Streaming History. Moving Images of the Shoah and the Web 2.0

该项目从电影和媒体研究的角度探讨了在线视频流，并将其分析为一种新的移动图像分发模式，并将其纳入档案秩序。更具体地说，通过举例，它将探讨在Web 2.0的条件下被转换为数字图像的Shoah电影文件的变化情况。几十年来，这种档案材料-包括个人业余录音，最重要的是，包括盟军摄影师拍摄的图像，更广泛地说，包括后来记录的作证行为-专门作为电影、电视广播和博物馆展览的组成部分传播;然而，今天，它出现在以互联网为中心的图像经济的前提下，在这种经济中，历史图像可以即时获取，也可以随意复制、分割、挪用和传播。该项目将探索流媒体档案镜头与观众之间的关系变化，以及以前占据视觉文化光谱不同端的图像剧目的接近性（在认识论和注意力经济学方面），现在可以在同时刷新的观察“窗口”中访问（在商业视频分享平台上，解放集中营的镜头与其他视觉文化的随机内容仅需点击一次;也可以浏览电影档案，如美国大屠杀纪念馆的免费在线«史蒂文斯皮尔伯格电影和视频档案»。上述过程从根本上改变了审美形式，也改变了这些不稳定形象的记忆政治。该项目旨在提供一个概念框架，处理流媒体在线视频的美学以及相应的数字知识秩序，管理和分发电影存档的“历史”。这种流媒体运动图像的媒体理论--以纳粹浩劫的数字化档案片段为出发点--相应地也考察了互联网作为后电影媒体的基本属性。对特定的历史文献语料库进行复杂的补救，迄今为止还没有根据数字和新媒体理论进行分析-事实上，在一种由网站架构、搜索算法、浏览器功能所告知的感知制度下，它们可以比以往任何时候都更大程度地被分发和查看，用户界面和图像编解码器，以及越来越多的移动的媒体技术的“可穿戴计算”-应作为一个具体的案例研究，以获得一个更全面的理论角度对互联网作为一个全球性的流通媒介，用于移动历史图像的访问和存储。

The project explores streamed online videos from a film and media studies angle and analyses them as a novel mode of distributing the moving image and subsuming it under an archival order. More concretely, and by way of example, it will inquire into the changed status of cinematic documents of the Shoah which, under the conditions of the Web 2.0, have been transformed into digital images. For decades, this archival material - consisting of individual amateur recordings as well as, most significantly, of the images produced by camera operators of the Allied troops and, more broadly speaking, of subsequently recorded acts of witness bearing - circulated exclusively as an integral component of films, television broadcasts, and museum displays; today, however, it appears under the premises of an internet-centred image economy in which historical images can be accessed instantaneously, as well as copied, fragmented, appropriated and distributed at will. The project will explore the changed relationship between streamed archive footage and the viewer as well as the proximity of image repertoires which formerly occupied different ends of the spectrum of visual culture (in terms of epistemology and the economics of attention), and which now can be accessed in simultaneously refreshable «windows» of observation (on commercial video sharing platforms, where footage of liberated concentration camps is just one click away from other random content of visual culture; and also by browsing through archives of moving images such as the free online «Steven Spielberg Film and Video Archive» of the United States Holocaust Memorial Museum). The processes sketched above transform the aesthetic form but also the politics of memory of these precarious images in a fundamental manner. The project aims to provide a conceptual framework which deals with the aesthetics of streamed online videos as well as the corresponding digital order of knowledge which administers and distributes cinematically archived «history». This media theory of streamed moving images - taking the digitised archival footage of the Shoah as its point of departure - accordingly also examines the fundamental properties of the Internet as a post-cinematographic medium. The complex remediation of a specific corpus of historic documents, which have thus far not been analysed in terms of digital and new media theory - the fact that they can be distributed and viewed to a greater degree than ever before, under a regime of perception that is informed by the architecture of websites, search algorithms, browser functions, user interfaces and images codecs as well as by the increasingly mobile media technologies of «wearable computing» - shall serve as a concrete case study in order to gain a more encompassing theoretical perspective on the Internet as a global medium of circulation, access and memory for moving history images.