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

该申请是为一名研究生提供一个扩展项目，以实践为主导的研究和视频人种学测绘，并测试与泰特美术馆艺术作品生产和接收相关的视频使用方法。其目的是为博物馆专业人员提供关于数字视频如何中介和传递艺术意义和体验的新知识。预期这项研究将直接用于学习、口译、销售和传播媒介的实际方法。该计划背后的基本原理在于，更广泛地理解数字技术如何迅速带来生产者和用户生成内容之间的文化融合。在新的参与文化中，数字视频是数字移动媒体和在线媒体的一个组成部分，（詹金斯，2009）数字视频是一种强大的媒介，通过它可以构建和传达意义，博物馆专业人员和公众越来越多地使用数字视频，这是研究媒体实践形式如何使艺术博物馆了解专业人员和游客之间关系的基础。泰特美术馆以及其他国际和国家博物馆越来越多地转向使用视频来实现各种信息和参与目的，包括：对艺术家的采访；定性教育文件和评价；市场研究;口译和在线展览反馈。在Tate不同的背景下使用数字视频产生了丰富的视觉数据，而目前对支持视频使用的不同方法的概述有限。此外，虽然越来越多的人使用与专业作品制作和展览相关的视频，但参观者使用移动媒体作为其画廊体验的一部分的机会有限。该研究将产生对数字视频在艺术博物馆的体验和价值中介中的使用的新理解，并借鉴AHRC/DMI资助的泰特相遇研究项目（2007-2010）的概念见解，进一步应用和触及透视性和跨媒介的概念。这些相关的概念将形成一个初步的假设，以发展新的以实践为主导的方法来形成艺术博物馆体验中的意义，因为它们代表了对任何毫无疑问的视频概念的挑战，这些概念提供了时间和空间中事件的无中介或索引知识。重要的是，以实践为主导的研究方法也将在数字视频实践领域发展方法论理解，作为一种能够产生新的分析知识的反思性研究形式，而不是被理解为为后续文本分析收集研究材料的媒介。该研究建议通过扩展的实证研究来看待数字文化中文化变革的广泛分析和理论化背景。本研究将从预调解（Gruisin.2004）、补救（Bolter & Grusin 2000）和调解（Siegal 1995）三个方面系统地探索调解的阶段，这将为微观和定性关注在泰特展出和展出的艺术作品的遭遇和解释中如何构建意义提供方法论基础。该提案也从泰特相遇的作品中发展而来，旨在发展和扩展对来自不同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以及他们利用了哪些经验和文化资源的理解。此次合作将延续泰特美术馆与伦敦理工大学媒体与文化研究中心之间卓有成效的合作。

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.