Cultural Authority and the Art Museum:The Use of Digital Video in the Visitor's Encounter with the Work of Art.

文化当局和艺术博物馆：数字视频在参观者与艺术作品相遇中的使用。

• 批准号: AH/I024534/1
• 负责人: Andrew Dewdeny
• 金额: $ 7.68万
• 依托单位: London South Bank University
• 依托单位国家: 英国
• 项目类别: Training Grant
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI024534%2F1
• 关键词: Cultural; Authority; Art; Museum; Use

The application is for a research student to work on an extended programme of practice-led research and video ethnography mapping and testing approaches to the uses of video related to the production and reception of art works at Tate. The aim is to develop new knowledge for museum professionals on how digital video mediates and relays meanings and experiences of art. It is envisaged that the research will be of direct use in practical approaches to learning, interpretation and marketing and media.The rationale behind this programme lies in a wider grasp of how digital technology is rapidly bringing about a cultural convergence between producer and user generated content. Digital Video, is an integral component of digital mobile media and online media in new cultures of participation, (Jenkins.2009) Digital video is a powerful medium through which meaning is constructed and communicated and its increasing use by both museum professionals and the public forms the basis for the proposed research in looking at how forms of media practice can inform the art museum of the relationship between professionals and visitors digital mediation of art.Tate along with other international and national museums is increasingly turning to the use of video for a variety of informational as well as engagement purposes, ranging from: interviews with artists; qualitative education documentation and evaluation; market research; interpretation and online exhibition feedback. The use of digital video in these different contexts across Tate is generating a wealth of visual data for which there is currently a limited overview of the differing methodologies which underpin the use of video. Further, whilst there is an increasing use of video related to the professional production and exhibition of works, there is only limited access for the visitor to use mobile media as part of their gallery experience.The research will produce new understandings of the use of digital video in the mediation of the experience of and value for the art museum and draw upon the conceptual insights of the AHRC/DMI funded Tate Encounters research programme (2007-2010) in furthering the application and reach of the concepts of transvisuality and the transmedial. These related concepts will form an initial hypothesis for developing new practice-led approaches to meaning formation in the art museum experience given that they represent a challenge to any unproblematic notion of video providing unmediated or indexical knowledge of events in time and space. Importantly the approach to practice-led research will also develop methodological understandings in the area of digital video practice as a reflexive research form capable of producing new analytical knowledge, rather than being understood as a medium for gathering research material for subsequent textual analysis. The research proposes to look at this broad analytic and theorised context of cultural change in digital culture through an extended empirical study. The research will systematically explore the staging of mediation in terms of premediation, (Gruisin.2004), remediation (Bolter & Grusin 2000) and transmediation, (Siegal 1995), which will provide the methodological basis for a micrological and qualitative focus upon how meaning is constructed in the encounter with and interpretation of works of art displayed and exhibited at Tate. This proposal also develops from the work of Tate Encounters and aims to develop and extend understandings of how visitors from a wide range of cultural backgrounds construct meaning in their encounters with works of art in a gallery space and what experiential and cultural resources they draw upon. The partnership will continue the fruitful and productive collaboration between Tate and the Centre for Media and Cultural Research at LSBU.

该应用程序是一个研究生工作的实践为主导的研究和视频民族志映射和测试方法的扩展程序，以使用视频相关的生产和艺术作品在泰特的接收。该项目旨在为博物馆专业人士提供有关数字视频如何传达和传递艺术的意义和体验的新知识。预计该研究将直接用于学习、解释、营销和媒体的实践方法。该项目背后的基本原理在于更广泛地掌握数字技术如何快速实现制作者和用户生成内容之间的文化融合。数字视频是数字移动的媒体和在线媒体在新的参与文化中不可或缺的组成部分，（Jenkins.2009）数字视频是一种强有力的媒介，通过它，意义被构建和传达，博物馆专业人员和公众越来越多地使用数字视频，这构成了拟议研究的基础，研究媒体实践形式如何告知艺术博物馆专业人员和公众之间的关系。泰特美术馆沿着与其他国际和国家博物馆一起，越来越多地将视频用于各种信息和参与目的，包括：与艺术家的访谈;定性教育文件和评估;市场研究;解释和在线展览反馈。泰特美术馆在这些不同的背景下使用数字视频产生了丰富的视觉数据，目前对支持视频使用的不同方法的概述有限。此外，虽然越来越多地使用与作品的专业制作和展览有关的视频，只有有限的访问为游客使用移动的媒体作为他们的画廊体验的一部分。研究将产生新的理解使用数字视频在调解的经验和价值的艺术博物馆和借鉴的概念见解的AHRC/泰特美术馆资助的泰特遭遇研究计划（2007-2010），以促进transvisuality和transmedial概念的应用和范围。这些相关的概念将形成一个初步的假设，为发展新的实践为主导的方法，在艺术博物馆的经验意义的形成，因为他们代表了一个挑战，任何没有问题的概念，视频提供未经中介或索引的知识的事件在时间和空间。重要的是，以实践为导向的研究方法也将发展数字视频实践领域的方法论理解，作为一种能够产生新的分析知识的自反性研究形式，而不是被理解为收集研究材料用于随后的文本分析的媒介。本研究建议通过扩展的实证研究来审视数字文化中文化变革的广泛分析和理论背景。该研究将系统地探讨调解的预调解（Gruisin，2004年），补救（Bolter & Grusin，2000年）和transmediation（Siegal，1995年），这将提供一个微观和定性的重点是如何构建意义的方法论基础上遇到和解释的艺术作品在泰特美术馆展出。该提案也是从泰特艺术馆的工作发展而来，旨在发展和扩展对来自各种文化背景的游客如何在画廊空间中与艺术作品相遇时构建意义的理解，以及他们利用了哪些体验和文化资源。该合作伙伴关系将继续泰特与LSBU媒体和文化研究中心之间富有成效的合作。