha Hellion. Surreal and mesmerising continuous sequence of images blends foliage, architecture, fragments of Mexican papercuts and textile into a seamless panorama. A garden of Eden? {seductive}. The Mexican book is not dissimilar in the many ways to the other books that Helen has been producing since 2001, that feature her trademark Thumberlina's perspective to draw in the viewer through the boundary of paper into the enchanted photographic foliaged images beyond. One of those works is her scroll book The Pond at Deauchar, which was conceived and produced as a physical scroll and as a digital scroll.




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Helen Douglas The Pond at Deuchar
There is a well known anecdote about how Helen Douglas wanted to produce the scroll as a digital app to accommodate The Pond at Deuchar.  Apple refused the idea, because the app did not include any more functions than scrolling the scroll (!).
Eventually the app for this artist's book was born and the pond can now be enjoyed online HERE.  It is a beautiful translation from one medium to another, that maintains the original fluidity and depth of immersion. In fact, the experience of the digital scroll excels as submersion into the work due to the level of detail that zoom option provides.


For comparison, below are a few more digitised scrolls by academic institutions. 


1. A library of digitised Asian scroll paintings at the University of Chicago.

Lake Zhiyang and the Eastern Lake 1663

There is a phenomenal incentive from the Center for the Art of East Asia at the University of Chicago - they have now uploaded online a library of digitised  Asian scroll paintings. What a resource!
The Center for the Art of East Asia initiated the Digital Scrolling Paintings Project to support the teaching of classes on East Asian painting. The temporal and spatial qualities of handscroll paintings are lost in photographs of selected sections that are reproduced in books and projected in the classroom.  Although used widely in current art education and the study of these works of art, such reproductions seriously distort the nature of handscrolls by erasing their sequential and participatory viewing process. The display of these paintings in long cases in museums also is not the way in which these paintings were made to be experienced. With the assistance of the Humanities Computer Research Department, the Center developed a prototype for digital scrolling technology as an exciting tool to simulate the viewing experience and to improve understanding of handscroll paintings.



2. Dead Sea Scrolls online by Google and Israel Museum in Jerusalem. 
Dead Sea Scrolls
In 2011 Google and Israel Museum in Jerusalem uploaded the oldest known biblical manuscripts Dead Sea Scrolls online in a high-resolution format, so they become available to all and everyone (with a reliable and fast internet connection, that is).


3. A Ripley scroll from 1477
Ripley Scroll (1477)
This Ripley scroll (1477) has been scanned-in as a very VERY hi-res very long photo and uploaded online: a delightful level of detail, that can otherwise be only enjoyed with a magnifying glass. In simple terms, it is an alchemical manuscript that shows in pictorial cryptograms the production of the philosopher's stone (the elusive ingredient that produces incorruptible gold out of lesser metals; and/or the elixir of life). A very detailed description of the scroll is on BibliOdyssey (among numerous other treasures that can be found there).


4. Georgian scrolling book Trip to London at Princeton University
Artist unknown, Trip to Town (London: William Sams, 1822). 
Box embossed: E.P. Sutton & Company; 
Sangorski & Sutcliff. GA 2005.01039
 And finally, here is this charming Georgian device Trip to London that has been digitised by Princeton University. It is a box with a twelve plate scroll that contains a story about a very unfortunate  honeymoon journey to London by a recently married Mister O'Squat and the Widow Shanks. 
Here is a POST from Booktryst (June, 2013) about the scroll, including this curious snippet of information.
It is not found in Tooley or Abbey, has no copies recorded by OCLC/KVK in institutional holdings worldwide, no copies at auction since ABPC began indexing results in 1923, no copy in the collection of the British Museum, nor is it found in the annals of our sister TV series, Divorce Court. It is an incredibly scarce item, as rare as a Taylor Swift long-term relationship.



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Digital editions raise questions about... editions: what is the relationship between the digital and the material version of the book? Is it an edition in its own right? Prof. Michelle Brown spoke of digital manuscripts in the article she wrote for our Codex: Between This and That book. She suggested that digital editions should be treated as born digital editions in their own right.
The exponential increase in digital imagery available online is encouraging scholars accustomed to working on early texts in the form of printed editions to become aware of the value added and transformative experience of working directly from the primary sources, without having to travel around the world and negotiate access to materials, the rarity and fragility of which may necessitate curatorial restrictions on access to be applied – as in the case of the Beowulf manuscript itself. Manuscript curators initially anticipated that digital surrogates would lessen the demand for consultation of the original; in fact, the stimulation of interest that they provoke can often lead to even more requests to view. Scholarly scepticism is such that there is also felt to be a need to see the original for oneself, in order to test the veracity of digital versions – which indeed have their own life and should be seen as born digital e-manuscripts in their own right.
 Born digital e-scrolls in their own right, then.




[Egidija]

The original version of this post can be found in Egidija's Notebook II.