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索在线流媒体视频，并将其分析为一种分发运动图像并将其归入档案命令的新模式。更具体地说，作为例子，它将探讨在Web2.0条件下已被转换为数字图像的Shoah电影文档的变化状态。几十年来，这些档案材料--包括个人业余录音以及最重要的是盟军摄影师制作的图像，更广泛地说，是后来记录的证人行为的图像--作为电影、电视广播和博物馆展示的组成部分专门分发；然而，今天，它似乎处于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，以及随意复制、碎片化、挪用和传播。该项目将探索流动档案胶片与观众之间关系的变化，以及以前占据视觉文化光谱不同一端的影像曲目的接近程度(在认识论和注意力经济学方面)，现在可以在可同时刷新的“观察窗口”中访问这些曲目(在商业视频共享平台上，解放集中营的镜头距离其他随机的视觉文化内容只有一键之遥；还可以通过浏览运动图像档案，例如免费的在线美国大屠杀纪念博物馆的“史蒂文·斯皮尔伯格电影和视频档案馆”)。上面描述的过程不仅改变了审美形式，也从根本上改变了对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，处理在线流媒体视频的美学以及相应的数字知识秩序，以管理和分发以电影形式存档的“历史”。这一流动运动图像的媒体理论--以大屠杀的数字化档案镜头为出发点--也相应地考察了互联网作为后电影媒体的基本属性。对特定的历史文件语料库的复杂补救工作，迄今尚未从数字和新媒体理论的角度进行分析--事实上，在一种受网站架构、搜索算法、浏览器功能、用户界面和图像编解码器以及越来越多的移动媒体技术“可穿戴计算”影响的感知制度下，这些文件比以往任何时候都能在更大程度上被分发和查看这一事实--应作为一个具体的案例研究，以便从更全面的理论角度看待互联网作为移动历史图像的全球流通、获取和记忆媒介的问题。

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.