The Archival Media Art Experience
Author
Bada, Emöke Majohunbo
Term
4. term
Education
Publication year
2017
Pages
91
Abstract
At se et kunstværk i virkeligheden er den mest direkte måde at opleve det på. Men på grund af fysiske og praktiske begrænsninger er det ikke altid muligt at møde et værk i realtid. Digitale arkiver og andre medieteknologier gør det muligt at opleve kunst på afstand, ofte online. Det kan ændre selve oplevelsen. Dette speciale spørger: Hvad ændrer sig, når et værk opleves gennem et arkiv? Hvilke faktorer påvirker denne ændring, og er de synlige for dem, der bruger arkiver? For at skabe et klart udgangspunkt afklares centrale begreber: oplevelse, engagement, mediekunst, teknologi, internet og arkiv. Det teoretiske grundlag trækker på forfattere som Dewey, Fenner, Ricardo, Zielinksi, Idhe, Hine, Hogan og Manoff. Fordi kunstoplevelser er personlige, anvendes kvalitative interviews for at indsamle førstehåndsbeskrivelser. Deltagerne blev guidet af fem nøje udvalgte mediekunstværker, som fungerede som case-studier for at afdække det særlige ved hver oplevelse i arkivkontekst. Gennem både individuel og komparativ analyse af interviewene forventer specialet at opnå indsigt i de enkelte værker og at nå mere generelle forståelser af, hvordan online arkiver former oplevelsen af mediekunst.
Seeing an artwork in person is the most direct way to experience it. Yet, because of physical and practical constraints, encountering a work in real time is not always possible. Digital archives and other media technologies allow people to experience artworks at a distance, often online. This can change the experience. This thesis asks: What changes when an artwork is experienced through an archive? Which factors drive that change, and are they noticeable to archive viewers? To provide a clear foundation, the thesis defines key terms: experience, engagement, media art, technology, internet, and archive. The theoretical framework draws on authors such as Dewey, Fenner, Ricardo, Zielinksi, Idhe, Hine, Hogan, and Manoff. Because art experiences are personal, the study uses qualitative interviews to gather first-hand accounts. Participants were guided by five carefully selected media artworks that served as case studies to examine what is specific to each archival encounter. Through both individual and comparative analyses of the interviews, the thesis aims to generate insights into the selected works and, more broadly, into how online archival contexts shape the experience of media art.
[This abstract was generated with the help of AI]
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