http://irss11.friendlinkup.com/ Senses of Places, the digital mediation of Cultural Heritage en http://irss11.friendlinkup.com/2008/08/17/meditating-on-mediation.html I have added a total seven icon primitives: People: You can select a person to ‘guide’ you, or to share the journey with you. Remix molecule: A combination of text, image, movie, photo, sound, person. You can add this to other media, but the piece must be played whole. We came to an agreement this is important, since it is an edited, creative piece. Movie: A video clip, can be re-edited. Sound: Song, ambient or voice-over. Image: Photo, drawing, sketch or other image. Text: Note, bibliographic reference, description, etc. Path: A walk, or other prescribed journey, the glue that holds the media together. My task tomorrow is to take this all together, into an actual usable interface that works with the story. Fortunately, Ruth as well as I worked very hard on the script yesterday as well as I think we are onto something doable. The idea is to retain to 12 minutes. I think this is crucial, as there shall be gaps as well as pauses as well as breaks, as well as if we can retain to time, we shall be much more impressive. This is seriously fun. I never would have thought to utilize iTunes as a media portal, but now that I have, I rebuild the RAVE: Real Audiences, Virtual Excavations, to work inside of iTunes. I am going to podcast the lot tomorrow as part of all of this. Check it, M> http://irss11.friendlinkup.com/2008/08/17/meditating-on-mediation.html Sun, 17 Aug 2008 20:32:25 -0400 irss11 http://irss11.friendlinkup.com/2008/08/19/remediated-places-aaa-nov06-script-draft-3-and-4.html This version has been drastically cut (mostly my prolog) to be able to come adjacent to the 12 min limits that Michael wants. You can download this version which is in the classic script with words on the left as well as scene as well as media on the right RP on behalf of AAA real script in 2 columns Senses of Places: Remediations from text to digital performance. Script. v.3 The Performance Prelude. 1 min Ruth: In the 15 minutes allotted to us I shall be orchestrating a performance of the Remediated Places Project. The project aims to share multisensory experiences, construction as well as memories of places, specifically Cultural Heritage sites. In our project we focus on digital remediation especially the concept that digital technologies as well as media can be (but often are NOT) harnessed to engage multiple senses in the experience as well as exploration of places in ways which encourage ambiguity, multivocality, critical thinking, as well as complex exploration. Setting as well as Action as well as Media on screen: The Remediation of archaeological as well as heritage places from Remediation by Jay Bolter as well as Richard Grusin in which the word Remediation has nothing to do with healing but is created from “mediate”, with “re” expressing the idea of mediating what has already been mediated by media – a distancing from the immediate (often tangible) medium, with an effect of empowering as well as authenticating the original or critiquing it, subject to the nature of remediation). The project has been first developed at the archaeological excavation of the 9000-year old mound of Çatalhöyük, Turkey. This site, or rather its North end, shall be the focus of our short performance. Setting: on screen: photo as well as plan of Catal The website on behalf of the project is: http://irss11.wordpress.com/ Setting: website screenshot/address A text describing more about the project as well as the various sources of inspiration on behalf of it . is available on behalf of download at the project website. Setting: ?on-screen? Inspirations: in New Media database narratives as well as recombinant historiography, as well as theories of place as well as multisensory approaches to it. This presentation explores the different formats in which a database of media, including videowalks, might be used to create a multisensory approach to archaeological as well as heritage places. The formats include on-site installation as well as on-line interactive website that are took combined in the third format – this reside performance. We like to think that what we are going to give you is a taste of what Sarah Pink calls a “cultural performance…..’more like improvisational theatre than a play because of the fact that (and here she quotes Jack Ruby) ‘the reduction of culture to text systematically excludes the embodied as well as the sensory knowledge that is at the core of culture”. For now, sit back as well as take what you shall from our presentation.. Scene 00: 1.5 min Narrator: I require 4 volunteers who don’t mind getting themselves hot as well as sticky as well as dusty as well as one volunteer with a laptop as well as an Internet connection Setting: A group of 4 people stand in front of the screen in “vacating in hot, sunny exotica clothes”. They hold guidebooks, one a video iPod, cameras, camcorders. Maybe they know each other. A fifth “visitor” is off to the side: an Internet “visitor” Media: Maybe Play RAVE Getting There movie or R’s Flash trip. Mellaart famous pics (from EAA2002) Narrator Welcome to Çatalhöyük. You’ve read lot about it in books, seen pictures, maybe even movies, visited the websites. Now you have bought a guidebook (wave guidebook). Did you see the intro movie in the Museum? (respond?) Now it’s time to begin your tour. Follow your tour-guide. Good luck. Oh there he goes, better catch him up…. Scene 1: the bad experience 1.5 min Scene 1a: tourguide but no tourguide: Setting as well as Action: Walkers jog to catch up, don’t know where they are going. Nothing is said. Internet guy is flailing around on the computer or is still stuck on the first page of the website. Media: movie of early morning walk up to TP and/or Mellaart from guardhouse Scene 1b: guide but wrong language Setting as well as Action: Walkers are all crowding back with confused as well as disgruntled looks. RET: You’re back quickly. Did you see enough? Walker: we had no idea what we were supposed to look at. Our guide never said anything. Are we supposed to look at the guidebook? Which way is north anyway? RET: Well you can’t just walk around the site by yourselves, can you! BUT OK we’ll see if there's someone around to guide you. Follow them promptly or you’ll miss the commentary. (they transfer off) You did say you knew Turkish didn’t you? Setting as well as Action: Walkers start trudging on same route Media: movie of early morning walk up to TP and/or Mellaart from guardhouse (preferably opt on behalf of female “guide”); Turkish tour commentary. Scene 2: guide with information. 1.5 min Scene 2a: Guardhouse to North with Info commentary Setting as well as action: Walkers are all crowding back with even more confused as well as disgruntled looks than before as well as loud mutterings about not understanding what was being said. RET: My goodness, you’re back again. You couldn’t understand what was being said? That’s strange… We don’t have anyone else to guide you. Oh well, I’ve got the very answer. It’s our new self-guided (but escorted) tour of the site. You are going to take a tour of the site. Your first destination is the North area. You with the iPod can hear some information in English or Turkish during the tour, as well as you can tell the others. You on the Internet can see some QTVRs. Action: Show a conventional map of the East Mound, on which is superimposed the SMM map of nodes. The walkers start off with their iPods as well as miscellaneous earphones. As they walk off: RET: You must retain to the paths as well as retain up with your escort; do not pick anything up; you can take photographs. Media: SMM map of nodes. Video of Videowalk#1. Ian’s audio commentary on behalf of this leg (?and his intro?) Action: Everyone starts walking uphill in the heat as well as dust. Walk speeds up. Bla…bla bla….. Disembodied voice (RET) Are they listening to what he is saying? What are they looking at – the path itself, the landscape, the destination at the top of the mound? What are they thinking? Action: Bubble text superimposed on walk mirrors what the walkers are thinking as well as perhaps muttering. Ian’s commentary is still going Walker mutters (Ian’s voice still talking, video walk still going)) • It’s hot • I’ve got dust in my shoes • Should have took a hat as well as some water • What did he mean about all those people underfoot • Just to get to the top, I’m out of shape; archaeologists must be fit; • This mound was flat! that’s weird • Wonder what’s on behalf of lunch • Sure would like a toilet….perhaps not…. Scene 2b: around but outside the 4040 area Setting as well as Action: They reach the top, hot as well as sweating. Walk past Building 1/5 to 4040 area; Shaded areas. Stand at edge of excavation area crowding in to look at the archaeologists. Ian’s commentary continues, but fades in as well as out as walkers lose concentration. Disembodied voice: Stand back from the edge. Please do not disturb the archaeologists with your questions – listen to the commentary or read your guidebook. Walkers mutter now a bit clearer as well as louder: • Wish we could get closer. • I don’t know what I’m photographing. • I don’t get it. What’s going on. I’m confused. • It’s cool here at least • At least we’re out of the sun. I think I’ll just sit down over here (reprimand) • How do they know where to dig. Media: Videowalk #4 around 4040 area. Ian commentary on behalf of this area. Walker: There has to be more to this place than what we are hearing as well as seeing. We are so detached from what’s going on. We’re just observers. I desire to participate as well as be actively engaged; otherwise I’m afraid I find this a bit boring. And that doesn’t mean I just desire to request questions. I desire to feel the place as well as hear its stories at the same time. Action: Other walkers are getting restless; background music gradually drowns out Ian’s commentary as they lose it. They all leave as well as start back downhill Internet guy: I don’t feel a thing. I observe the movie as well as hear the commentary…… It’s OK Media: ?play Goldfish Bowl movie? Background music of increasing volume. Scene 3 Transformation – the curtain 30 sec Setting as well as action: Quick backwards movie takes us back to the start, like a vortex. Audience are swept off their feet, tumble in a pile. Chimera curtain comes up as well as covers screen. Disembodied voice: So you desire to work a little harder, do you? So what would help to engage you in the process of creating this heritage place at Çatalhöyük Setting as well as action: some kind of swirling words as each audience person makes a suggestion that ends up in the gradual clarification of our interface. Spoken words as well Sound increases; modification of perspective to user’s view of map with walks; this is gradually swamped by the roof of the South Shelter. Media: “Shelter Ballet” (toggle chaos of nodes as well as paths to order = passage through); map of video walks; the Chimera curtain. Something like (or using); Screen Brown Univ CAVE: http://www.uiowa.edu/~iareview/tirweb/feature/cave/ScreenProfile2004_HiFi.mov: e.g., participation, we are stakeholders too; passion; presence; share; I desire to contribute; I have something to say; are you listening? I don’t desire to be controlled, etc. Scene 4 Do you desire to take a walk? Walk #1 again. 2 min RET: Here is a map of nodes as well as paths between them at Çatalhöyük. Nodes are more obvious locations on this mound where you can stop as well as watch. But we encourage you to think of the paths between as places of interest. You can stop at places on the paths as well as listen or observe or feel. Would you like to take a walk? I suggest Walk #1. On this drawing you can see where we’ll guide you as well as where you might desire to pause as well as think about things. It’s the same walk you took a few minutes ago… Setting as well as action: One of the beams of the roof morphs into a map view of Walk 1, with a node at each end: GuardHouse as well as North, as well as pauses along the way. Walkers start to walk, looking at their iPods as well as camcorders. Internet Guy gets it on his/her laptop. Media: “Shelter Ballet”; plan of Walk #1 Disembodied Voice: Let me share with you some of the sensory experiences as well as responses that I have as I take Walk #1. Audience: But who are you? DV: I am an archaeologist who works at Çatalhöyük. I have created this walk –it’s one of our ready-made vignettes – from bringing combined videos as well as images as well as audio. Media: VideoWalk #1; superimposefade in videos of dust, owl, shoes, gophers, interview audio, ambient sound (I require to work this out on behalf of next draft) Scene 5: Place, People as well as Memory – the BACH house 2 min Walker: Isn’t a sense of place about other people as well as your posses sensual perception as well as bodily experience? DV: But look, we have another layer of sharing – about memory, people remembering Catal, memories of earlier excavations, even memories of some very early residents… Let’s opt on behalf of Walk #3 – the BACH house. Setting as well as Action: Reach top of hill – North area. Roof-ballet to show position of Walk #3. Videowalk #3 starts at the North, past Building 1/5 on left as well as 4040 on right to BACH area with RET pointing out stuff (no sound), Bach music playing instead. Media: VideoWalk #3; some Bach music; Walker1: But what is she pointing out? There’s nothing there. And Dr. Hodder never said anything about an excavation in this spot. Walker 2: as well as why is that Bach music playing DV: it’s to remind you that this was the area where the BACH team excavated Building 3 on behalf of 7 years. In 2004 it was filled in as well as now there's nothing to see. But on behalf of 7 years people lived here…. Action: videos of Conversations; Mira’s story; Death of BACH house Media: videos of Conversations; Mira’s story; Death of BACH house Scene 6: Behind the Scenes: Database Narratives. 1.5 min Walker: What’s behind this? How do you take in all this stuff? How do you select it? Action: show the Database (or rather its illusion) RET: A bit of a serious interlude: In addition to media (photographic as well as drawn images, video, texts, etc) that have been created during the course of archaeological excavation as well as other research by the various teams working, we have created specific media on behalf of the project, including a complex of videowalks (otherwise known as peripatetic video), video conversations with members of the archaeological teams on their remembered sense perception, ambient sound clips, voice-over commentaries. These media have been took combined in a relational database. In the Remediated Places Project we like to draw out these innumerable fragments of sense, memory as well as information from the database as well as recombine or remix them into tours with narratives that are not random but manufacture sense since they are situated within categories as well as organized according to predetermined associations to share past as well as present places. These database narratives (or “digital histories”) are at all times changing, they are multivocal, as well as they are open-ended, but they are created on the base of the same data. So we desire to hear your narratives as well as how you manufacture sense of them. Scene 7: User Testing 3 min Setting: Back to the Interface/SouthShelter Roof RET: Welcome back. Was that a better experience? Walker 1:It was much more fun. I’d like to opt on behalf of for myself what to look at as well as listen to while I’m walking? DV: Sure you can Setting: The interface now shows the full interface with all of the options as well as icons Walker 1: I opt on behalf of Walk 1 with this video clip from foot ballet, some of Professor Hodder’s informative commentary, as well as an old interview with James Mellaart. Action: the walkers do the walk 1 (speeded up) with these options Walker 2: Why did you manufacture these choices. Look they suggest you discuss that. Your choices don’t manufacture sense. James Mellaart didn’t excavate in the North. Ian just said they were the first to excavate in this area in 1993. So Mellaart never would have walked up there. Walker 1: How do you know he didn’t walk here up this path. And what about those guys walking up this path 9000 years ago. I never would have even started along this path (ha ha) of thought if I hadn’t chosen these items at random. Walker 3: Maybe you can upload your idea of Mellaart wandering around the site to the website when you get home. Someone might respond. Internet Guy: This is great! I can experience the site from my armchair as well as I can take my time as well as get some guidance on creating my walks. Here I don’t have to jump at just anything at random. I’m someone who likes things to manufacture sense immediately. Media:Mellaart video; Hodder commentary; foot-ballet video; RET or MA: We have created filters in the database through tagging various parameters that prevent a user from making random remixes that manufacture no sense; on behalf of example Ian Hodder’s commentary on Building 5 can only be used on behalf of VideoWalk#2, as well as James Mellaart’s commentary on the “map” fresco at Catal makes sense in the South Area of the site. These tags can be overridden; users can create tours that are uninformed, unguided, random as well as whimsical. We think, however, that, as the users/visitors create their posses tour or narrative from the project database it is important that they think about their choice of media sets as well as the rationale on behalf of their remix. How would they manufacture their tour meaningful to others. As we have seen from the preceding discussion, a clip that seems to be inappropriate in a remix on behalf of a walk can actually become the start of an interesting exploration of a recombinant history. http://irss11.friendlinkup.com/2008/08/19/remediated-places-aaa-nov06-script-draft-3-and-4.html Tue, 19 Aug 2008 19:53:09 -0400 irss11 http://irss11.friendlinkup.com/2008/08/16/remediated-places-aaa-nov06-script-draft-5.html Today, I practised with my walkers, Colleen, John Chenoweth, as well as Kim Christensen, as well as I think they shall be great. John was even a theater major before graduate school. Michael as well as I worked combined bringing our Keynote slides together. Michael made the brilliant suggestion to cut our second ready-made vignette (on memory as well as the BACH area) as well as utilize it in Scene 7, which is where the walkers create their posses tour. This was a great idea, because of the fact that I had already thought this was the wqeakest part of the performance, as well as his idea solved two birds with one stone. So here you can download what (I hope) is the ultimate draft of the script, now color coded, still in two columns.final draft AAA RP script #5 http://irss11.friendlinkup.com/2008/08/16/remediated-places-aaa-nov06-script-draft-5.html Sat, 16 Aug 2008 20:45:06 -0400 irss11 http://irss11.friendlinkup.com/2008/08/18/beyond-etext-remediated-places-draft-1.html Senses of Places: Remediations from text to digital performance. Draft 1 March 1, 2007 Ruth Tringham Michael Ashley (Prepared on behalf of submission to the on-line format of Visual Anthropology Review) In the 15 minutes allotted to us at the Annual Meeting of the AAA in San Jose in December 2006, we orchestrated a performance of the Remediated Places Project. This is the first draft of a revised version of the paper that accompanied that performance, incorporating the script of the performance with its modifications, as well as a more structured examination of media database, the interface as well as the database narratives that are emerging from the project. Pdf version: Beyond EText: Remediated Places (Tringham as well as Ashley) Draft 1 In this paper, we present: The nature of the Remediated Places Project itself The context of the content that is used in this performance of the Remediated Places Project The theoretical context of the Remediated Places Project as well as the performance in terms of digital technologies, hypermedia as well as New Media creativity, the process of historical construction, as well as the remediation of places of significance on behalf of cultural heritage An outline of what happened at the “performance” Introduction The idea of Remediation of archaeological as well as heritage places was inspired by the book Remediation by Jay Bolter as well as Richard Grusin (Bolter as well as Grusin 1999). Remediated Places has nothing to do with the traditional root on behalf of the word (remediare – to heal) but is created from “mediate”, with “re” expressing the idea of mediating what has already been mediated by media. It is based in the aesthetic of hypermediacy - the semi-transparency of looking at reality through a window or mirror as seen an estimated all recently in the WWW interface style, Mac (and later Windows) interface, as well as computer games. Hypermediacy has much in common with hyper-reality, discussed by Baudrillard (Baudrillard 1983), not surprisingly since the latter (see below) also appeals to our visual senses. In their book, however, Bolter as well as Grusin point to some of the social as well as sensorial causes of the attraction of hypermediated products. Hypermediacy provides an increase in speed/immediacy of delivery (immediate satisfaction of desire) interactivity (point as well as click navigation as well as exploration, traveling through the network) potential transparency vis-a-vis source control of sensual (sight as well as sound) experience; touch is also involved ability to experience multiple sights as well as sounds simultaneously ability to multi-task Thus the aesthetic of hypermediacy seems to have great appeal to voyeurism, emotions, passions (maybe because of the fact that numerous senses are involved); a fascination leading to addiction. However, before we pass judgment on the Internet as well as computer games as the nemesis of the intellectual enterprise, we desire in this presentation to argue through “digital performance” that digital technologies as well as media can be harnessed to engage multiple senses in the experience as well as exploration of places in ways which engender more creative re-contextualization than text (even if an e-text) alone or even text with images ever could – in ways which are less explicit, more complex as well as much more subtle. In Remediation, Bolter as well as Grusin identified two strategies on behalf of remediation: Respectful Remediation: in which other media are represented in digital form without apparent irony, critique, manipulation, or challenge in the mediation. The remediated form enhances the authority as well as authenticity of the original. Radical as well as revolutionary remediation. This is the strategy claimed by the “real” WWWebbers as well as New Media artists as well as performers who seek to critique as well as improve on other media in the process of mediation. For the an estimated all part, archaeological participation on the WWWeb has been respectful as well as the remediation of the archaeological process as well as the construction of the past through archaeological data in popular as well as professional discourse has an estimated never strayed from the highly respectful. We believe, however, – as well as the Remediated Places Project strives to put this into practice – that “Radical Remediation” is much more likely to give rise to the realization of Ian Hodder’s turn of the century dream on behalf of multivocality at Çatalhöyük (Hodder 1999). Radical remediation returns to some of the more original theoretical principles of hypertext (Joyce, et al. 2000; Joyce as well as Tringham in press; Landow 1992) that encourages “writerly” texts in which what the author writes changes when read by a reader who then re-uses this in her posses writing. In this kind of writing (hypertext/hypermedia production) the author’s writing is respected, but can be challenged by another author, as part of the de-centering – nothing is sacred; the construction of knowledge is essentially collaborative as well as cumulative. Even the sacred ground of databases is subject to radical remediation, which is another principal of our project. The Remediated Places Project The project aims to share the multisensorial experience, construction as well as memory of places, specifically Cultural Heritage sites. Media through which this challenge is approached include VideoWalks, Video(Pod)casts, audio recordings, interviews of remembered sensations. The first site in which the project has been developed is the 9000-year old mound of Çatalhöyük, Turkey. The project was created in the Fall of 2004 with video interviews of Çatalhöyük archaeological team members on their memories of sensorial experience at this place in the middle of Turkey created each summer by a team of over a 100 people. The idea was to create a database of these memories as well as add to them multi-sensorial memories of imagined residents at the site 9000 years ago. In July 2005, we added the dimension of layered videowalks that were filmed during the excavation season. At this point the project was referred to as CatalVideoPlace project. In May 2006, all of us (who are “we”) got combined in San Francisco on behalf of a month. The project expanded to include the San Francisco Presidio, which was in continuous utilize as a military post from 1776 to 1994, spanning the Spanish, Mexican, as well as United States periods. It is now a National Historic Landmark District. At this point we renamed the project the Remediated Places Project. In addition to media, (photographic as well as drawn images, video, GIS maps, texts, numerical data) that have been created during the course of archaeological excavation as well as other research by the various teams working at Çatalhöyük, we have created specific media on behalf of the Remediated Places project, including a complex of videowalk legs (otherwise known as peripatetic video, Witmore 2004) recorded with binaural microphone, video conversations with members of the archaeological team at Çatalhöyük on their remembered sense perception, ambient sound clips, voice-over commentaries. These Remediated Places media from Çatalhöyük have been took combined as well as incorporated with the media from the Çatalhöyük archaeological project into a database that is part of a larger project: “Remixing Çatalhöyük” [1]. The media in this database are “tagged” to express their relevance to themes that we consider significant on behalf of our understanding of the past, not only at Çatalhöyük. In this respect the Remediated Places Project is expandable both chronologically as well as spatially. In the original iteration of the project we had identified three themes or “layers”: information, memory, as well as sensorial experience. As part of the larger “Remixing Çatalhöyük” project, these three themes have been transformed into four: Life Histories of People, Places, as well as Things (incorporating memory), the Senses of Place (incorporating the sensorial experience), Viewing the Past at Multiple Scales (incorporating information), as well as Communicating as well as Collaborating with the Public (which lies at the heart of the Remediated Places Project). There are numerous “multi”s incorporated into the Remediated Places Project: multiple voices, multiple viewpoints, multiple scales of meaning as well as view, multiple databases, multiple media formats, as well as so on. We also assume that there are numerous different ways of learning as well as finding creative satisfaction. To that end, not only do we present this “paper” in a number of different ways, but we trust that the project can be a number of different formats in which this database of media might be remixed as well as explored to create narratives that share an understanding of place at these archaeological as well as heritage sites by different kinds of audiences: · On-site installation, on behalf of example at an Interpretive Center; you are a visitor to this famous site of Çatalhöyük. You’ve read about it, seen pictures, even movies, bought a guidebook, seen the intro movie in the Museum. Now you take a small video camera (or – more likely - a video iPod or even an iPhone) in your hands as well as don a pair of headphones as well as take the path. Before you set off you can opt on behalf of from several “theme” options: You may have chosen the theme which gives you a “sensuous tour” of the site. This shall give you an experience enriched as you walk across the mound by references (in your ear) to the scents of the early morning; the sound as well as feel of the snow underneath your feet in another season; the sounds of birds, wind, as well as - as a contrast to your feasable current physical experience in the scorching sun – cool moonlight or even a winter’s day as well as the sound of rain (to remind you that it is not at all times like this); you shall hear other sounds of people walking contigous to you as the team escorts you to the excavation with their posses experiences being expressed; you shall see intimate close-ups of the excavation where you can't go; you can walk (virtually) amongst the actual remains of the houses as well as experience the rhythm of excavation in the hands as well as tools of the archaeologists, as well as hear the multi-lingual quiet chatter of voices. Or you may have chosen the “life-history” option in which you get to experience through voices, diaries, images as well as videos fragments of the memory of past excavations as well as archaeologists in these places as well as the lives of past villagers as well as houses, so that you experience a continuum of time as well as place. Before your eyes as well as ears the houses shall go through a life-cycle, as well as so shall the excavations. Or maybe you shall be more conventional in your desires as well as opt on behalf of the “multiple view scales” option, a tape in which the mound as well as the excavated areas are given meaning in terms of the regional landscape, in terms of multiple scales of social organization, social as well as economic evolution as well as the beginning of a sedentary way of life. You shall learn a lot of useful information. But be careful – even in this tape we can't avoid some amusing subversive remediation, slipping into multiple interpretations as well as arguments with other archaeologists, or a reflexive musing on the meaning of all of this archaeology in terms of its local as well as global position as a place of cultural heritage. Finally you may desire to take your videowalk with archaeologists telling you about their lives as well as why they think this work is important; to see the efforts of Çatalhöyük to become a World Heritage site; to hear the voices of people living in the villages as well as towns around the site as well as what they think about the place of Çatalhöyük as well as the work of the archaeologists · On-line Internet version. You are a visitor to the Remediated Places Project website which you have reached via the Çatalhöyük website or from other links or Google. You desire to take a virtual tour on your computer or your TV monitor. As we show in the movies linked to this presentation, the interface on behalf of the on-line format mirrors that on behalf of the on-site format that is seen on the video iPods. o You could observe a “straight” video tour without any montage or collage or interactivity beyond written or spoken information. Such tours already exist, on behalf of example, on the Çatalhöyük website as well as the “Mysteries of Çatalhöyük” website created by the Science Museum of Minnesota. A sidepoint here's that both the above-mentioned website tours manufacture utilize of Quicktime Virtual Reality in which a user progresses in an illusion of forward motion by utilize of a “zoom” feature. This is very different from being behind the eye of a camera that is actually moving forward. o We would suggest that you opt on behalf of a theme as well as a walk, as well as add “screens” in which images, sounds as well as other videos enhance your virtual experience. Although the options mirror the on-site version of the project, in the web-based version the visual additions are more easily viewed as well as you have the choice of jumping to the excavation nodes - as in the more conventional tours – without the physical necessity of walking the several hundred yards between. In the excavation nodes or places, such as the area of the BACH (Berkeley Archaeologists at Çatalhöyük) area – now filled in as well as invisible - there's a focus on intimacy as well as close proximity, as well as a slow pace of movement, a focus on hands as well as trowels as well as feet to express the sense of touch, the sounds as well as slow pace of excavation; we are interested in the process of excavation when all is ambiguous as well as confusing, before the end-product of clarity as well as cleaned up features. o We encourage you to spend some time walking along the paths between the excavation places, in which there's an opportunity to be less distracted by the intense activity in front of you, to muse listening to commentaries, voiceovers, ambient sounds, as well as diaries, as well as watching other videos that guide you to think laterally about the video-walk that you are “following”. Live performance. At the Annual Meeting of the AAA in San Jose you might have attended the performance of “Sensuous Çatalhöyük” - as outlined at the end of this paper - something between a play, an opera, as well as circus. The performance combined the on-line Internet format with the movement experienced by participants of the on-site walk. We like to think that what we gave you was a taste of what Sarah Pink calls a “cultural performance…..’more like improvisational theatre than a play’ because of the fact that ‘the reduction of culture to text systematically excludes the embodied as well as the sensory knowledge that is at the core of culture’” (Pink 2006, p.49 quoting; Ruby 2000). The context of the content that is used in this on-line presentation of the Remediated Places Project Sharing the multisensorial experience of a place, especially one constructed in the past from archaeological investigation, is a challenge which is taken up in this presentation through the example of the current archaeological project at the 9000-year old settlement of Çatalhöyük, Turkey in which we have been involved since 1997. Ours was a project from the University of California at Berkeley (BACH) to excavate a single building, Building 3, under the umbrella of the predominant project directed by Ian Hodder of Stanford University. The predominant project represented a renewal of work from 1993 at the site made famous on behalf of its painted elaborations of the plastered walls of its mud-brick houses in the 1960s by James Mellaart (Mellaart 1967). Video-recording of the archaeological process at Çatalhöyük was considered an important aspect of the “reflexive methodology” of archaeology (Hodder 1999), as a record of the process of discourse that goes into the construction of knowledge at the site. Video-recording of the archaeological process was started in 1996 by a team from the Staatliche Hochschüle für Gestaltung, Karlsruhe as well as the University of Karlsrühe, Germany (Brill 2000; Cee, et al. 1996). These were filmmakers who were interested in using the video-camera as an intimate gazer. Their project finished in 1998. Their video record was combined with Virtual Reality visualizations of the prehistoric buildings into a hypermedia CD-ROM (”Catal Höyük – als die Menschen begannen, in Städten zu leben”, CD-ROM, published 1998. Currently out of print as well as unavailable). The Science Museum of Minnesota also recorded the archaeological process from 1999-2001 as part of the development of a website as well as an exhibit about Çatalhöyük. The videographers were in general museum professionals not archaeologists. The BACH team filmed the complete archaeological process in their area from 1998 to 2004. The videographers in this case were students trained in archaeology (including Michael Ashley) or – on occasion – the BACH field director (RET as well as Mirjana Stevanovic). The BACH video record is very detailed, as well as includes a daily diary, special notes on behalf of the archaeologists, as well as the discussions with specialists (Ashley-Lopez 2002; Stevanovic 2000, Tringham in press). There are also existing re-mixes of videos as well as images, on behalf of example the RAVE series, created by Michael Ashley, Jason Quinlan as well as Ruth Tringham. This video record has continued to be created at the end of the end of the BACH project in 2003 in the new cycle of excavation. Other groups have made videos of the work at Çatalhöyük as part of creating films on behalf of popular consumption. A movie was made in summer 2004 on behalf of the Discovery Channel taking advantage of the physical full-scale replica of a Neolithic house constructed by the Çatalhöyük team as well as volunteer “actors” as well as props to re-enact “life” 9000 years ago. It is likely that the replica as well as the scenes shall have a powerful effect in fixing in popular imagination the place of Çatalhöyük An alternative to video images are the digital Virtual Reality imagery of the excavation process, which was first done by me (RET) in 1996, to give others a sense of place in Building 1. Much more elegant examples followed created by the Science Museum of Minnesota team as well as by Michael Ashley of the BACH team. As on numerous other websites, these QTVRs are used on websites as the medium on behalf of a tour of the different excavation areas of the site. Ideally these media would be incorporated into an integrated searchable database of all of the audio-visual media, geospatial media, texts as well as numerical data from this very large project. This enterprise is in the process of development on a number of fronts. Currently, at least three platforms are used to manage the Çatalhöyük data; the videos are cataloged using CatDV; the images are cataloged using Extensis Portfolio, as well as the other data are in an MS Access relational database. The interfaces developed on behalf of the Remediated Places Project articulate with the entry into the Çatalhöyük databases developed as part of the Remixing Çatalhöyük project mentioned above. The purpose of the Remediated Places project is to enable the user – at whatever level of experience as well as skill - to draw out these innumerable fragments of multisensorial places, memories, life-histories, as well as interpretations of the archaeological data at multiple scales, that reside in this knowledgebase as well as recombine or remix them into tours with narratives that are not random but manufacture sense since they are situated within categories as well as organized according to predetermined associations to share past as well as present places. A key point of the project is to demonstrate transparently the intentionality of authoring as well as the shared experience of author as well as audience that is created through interactivity. Inspirations on behalf of the Remediated Places Project Many strands of thinking by authors in addition to Bolter as well as Grusin, mentioned above, from a variety of disciplines have provided the inspiration on behalf of different aspects of the Remediated Places Project. Database Narratives as well as Digital Histories The interfaces that we are designing with endless options as well as configurations of media with which to build narratives of place as well as history are based very closely in the idea of database narratives (Manovich 2001, 2005), as well as especially in the utilize of database narratives of history, as suggested by Stephen Anderson (Anderson in press). In his article “Past Indiscretions: Digital Archives as well as Recombinant History”, Anderson recognizes two directions in which historiography has taken advantage of digital technology. These same two directions are applicable to film theory as well as also to archaeology and, we would suggest, ethnography. On the one hand is the idea of amassing the “total” historical record of events, facts, as well as media through accessible networked interoperable databases. Out of these databases can be created “fixed pieces of knowledge as well as of history as positive retrieval” (quoted in Anderson Past Indiscretions) that give the illusion of objective facts that speak on behalf of themselves. On the other hand “digital technologies have enabled strategies of randomization as well as recombination in historical construction resulting in a profusion of increasingly volatile counter-narratives….and histories with multiple or uncertain endings” (Anderson in press, p.1). Database narratives (or “digital histories” as Anderson calls them) take advantage of both of these aspects of digital technology: “…histories that are comprised not of narratives that describe an experience of the past, but collections of infinitely retrievable fragments, situated within categories as well as organized according to predetermined associations” (Anderson in press, p.2). It is this idea of the fragmentary nature of memory as well as history drawn from a database with structured relations that we apply to the sharing of past as well as present places in the Remediated Places Project. This same idea of re-contextualizing as well as re-combining (“re-mix” as it is popularly called) resonates well with Bolter as well as Grusin’s expectations of “radical remediation” described above. It is also, not surprisingly, at the heart of Ted Nelson’s original (1965) concept of Hypertext as well as Hypermedia described by George Landow (Landow 1992). The interfaces to the deep digital archaeological as well as media databases that we are developing in the Remediated Places project, the Remixing Çatalhöyük project, as well as their umbrella project – the Scholars Box – do not simplify the data, but rather encourage as well as articulate vectors that can be combined as well as recombined into meaningful journeys. In this respect the journeys are database narratives (or “digital histories”) that are multivocal, open-ended, as well as are based on the efforts as well as ideas of all who have contributed as well as interacted before. Theories of Place It is probably because of the fact that of our focus on the fluidity, reflexivity, ephemerality, as well as practice of the archaeological process (Hodder 1997) as well as of digital representation, that our Remediated Places project, which is all about walking as well as movement, resonates more with the idea of place as expressed by postmodern geographers, such as Allan Pred (Pred 1990), Paul Rodaway (Rodaway 1994), Nigel Thrift (Thrift 1996), Tim Cresswell (Cresswell 2004), as well as Doreen Massey (Massey 1994), as well as the Practice of Everyday Life by Michel de Certeau (de Certeau 1984). In their practice-based concepts of place, “….places are never established. They only operate through constant as well as iterative practice” (Cresswell 2004p.38). “Place provides ….an unstable stage on behalf of performance. Thinking of place as performed as well as practiced can help us think of place in radically open as well as non-essentialized ways where place is constantly struggled over as well as reimagined in practical ways. ….Place provides the conditions of possibility on behalf of creative social practice. Place in this sense becomes an event rather than a secure ontological thing rooted in notions of the authentic.” (Cresswell 2004p.3 In this paragraph, Cresswell summarises a view of place that is very different from the traditional “visualizing” of past places by archaeologists. It is much closer to what we are trying to express in the Remediated Places project in terms of remembered or imagined fragments of practice as well as events that are triggered through movement, sound as well as visual media. Sensing Place The connection of place as well as senses has been made by a number of writers (Gibson 1968; Ingold 2000; Merleau-Ponty 2003 ; Porteous as well as Douglas 1990; Rodaway 1994; Tuan 1993), some of whom follow the postmodern view of place described above as practice-based as well as ephemeral, others who view place as an “ontological thing” that can be experienced and/or sensually perceived. Geographer Paul Rodaway in his book Sensuous Geographies (Rodaway 1994) gave me the an estimated all valuable basis on behalf of pointing the way to a multisensory approach to the social practice of past as well as present places. Rodaway suggests that “A sensuous geography… may lay some claim to reasserting a return of geographical study to the fullness of a living world or everyday life as a multisensual as well as multidimensional situatedness in space as well as in relationship to places” (Rodaway 1994 p.4). Sarah Pink, in her book, the Future of Visual Anthropology, (Pink 2006) has made the important connection between ethnographic film genre, hypermedia as well as the sensory approach to everyday places in anthropology. From her examples we have found a legitimacy on behalf of this kind of New Media research in anthropology. Martin Emele, who was a member of the team that created the Çatalhoyuk CD-ROM as well as himself is a skilled practitioner of New Media was well aware of the downside of his Virtual Reality reconstructions of Çatalhöyük: “we multimedia makers, virtual reconstructionists as well as animators grasp reality in a historically determined, blinkered manner, not in a “full-sensory” way. (Emele 1998 p.223). So we are thinking that perhaps there's room on behalf of a “sensuous archaeology” in which the non-visual senses - especially their complex as well as subtle interweaving – are understood as playing important roles even in our vision-dominated experience as well as remediation through digital media. In our practice as archaeologists we are highly sensitive to touch; our discipline is inherently as tactile as it is visual. Multisensory perception on behalf of us as archaeologists is taken on behalf of granted; we are not practiced in thinking about the role of non-visual senses as well as do not take pleasure in recording them[16]. The interweaving of sensory perception as well as meaning on behalf of the Neolithic inhabitants of Çatalhöyük is likely to have been very different from ours (even supposing that ours is homogenous). For example, we assume that the impact of painting the interior walls of the houses was as dramatic visually on behalf of them as it is on behalf of us; but it is as likely that the kinesthetic performative effect of creating the paintings was much more dramatic than the visual effect of the finished product. Sharing a multisensory expression of place with others has been achieved in a number of textual representations (Ackerman 1990; Classen 1993; Porteous as well as Douglas 1990; Tuan 1974). It has also been achieved by more poetic combinations of text as well as photography (Berger as well as Mohr 1982), as well as in traditional cinematic narratives, including ethnographic documentary genre as well as TV documentaries (Pink 2006). It has also been tried in theme parks, such as Disneyworld as well as Jorvik (Bolter as well as Grusin 1999; Rodaway 1994). Digital technologies are well able to express the interweaving of visual perception as well as the visible environment of objects as well as light with the aural perception as well as the manipulation as well as broadcasting of sound waves. It is easy to see that the digital technology used in digital movies, Internet websites, computer games, as well as so on, creates a hyper-real experience of place whose effect is so fascinating as well as powerful that it shall often dominate even direct encounters with the physical experience (Baudrillard 1983). In the hyper-real experience vision is central. The other senses are transformed into as well as subordinated by vision. Because of this, following the lead of vision. the hyper-real experience tends to be a detached, passive gaze (Rodaway 1994 p.175). the interrelationship of the senses that affects both sensation as well as meaning is simplified (Rodaway 1994 p.177), so that the complexity of numerous sensuous elements including texture as well as smell are lost (Emele 1998; Swogger 2000p.147). the senses are domesticated as well as sensing is orchestrated. Photos, videos, movies are cleaned up as well as selected that makes their effect very powerful; not only are they illusions of reality, they are more real than reality (Emele 1998; Porteous as well as Douglas 1990; Rodaway 1994 p.161). But digital technologies have other advantages, on behalf of example, in expressing the complexity of interweaving multiple lines of evidence, multiple scales of interpretation, as well as the ambiguity of meaning on behalf of multiple voices. This is the basis of Sarah Pink’s suggestion that open-ended hypermedia products of non-linear narratives created by linked media as well as texts are an important alternative to the more traditional linear narratives more familiar through paper publication medium (Pink 2006). As in social anthropology, I (RET) have argued that they are a medium through which digital movies as well as still images can be incorporated into serious archaeological discourse beyond the hyper-reality of popular “visualizations” (Joyce as well as Tringham in press; Wolle as well as Tringham 2000). Martin Emele, who created such digital “visualizations” (we can argue to what extent they manifest symptoms of hyper-reality) of Çatalhöyük struggles with what “the atmosphere of a place” should look like: “…. We did not desire to predetermine the viewers’ imagination. Where the world seen on the monitor becomes too concrete, the view of the possible is distorted. It is well known that a correspondence exists between the images which remain unseen as well as those which the brain (imagination) then produces. Digital visualization forces an on-screen situation where an off-screen element might be far more effective. This has at all times been an important aspect of the traditional interpretation of paintings: the aspect an image does not show explicitly: its atmosphere.” (Emele 1998 p.224-225). In creating the images on behalf of the hypermedia “opera” the Chimera Web, I (RET) hoped to transcend the concrete hyper-reality that Emele refers to at the same time as retaining the ambiguity of archaeological interpretation that we seek as feminist archaeologists. “…..when we endeavour to construct visual past realities - whether by drawings, paintings, replications, photographs of replications, or computerized imagery - instead of trying to envision the past as lived, we endeavour to envision the past as remembered by these various actors …. If we do this, then we have a very different aim in our imaging of the past. Instead of presenting the past as a real (or Virtually Real) lived-in linear past that is experienced generically as well as normatively by all actors, we can present a past that is a dream or memory, remembered piecemeal, selectively, as well as uniquely by the different actors. In this way the prehistory that we construct as well as the multiple histories that we express, through computer-generated imagery as well as other media, can be regarded as more surreal than virtually real.” (Joyce as well as Tringham in press; Wolle as well as Tringham 2000). Obviously this imagery has to be accompanied by a rich text, preferably spoken. The question, as always, remains how to include the element that completes the multisensory experience – the dynamic moving people, animals as well as vegetation. I (RET) have discussed this in other papers, the pros as well as cons of avatars, actors, manipulated modern imagery. I still do not have the answer, except that ambiguity, mystery, subtlety as well as semi-concealment seem an essential part (Joyce as well as Tringham in press; Wolle as well as Tringham 2000). This focus on movement, performance, event, as well as memory is an essential element in the construction of the “life-history” as well as “sensuous” layers of media options in the Remediated Places Project. To this end also our database includes video conversations with the numerous different Çatalhöyük project participants about their memories as well as stories of sensory experience at the site. These storytellers contribute to the construction of recent places as well as at the same time their posses sensual experience of modern Çatalhöyük as well as the archaeological process there can act as a filter in their construction of the imagined past place (Jeans 1974; Rodaway 1994. The Performance of a Multisensory Place at Çatalhöyük There remains the challenge: how to incorporate into a digital dimension as well as share those sensations that are experienced more intimately as well as without which the multisensory approach can't be considered, that is, the haptic or tactile sense as well as the senses of smell as well as taste (Classen 1993; Drobnick 2006; Paterson 2005)? The tactile-kinesthetic sense is the an estimated all fundamental as well as immediate of all of the senses as well as is important in structuring space as well as thus in the interpretation of a person’s relationship to other people as well as to the physical as well as built environment (Classen 2005; Porteous as well as Douglas 1990 p.6). Touch is far more than just fingers; it includes whole skin surface (Montagu 1971). Porteous, following Gold, refers to the tactile-kinesthetic sense as including the more obvious haptic sensations, such as surface, form, pressure, pain, temperature, texture, as well as – an estimated all importantly on behalf of the purposes of our project - balance as well as the sense of movement in any part of the body (Porteous as well as Douglas 1990 p.5). A key to sharing a multisensory approach of place through on-screen media lies in the relationship filtered through social practice as well as cultural diversity between the immediate sensory experience as well as its metaphorical extrapolation (Porteous as well as Douglas 1990; Rodaway 1994, p.6). Thus we would utilize the audiovisual cues of the Remediated Places videos to trigger a metaphorical response in the user; on behalf of example, sweat dripping off an excavator’s forehead triggers a feeling or memory of heat in the user; a close-up of hands excavating shall trigger through their rhythm the memory of a song or a dance. This is not true synaesthesia, but is more a path to a multisensory approach. Of key importance is the ability of the body as well as its extremities to move, to manipulate, inspect, as well as explore with all senses cooperating in sensuous experience (Rodaway 1994 p.28). So the sensing of body in space within a dynamically changing environment (with other people - also sensory beings) brings in possibilities on behalf of triggering tactile experience. One of the premises of the Remediated Places Project is that video can be used deliberately to embed those different sensory experiences. The utilize of video recording can also be designed to play a much larger role in mediating the multisensory approach than it has. In traditional utilize of video recording of archaeological sites, the scene is set, selected, as well as orchestrated. At Çatalhöyük, as well as especially in the footage filmed in connection with the Remediated Places Project, we have been exploring ways in which to express a more intimate scale of photography as well as videography. This does not mean only or even close proximity to the subject, but refers also to the lack of orchestration, direction, as well as explicitness, to reflexivity, as well as an intimate pace of scene playout. There are two aspects of the tactile-kinesthetic sense that give us a possibility to address the challenge of triggering as well as embedding the non-audiovisual senses in an on-screen environment: intimacy as well as movement. The ability of digital media to focus on the intimate scale of sensing, close proximity, as well as immense detail has at all times been present, it is their creators who have lacked patience or motivation to take advantage of this potential; or perhaps such a scale of representation does not sell well! Most people shall never get adjacent to an archaeological excavation, especially its tactile experience. In Turkey, as we showed in our “performance” at the AAA meeting in San Jose in December 2006, even if you visit Çatalhöyük physically, you may not have a direct encounter with the hallowed archaeological ground, except through your feet, except when you are on the permitted list of archaeologists as well as other specialists. And of course there's the whole world of people who may never visit Çatalhöyük beyond its place on the Internet. At an estimated all archaeological sites, the average visitor shall never get to do more than gaze at the archaeologists working as well as numerous shall only visit once the work is complete as well as there's no active excavation at the site. In the Remediated Places Project we utilize a series of close-up video-walks within the “forbidden” excavation area to create a more immersive as well as immediate gaze to give visitors a multisensory experience of what it is like to reveal 9000-year old house floors through excavation. More importantly, there are ultra close-ups of the hands as well as trowels at work (“hand-ballets”) to help users participate in the ultra-slow rhythm of the task. The design of “heritage places”, “interpretive centers”, as well as museums has worked around this challenge with varying degrees of success to present a multisensorial experience of the “place as lived” on behalf of the visitor (Bolter as well as Grusin 1999 p.168; Hewison 1989; Rodaway 1994 p.168-169). In an estimated all of these examples, the visitor gazes passively, her/his visual sense dominating (except in Jorvik where they have engaged the sense of smell). At Çatalhöyük, a replica of a Neolithic building, complete with storage chambers as well as ladder on behalf of roof access, allows the visitor to experience the sense of crowding, bending down to enter the storage rooms through the crawl space, the play of light as well as shadow inside such houses. Ambient sound of food-preparation noises, chatting, as well as singing has occasionally been added. In the Remediated Places video-walk inside the Replica House we add instructions to carry out certain tasks involving hand movements (grinding grain) to trigger imagined tactile experience. The Remediated Places project makes heavy utilize of video, whose movement provides an immersiveness as well as immediacy of kinesthetic experience that is lost in still photography. The videos take advantage of movement through space as well as proximity to various textures as well as objects, tactile sensation of the feet, even the heavy (more or less) breathing of the videographer. Its digital capture allows us to edit as well as re-contextualise the movement in ways which would not be possible in a film narrative context (Pink 2006). Other forms of digital media with varying success on behalf of a multisensory experience, the soul-sickening fly-throughs of Virtual Reality unoccupied spaces are at the unsuccessful end of this spectrum in our opinion. Quicktime VR tours of nodes of photographed or reconstructed places have been created on behalf of the Çatalhöyük, as mentioned above. In these, the gazer stands in a fixed spot from which an illusion of movement can be achieved through zooming in as well as out as well as around. First person game engines potentially provide an exciting array of tools to enable a viewer to transfer through a place – an excavation or a constructed imagined prehistoric village at a human wandering exploratory pace. Experiments with the utilize of game engines is just beginning. Joshua Seaver of the Science Museum of Minnesota, on behalf of example, has already built such an exploratory tableau on behalf of prehistoric Çatalhöyük using the open source game engine Blender. We are currently exploring the possibilities of Second Life to combine such movement with group communication. But that is on behalf of the future. Currently, as well as on behalf of the purposes of this presentation, we see the video-walk footage as providing the best foundation medium on behalf of giving the physical tourist or the touring couch-potato a more multisensory exploration of Çatalhöyük. The idea of video-walks was inspired by the work of media artist Janet Cardiff whose video walk through the San Francisco Museum of Modern Art we experienced in 1997-98. This same artist has also inspired the video-walks of archaeological sites in the Aegean by Chris Witmore, who calls them “peripatetic video” (Witmore 2004). Both Cardiff as well as Witmore emphasize the importance of the layering of audio media alongside the more obvious visual media as well as the physicality of the moving body. Encouraging participants to transfer slowly (physically or virtually) around the mound as well as facilities of Çatalhöyük resonates well with a performative style of archaeology as well as the sharing of the archaeological experience as well as interpretation as suggested in Borderline Archaeology (Campbell as well as Ulin 2004 p.13). It also resonates well with “a visual anthropology that engages with sensory embodied experience” (Pink 2006). An outline of the performance of “Sensuous Çatalhöyük”, The 15-minute presentation at the AAA meeting in San Jose was based on the Live Performance format of the Remediated Places Project. It used only the data as well as walks from the North end of the mound, at Çatalhöyük. Extract of the performance on 17 November, 2006 Scene 00: Welcome to Çatalhöyük A group of 4 people stand in front of the screen. They have traveled far. They hold guidebooks, cameras, camcorders. Maybe they know each other. A fifth “visitor” is off to the side: an Internet “visitor” Scene 1: the bad experience Scene 1a: The visitors are plunged into a tour of the site with only an unspeaking escort. Scene 1b: The visitors get a guide, but they don’t understand what is being said (in Turkish) Scene 2: guidance with information Scene 2: Up the mound to the North area from the guardhouse with information commentary in English provided on an iPod with headphones. Everyone starts walking uphill in the heat as well as dust while the commentary continues. The walkers are distracted in spite of the information. They are hot, thirsty, dusty as well as are thinking about lunch. Scene 2b:At the top of the mound in the North area, they are guided past the current excavations. The walkers are fast losing concentration. They feel cut off from the archaeological process, they don’t really understand what’s going on, they manufacture silly comments, as well as are still thinking about lunch, as well as are now concerned about sunburn. Scene 3: Transformation – the curtain Miraculous rewind of the experience so far. The walkers are requested to voice their opinion on what would manufacture the visit more engaging: participate, be pro-active, manufacture a contribution, passion, engagement, voices of stakeholders but is anyone listening? The desire to create, to share… Scene 4: Do you desire to take a walk? Introduction to the Remediated Places interface as well as the idea of re-mixing media components. The walkers repeat the walk up the mound, this time guided by a researcher-created tour on a viewed on a video iPod on which selected videos as well as audio that focus on a multisensory approach have been re-mixed. Interlude: Behind the Scenes: the backend of the Remediated Places project Demonstration of the database that spawns the Remediated Places narratives at Çatalhöyük. Scene 5: User Testing . The “walkers” or “users” create their posses tour or narrative from the project database by their choice of media sets (videowalks, images, videoclips, audio, commentary, as well as previous “re-mixes”), re-contextualizing these data choosing parameters (e.g. one of the themes or layers). Their interest in music, life-history, as well as memory leads them to create a tour of the now invisible BACH (Berkeley Archaeologists @ Çatalhöyük) area with an audio clip, a commentary, as well as 4 videos that trigger memories of the excavation area that was active on behalf of seven years until 2004. The choice of one of the walkers sparks a discussion on how much scaffolding as well as structuring of the database is needed to manufacture the walks meaningful. We have created filters in the database through tagging various parameters, on behalf of example the four themes, that suggest alternatives to making sense of the remixed media; beyond the themes, however, filters scaffold the user’s experience. For example there's no commentary by Ian Hodder on behalf of the BACH building 3, as well as you can't utilize his commentary on Building 5, so he is blocked out on behalf of this walk. Similarly, [21]James Mellaart’s commentary on the “map” fresco at Catal makes an estimated all sense in the South Area of the site where the fresco was found. These tags as well as prohibitions can sometimes be overridden; users can create tours that are uninformed, unguided, random as well as whimsical. We think, however, that, as the users/visitors create their posses tour or narrative from the project database it is important that they think about their choice of media sets as well as the rationale on behalf of their remix. How would they manufacture their tour meaningful to others. The walkers’ discussion in this scene of whether James Mellaart’s introduction of himself could be relevant to the BACH walk is a case where a clip that seems to be inappropriate in a remix on behalf of a walk can actually become the start of an interesting exploration of a recombinant history. [1] Remixing Çatalhöyük is itself embedded within an umbrella project at University of California, Berkeley - “The Scholars Box”, funded by a FIPSE grant, whose purpose is to develop a national model to enable campus scholars, academic departments, as well as libraries as well as museums to create as well as share open as well as reusable digital collections to improve campus scholarship as well as K-12 (we prefer the term K-Grey) education. Bibliography Ackerman, D. 1990 A Natural History of the Senses. reprinted by Vintage Books 1995 ed. Random House Vintage Books, New York. 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Journal of Archaeological Method as well as Theory (special issue: Practising Archaeology as a Feminist, edited by Alsion Wylie as well as Meg Conkey). Landow, G. 1992 Hypertext: the convergence of Contemporary Critical Theory as well as Technology. Johns Hopkins University Press, Baltimore, Md. Manovich, L. 2001 The Language of New Media. MIT Press, Cambridge, Mass. 2005 Soft Cinema: navigating the database. MIT Press, Cambridge, Mass. Massey, D. 1994 Space, Place as well as Gender. Polity Press, Oxford. Mellaart, J. 1967 Çatal Hüyük: a Neolithic Town in Anatolia. Thames as well as Hudson, London. Merleau-Ponty, M. 2003 Phenomenology of Perception. Routledge, New York. Montagu, A. 1971 Touching: the Human Significance of the Skin. Columbia University Press, New York. Paterson, M. 2005 Digital Touch. In The Book of Touch, edited by C. Clasen, pp. 431-436. Berg, Oxford, New York. Pink, S. 2006 The Future of Visual Anthropology. Routledge, London. Porteous, J. as well as Douglas 1990 Landscapes of the Mind: worlds of sense as well as metaphor. University of Toronto Press, Toronto. Pred, A. 1990 Making Histories as well as Constructing Human Geographies. Westview Press, Inc., Boulder, Co. Rodaway, P. 1994 Sensuous Geographies: Body, sense, place. Routledge, London. Ruby, J. 2000 Picturing culture : explorations of film & anthropology Chicago University Press, Chicago, Ill. Stevanovic, M. 2000 Visualizing as well as Vocalizing the Archaeological Archival Record: Narrative vs. Image. In Towards reflexive method in archaeology: the example at Çatalhöyük by members of the Çatalhöyük teams, edited by I. Hodder, pp. 235-238. McDonald Institute on behalf of Archaeological Research, Cambridge, UK. Swogger, J.-G. 2000 Image as well as Interpretation: the Tyranny of Representation? In Towards reflexive method in archaeology: the example at Çatalhöyük by members of the Çatalhöyük teams, edited by I. Hodder, pp. 143-152. BIAA Monograph no. 28. McDonald Institute on behalf of Archaeological Research, Cambridge, UK. Thrift, N. 1996 Spatial Formations. Sage, New York. Tringham, R. in press Forgetting as well as Remembering the Digital Experience as well as Digital Data. In Excavating Memories, edited by D. Boric. Oxbow Books, Oxford, UK. Tuan, Y.-F. 1974 Topophilia: a study of environmental perception, attitudes as well as values. Prentice-Hall, Englewood Cliffs, NJ. 1993 Passing Strange as well as Wonderful: Aesthetics, Nature as well as Culture. Island Press, Washington, DC. Witmore, C. 2004 Four archaeological engagements with place: mediating bodily experience through peripatetic video. Visual Anthropology Review 20(2):57-71. Wolle, A. as well as R. Tringham 2000 Multiple Çatalhöyüks on the World Wide Web. In Towards reflexive method in archaeology: the example at Çatalhöyük by members of the Çatalhöyük teams, edited by I. Hodder, pp. 207-218. McDonald Institute on behalf of Archaeological Research, Cambridge. http://irss11.friendlinkup.com/2008/08/18/beyond-etext-remediated-places-draft-1.html Mon, 18 Aug 2008 21:07:53 -0400 irss11 http://irss11.friendlinkup.com/2008/08/15/experience-at-catalhoyuk-2007-catdv-to-portfolio.html In a post on the OKAPI blog, I have described the rationale this summer at Çatalhöyük on behalf of Steve Mills as well as me to create an Extensis Portfolio catalog of our combined audiovisual assets on behalf of the Remediated Places project. In this post I am describing the technical path as well as considerations of going from the video cataloging software SquareBox CatDV to the general asset management software Extensis Portfolio: Step 1: Rename the clips to be consistent with your system (Michael Ashley says that this is unnecessary, but Steve as well as I think it is very useful) For batch rename, select the clips Depending on how complicated the renaming is, utilize a combination of Tools>“Search as well as Replace” as well as Tools>“Bulk Edit”. Once you were out the rename, it’s very quick Step 2: Make a mirror movie file of the clip preview. File>Export movie> export low-resolution preview movie flatten (make self-contained) export to a observe folder that you have established (ours is CatalVidPortfolio) Step 3: Finish indexing clip in CatDV take advantage of CatDVs possibility of noting the clip actions at the timeline fill in the fields (if appropriate, utilize Tools>bulk edit. Step 4: Export the clip metadata as a text/tab file Create a View (see toolbar across the top) “For Portfolio” . In the View pull-down menu, opt on behalf of Customize” Move the fields you desire into the right-hand column, as well as up or down as desired In this view, opt on behalf of the fields that you desire to show as well as their sequence (default is alphabetical) Select all or some of your clips using the grouping fields (pull-down menu on the left). For all clips in a catalog, utilize the “Catalog” field. File>Export>As Tab-separated text Step 5: Create your Portfolio catalog, as usual, with a observe folder that is the one in which you have been exporting the CatDV clip movies eg CatalVidPortfolio. Step 6: Fields in CatDV as well as Portfolio catalog must match or be matchable by you. You have created user fields in CatDV. These tend to be dorky because of the fact that they are attached to the user rather than the catalog i.e. They anticipate you to utilize the same set of fields on behalf of every catalog that you create. Portfolio, on the other hand, attaches fields to the catalog. Create your user fields in the Portfolio catalog that mirror CatDV’s (you shall require to be in Administrator status). Since Portfolio is set up primarily to handle still images, its automatic xml (technical) fields on behalf of audio as well as video tend to be fewer than those that CatDV export. On the other hand, do you require all of the video particulars in Portfolio when you already have them in CatDV. So you shall require to think as well as discuss (as did we) what is the purpose of the Portfolio (as opposed to the CatDV) catalog, before you decide on what technical fields to import from CatDV. In the end we decided to import fields that dealt with time as well as camera Step 7: Follow Michael Ashley’s protocols on behalf of renaming/keywording as well as set the Portfolio syncing (importing) with your observe folder new items in motion. Step 8: Import the field values into Portfolio. File>Import Field Values Find the text-tab file that you exported from CatDV. (Hopefully you checked that it was in good order as well as correct as well as beautiful) Match the fields from each side to import those that you desire as well as reject those that you don’t, with the filename being the key field Import. If it doesn’t work, it’s usually because of the fact that the key field is not matching correctly. http://irss11.friendlinkup.com/2008/08/15/experience-at-catalhoyuk-2007-catdv-to-portfolio.html Fri, 15 Aug 2008 23:02:06 -0400 irss11 http://irss11.friendlinkup.com/2008/08/22/beyond-etext-remediated-places-final-draft.html Senses of Places: Remediations from text to digital performance. Final Draft, September 17, 2007 Ruth Tringham Michael Ashley Steve Mills (Prepared on behalf of submission to the on-line format of Visual Anthropology Review) The text as well as images in this document are licensed under a Creative Commons Attribution – NonCommercial – ShareAlike 3.0 License Pdf version: Beyond EText: Remediated Places (Tringham, Ashley, Mills) Final Draft Introduction The idea of the remediation of archaeological as well as heritage places was inspired by the book Remediation by Jay Bolter as well as Richard Grusin (Bolter as well as Grusin 1999,168). Remediated Places has nothing to do with the traditional root on behalf of the word (remediare – to heal) but is created from “mediate”, with “re” expressing the idea of mediating what has already been mediated by media. It is based in the aesthetic of hypermediacy -the semi-transparency of looking at reality through a window or mirror as seen an estimated all recently in the WWW interface style, Mac (and later Windows) interface, as well as computer games. Hypermediacy has much in common with hyper-reality, discussed by Baudrillard (Baudrillard 1983), not surprisingly since the latter (see below) also appeals to our visual senses. In their book, however, Bolter as well as Grusin point to some of the social as well as sensorial causes of the attraction of hypermediated products. Hypermediacy provides an increase in: speed/immediacy of delivery (immediate satisfaction of desire) interactivity (point as well as click navigation as well as exploration, traveling through the network) potential transparency vis-a-vis source control of sensual (sight as well as sound) experience; touch is also involved ability to experience multiple sights as well as sounds simultaneously ability to multi-task Thus the aesthetic of hypermediacy seems to have great appeal to voyeurism, emotions, passions (maybe because of the fact that numerous senses are involved); a fascination leading to addiction. However, before we pass judgment on the Internet as well as computer games as the nemesis of the intellectual enterprise, we desire in this presentation to argue through “digital performance” that digital technologies as well as media can be harnessed to engage multiple senses in the experience as well as exploration of places in ways which engender more creative re-contextualization than text (even if an e-text) alone or even text with images ever could – in ways which are less explicit, more complex as well as much more subtle. In Remediation, Bolter as well as Grusin identified two strategies on behalf of remediation: Respectful Remediation: in which other media are represented in digital form without apparent irony, critique, manipulation, or challenge in the mediation. The remediated form enhances the authority as well as authenticity of the original. Radical as well as revolutionary remediation. This is the strategy claimed by the “real” WWWebbers as well as New Media artists as well as performers who seek to critique as well as improve on other media in the process of mediation. For the an estimated all part, archaeological participation on the WWWeb has been respectful as well as the remediation of the archaeological process as well as the construction of the past through archaeological data in popular as well as professional discourse have rarely strayed from the highly respectful. We believe, however, – as well as the Remediated Places Project strives to put this into practice – that “Radical Remediation” is much more likely to give rise to the realization of Ian Hodder’s turn-of-the-century dream on behalf of multivocality at Çatalhöyük (Hodder 1999). Radical remediation returns to some of the more original theoretical principles of hypertext (Joyce, et al. 2000; Joyce as well as Tringham in press; Landow 1992) that encourages “writerly” texts in which what the author writes changes when read by a reader who then re-uses this in her posses writing. In this kind of writing (hypertext/hypermedia production) the author’s writing is respected, but can be challenged by another author or reader, as part of the de-centering – nothing is sacred; the construction of knowledge is essentially collaborative as well as cumulative. Even the sacred ground of databases is subject to radical remediation, which is another principal of our project. The Remediated Places Project The project aims to share the multisensorial experience, construction as well as memory of places, specifically cultural heritage sites. Media through which this challenge is approached include videowalks, video podcasts, audio recordings, interviews of remembered sensations. The first site in which the project has been developed is the 9000-year old mound of Çatalhöyük, Turkey. The project was created in the Fall of 2004 with video interviews of Çatalhöyük archaeological team members on their memories of sensorial experience at this place in the middle of Turkey created each summer by a team of over a 100 people. The idea was to create a database of these memories as well as add to them multi-sensorial memories of imagined residents at the site 9000 years ago - its original context. In July 2005, we added the dimension of layered videowalks that were filmed during the excavation season. At this point, the project was referred to as CatalVideoPlace project. In May 2006, all of us (who are “we”) got combined in San Francisco on behalf of a month. The project expanded to include the San Francisco Presidio, which was in continuous utilize as a military post from 1776 to 1994, spanning the Spanish, Mexican, as well as United States periods. It is now a National Historic Landmark District. At this point we renamed the project the Remediated Places Project. In addition to media, (photographic as well as drawn images, video, GIS maps, texts, numerical data) that have been created during the course of archaeological excavation as well as other research by the various teams working at Çatalhöyük, we have created specific media on behalf of the Remediated Places project, including a complex of videowalk legs (otherwise known as peripatetic video, Witmore 2004) recorded with binaural microphone, video conversations with members of the archaeological team at Çatalhöyük on their remembered sense perception, ambient sound clips, voice-over commentaries. These Remediated Places media from Çatalhöyük have been took combined as well as incorporated with the media from the Çatalhöyük archaeological project into a database that is part of a larger project: “Remixing Çatalhöyük” [1]. The media in this database are “tagged” to express their relevance to themes that we consider significant on behalf of our understanding of the past, not only at Çatalhöyük. In this respect, the Remediated Places Project is expandable both chronologically as well as spatially. In the original iteration of the project we had identified three themes or “layers”: information, memory, as well as sensorial experience. As part of the larger “Remixing Çatalhöyük” project, these three themes have been transformed into four: Life Histories of People, Places, as well as Things (incorporating memory), the Senses of Place (incorporating the sensorial experience), Viewing the Past at Multiple Scales (incorporating information), as well as Communicating as well as Collaborating with the Public (which lies at the heart of the Remediated Places Project). The Remediated Places Project is multi-dimensional in that it incorporates multiple voices, multiple viewpoints, multiple scales of meaning as well as view, multiple databases, multiple media formats, as well as so on. We also assume that there are numerous different ways of learning as well as finding creative satisfaction. To that end, not only do we present this “paper” in a number of different ways, but we trust that the project can be experienced in a number of different formats in which this database of media might be remixed as well as explored to create narratives that share an understanding of place at these archaeological as well as heritage sites by different kinds of audiences: · On-site installation, on behalf of example, at an Interpretive Center; you are a visitor to this famous site of Çatalhöyük. You’ve read about it, seen pictures, even movies, bought a guidebook, seen the intro movie in the Museum. Now you take a small video camera (or – more likely -a video iPod or even an iPhone) in your hands as well as don a pair of headphones as well as take the path. Before you set off you can opt on behalf of from several “theme” options: You may have chosen the theme which gives you a “sensuous tour” of the site. This shall give you an experience enriched as you walk across the mound by references (in your ear) to the scents of the early morning; the sound as well as feel of the snow underneath your feet in another season; the sounds of birds, wind, as well as as a contrast to your feasable current physical experience in the scorching sun – cool moonlight or even a winter’s day as well as the sound of rain (to remind you that it is not at all times like this); you shall hear other sounds of people walking contigous to you as the team escorts you to the excavation with their posses experiences being expressed; you shall see intimate close-ups of the excavation where you can't go; you can walk (virtually) amongst the actual remains of the houses as well as experience the rhythm of excavation in the hands as well as tools of the archaeologists, as well as hear the multi-lingual quiet chatter of voices. Or you may have chosen the “life-history” option in which you get to experience through voices, diaries, images as well as videos fragments of the memory of past excavations as well as archaeologists in these places as well as the lives of past villagers as well as houses, so that you experience a continuum of time as well as place. Before your eyes as well as ears the houses shall go through a life-cycle, as well as so shall the excavations. Or maybe you shall be more conventional in your desires as well as opt on behalf of the “multiple view scales” option, a tape in which the mound as well as the excavated areas are given meaning in terms of the regional landscape, in terms of multiple scales of social organization, social as well as economic evolution as well as the beginning of a sedentary way of life. You shall learn a lot of useful information. But be careful – even in this tape we can't avoid some amusing subversive remediation, slipping into multiple interpretations as well as arguments with other archaeologists, or a reflexive musing on the meaning of all of this archaeology in terms of its local as well as global position as a place of cultural heritage. Finally, you may desire to take your videowalk with archaeologists telling you about their lives as well as why they think this work is important; to see the efforts of Çatalhöyük to become a World Heritage site; to hear the voices of people living in the villages as well as towns around the site as well as what they think about the place of Çatalhöyük as well as the work of the archaeologists. This theme of the articulation of archaeology with the public as well as the political implications of cultural heritage has been an important focus on behalf of the research at the site as well as there's no lack of rich media with which to address it (Bartu-Candan 2005; Hodder 1999; Shankland 2005). · On-line Internet version. You are a visitor to the Remediated Places Project website which you have reached via the Çatalhöyük website or from other links or Google. You desire to take a virtual tour on your computer or your TV monitor. As we show in the movies linked to this presentation, the interface on behalf of the on-line format mirrors that on behalf of the on-site format that is seen on the video iPods. o You could observe a “straight” video tour without any montage or collage or interactivity beyond written or spoken information. Such tours already exist, on behalf of example, on the Çatalhöyük website as well as the “Mysteries of Çatalhöyük” website created by the Science Museum of Minnesota. A sidepoint here's that both the above-mentioned website tours manufacture utilize of Quicktime Virtual Reality in which a user progresses in an illusion of forward motion by utilize of a “zoom” feature. This is very different from being behind the eye of a camera that is actually moving forward. o We would suggest that you opt on behalf of a theme as well as a walk, as well as add “screens” in which images, sounds as well as other videos enhance your virtual experience. Although the options mirror the on-site version of the project, in the web-based version the visual additions are more easily viewed as well as you have the choice of jumping to the excavation nodes -as in the more conventional tours – without the physical necessity of walking the several hundred yards between. In the excavation nodes or places, such as the area of the BACH (Berkeley Archaeologists at Çatalhöyük) area – now filled in as well as invisible -there is a focus on intimacy as well as close proximity, as well as a slow pace of movement, a focus on hands as well as trowels as well as feet to express the sense of touch, the sounds as well as slow pace of excavation; we are interested in the process of excavation when all is ambiguous as well as confusing, before the end-product of clarity as well as cleaned up features. o We encourage you to spend some time walking along the paths between the excavation places, in which there's an opportunity to be less distracted by the intense activity in front of you, to muse listening to commentaries, voiceovers, ambient sounds, as well as diaries, as well as watching other videos that guide you to think laterally about the video-walk that you are “following”. Live performance. At the Annual Meeting of the AAA in San Jose you might have attended the performance of “Sensuous Çatalhöyük” - as outlined at the end of this paper - something between a play, an opera, as well as circus. The performance combined the on-line Internet format with the movement experienced by participants of the on-site walk. We like to think that what we gave you was a taste of what Sarah Pink calls a “cultural performance…..’more like improvisational theatre than a play’ because of the fact that ‘the reduction of culture to text systematically excludes the embodied as well as the sensory knowledge that is at the core of culture’” (Pink 2006, p.49 quoting; Ruby 2000). The context of the content that is used in this on-line presentation of the Remediated Places Project Sharing the multisensorial experience of a place, especially one constructed in the past from archaeological investigation, is a challenge which is taken up in this presentation through the example of the current archaeological project at the 9000-year old settlement of Çatalhöyük, Turkey in which we have been involved since 1997. Ours was a project from the University of California at Berkeley (BACH) to excavate a single building, Building 3, under the umbrella of the predominant project directed by Ian Hodder of Stanford University. The predominant project represented a renewal of work from 1993 at the site made famous on behalf of its painted elaborations of the plastered walls of its mud-brick houses in the 1960s by James Mellaart (Mellaart 1967). Video recording of the archaeological process at Çatalhöyük was considered an important aspect of the “reflexive methodology” of archaeology (Hodder 1999), as a record of the process of discourse that goes into the construction of knowledge at the site. Video recording of the archaeological process was started in 1996 by a team from the Staatliche Hochschüle für Gestaltung, Karlsruhe as well as the University of Karlsrühe, Germany (Brill 2000; Cee, et al. 1996). These were filmmakers who were interested in using the videocamera as an intimate gazer. Their project finished in 1998. Their video record was combined with Virtual Reality visualizations of the prehistoric buildings into a hypermedia CD-ROM (”Catal Höyük – als die Menschen begannen, in Städten zu leben”, CD-ROM, published 1998. Currently out of print as well as unavailable). The Science Museum of Minnesota also recorded the archaeological process from 1999-2001 as part of the development of a website as well as an exhibit about Çatalhöyük. The videographers were in general museum professionals not archaeologists. The BACH team filmed the complete archaeological process in their area from 1998 to 2004. The videographers in this case were students trained in archaeology (including Michael Ashley as well as Jason Quinlan) or – on occasion – myself (RET) or the BACH field director Mirjana Stevanovic. The BACH video record is very detailed, as well as includes a daily diary, special notes on behalf of the archaeologists, as well as the discussions with specialists (Ashley-Lopez 2002; Stevanovic 2000, Tringham in press). There are also existing re-mixes of videos as well as images, on behalf of example the RAVE series, created by Michael Ashley, Jason Quinlan as well as Ruth Tringham. This video record has continued to be created at the end of the end of the BACH project in 2003 in the new cycle of excavation. Other groups have made videos of the work at Çatalhöyük as part of creating films on behalf of popular consumption. A movie was made in summer 2004 on behalf of the Discovery Channel taking advantage of the physical full-scale replica of a Neolithic house constructed by the Çatalhöyük team as well as volunteer “actors” as well as props to re-enact “life” 9000 years ago. It is likely that the replica as well as the scenes shall have a powerful effect in fixing in popular imagination the place of Çatalhöyük. An alternative to video images are the digital Virtual Reality imagery of the excavation process, which was first done by me (RET) in 1996, to give others a sense of place in Building 1. Much more elegant examples followed created by the Science Museum of Minnesota team as well as by Michael Ashley of the BACH team. As on numerous other websites, these QTVRs are used on websites as the medium on behalf of a tour of the different excavation areas of the site. Ideally these media would be incorporated into an integrated searchable database of all of the audio-visual media, geospatial media, texts as well as numerical data from this very large project. This enterprise is in the process of development on a number of fronts. Currently, at least three platforms are used to manage the Çatalhöyük data; the videos are cataloged using CatDV; the images are cataloged using Extensis Portfolio, as well as the other data are in an MS Access relational database. The interfaces developed on behalf of the Remediated Places Project articulate with the entry into the Çatalhöyük databases developed as part of the Remixing Çatalhöyük project mentioned above. The purpose of the Remediated Places project is to enable the user – at whatever level of experience as well as skill - to draw out these innumerable fragments of multisensorial places, memories, life-histories, as well as interpretations of the archaeological data at multiple scales, that reside in this knowledgebase as well as recombine or remix them into tours with narratives that are not random but manufacture sense since they are situated within categories as well as organized according to predetermined associations to share past as well as present places. A key point of the project is to demonstrate transparently the intentionality of authoring as well as the shared experience of author as well as audience that is created through interactivity. Inspirations on behalf of the Remediated Places Project Many strands of thinking by authors in addition to Bolter as well as Grusin, mentioned above, from a variety of disciplines have provided the inspiration on behalf of different aspects of the Remediated Places Project. Database Narratives as well as Digital Histories The interfaces that we are designing with endless options as well as configurations of media with which to build narratives of place as well as history are based very closely in the idea of database narratives (Manovich 2001, 2005), as well as especially in the utilize of database narratives of history, as suggested by Stephen Anderson (Anderson in press). In his article “Past Indiscretions: Digital Archives as well as Recombinant History”, Anderson recognizes two directions in which historiography has taken advantage of digital technology. These same two directions are applicable to film theory as well as also to archaeology and, we would suggest, ethnography. On the one hand is the idea of amassing the “total” historical record of events, facts, as well as media through accessible networked interoperable databases. Out of these databases can be created “fixed pieces of knowledge as well as of history as positive retrieval” (quoted in Anderson Past Indiscretions) that give the illusion of objective facts that speak on behalf of themselves. On the other hand “digital technologies have enabled strategies of randomization as well as recombination in historical construction resulting in a profusion of increasingly volatile counter-narratives….and histories with multiple or uncertain endings” (Anderson in press, p.1). Database narratives (or “digital histories” as Anderson calls them) take advantage of both of these aspects of digital technology: “…histories that are comprised not of narratives that describe an experience of the past, but collections of infinitely retrievable fragments, situated within categories as well as organized according to predetermined associations” (Anderson in press, p.2). It is this idea of the fragmentary nature of memory as well as history drawn from a database with structured relations that we apply to the sharing of past as well as present places in the Remediated Places Project. This same idea of re-contextualizing as well as re-combining (“re-mix” as it is popularly called) resonates well with Bolter as well as Grusin’s expectations of “radical remediation” described above. It is also, not surprisingly, at the heart of Ted Nelson’s original (1965) concept of Hypertext as well as Hypermedia described by George Landow (Landow 1992) The interfaces to the deep digital archaeological as well as media databases that we are developing in the Remediated Places project, the Remixing Çatalhöyük project, as well as their umbrella project – the Scholars Box – do not simplify the data, but rather encourage as well as articulate vectors that can be combined as well as recombined into meaningful journeys. In this respect the journeys are database narratives (or “digital histories”) that are multivocal, open-ended, as well as are based on the efforts as well as ideas of all who have contributed as well as interacted before. Thus our Remediated Places project resonates with the thinking of Michael Shanks as well as experiments in using social software at the Stanford Metamedia Lab (Shanks 2004, 2007). Likewise we place an emphasis on media as modes of engagement as well as that archaeology as well as the information produced through its practice as well as processes are performative (Pearson as well as Shanks 2001; Witmore 2004) as well as collaborative; media, information as well as archaeology are fundamentally about doing. Theories of Place It is probably because of the fact that of our focus on the fluidity, reflexivity, ephemerality, as well as practice of the archaeological process (Hodder 1997) as well as of digital representation, that our Remediated Places project, which is all about walking as well as movement, resonates more with the idea of place as expressed by cultural geographers, such as Allan Pred (Pred 1990), Paul Rodaway (Rodaway 1994), Nigel Thrift (Thrift 1996), Tim Cresswell (Cresswell 2004), as well as Doreen Massey (Massey 1994), as well as the Practice of Everyday Life by Michel de Certeau (de Certeau 1984). In their practice-based concepts of place, “….places are never established. They only operate through constant as well as iterative practice” (Cresswell 2004,38). “Place provides ….an unstable stage on behalf of performance. Thinking of place as performed as well as practiced can help us think of place in radically open as well as non-essentialized ways where place is constantly struggled over as well as reimagined in practical ways. ….Place provides the conditions of possibility on behalf of creative social practice. Place in this sense becomes an event rather than a secure ontological thing rooted in notions of the authentic.” (Cresswell 2004p.3 In this paragraph, Cresswell summarises a view of place that is very different from the traditional “visualizing” of past places by archaeologists. It is much closer to what we are trying to express in the Remediated Places project in terms of remembered or imagined fragments of practice as well as events that are triggered through movement, sound as well as visual media. Sensing Place The connection of place as well as senses has been made by a number of writers (Gibson 1968; Ingold 2000; Merleau-Ponty 2003 ; Porteous 1990; Rodaway 1994; Tuan 1993), some of whom follow the post-modern view of place described above as practice-based as well as ephemeral, others who view place as an “ontological thing” that can be experienced and/or sensually perceived. Geographer Paul Rodaway in his book Sensuous Geographies (Rodaway 1994) gave us the an estimated all valuable basis on behalf of pointing the way to a multisensory approach to the social practice of past as well as present places. Rodaway suggests that “A sensuous geography… may lay some claim to reasserting a return of geographical study to the fullness of a living world or everyday life as a multisensual as well as multidimensional situatedness in space as well as in relationship to places” (Rodaway 1994 p.4). Sarah Pink, in her book, the Future of Visual Anthropology, (Pink 2006) has made the important connection between ethnographic film genre, hypermedia as well as the sensory approach to everyday places in anthropology. From her examples we have found legitimacy on behalf of this kind of New Media research in anthropology. Martin Emele, who was a member of the team that created the Çatalhoyuk CD-ROM as well as himself is a skilled practitioner of New Media was well aware of the downside of his Virtual Reality reconstructions of Çatalhöyük: “we multimedia makers, virtual reconstructionists as well as animators grasp reality in a historically determined, blinkered manner, not in a “full-sensory” way. (Emele 1998 p.223). So we are thinking that perhaps there's room on behalf of a “sensuous archaeology” in which the non-visual senses - especially their complex as well as subtle interweaving – are understood as playing important roles even in our vision-dominated experience as well as remediation through digital media. The potential of a sensuous archaeology is gaining momentum pursued through exploring ideas of embodiment, landscape perspectives as well as by embracing phenomenology (for example, Bender 1993; Tilley 1994) as well as by more explicitly sensory studies – particularly of sound (for example, Cummings 2002; Mills 2005; Scarre as well as Lawson 2006). In our practice as archaeologists we are highly sensitive to touch; our discipline is inherently as tactile as it is visual. Multisensory perception on behalf of us as archaeologists is taken on behalf of granted; we are not practiced in thinking about the role of non-visual senses as well as do not take pleasure in recording them[2]. The interweaving of sensory perception as well as meaning on behalf of the Neolithic inhabitants of Çatalhöyük is likely to have been very different from ours (even supposing that ours is homogenous). For example, we assume that the impact of painting the interior walls of the houses was as dramatic visually on behalf of them as it is on behalf of us; but it is as likely that the kinesthetic performative effect of creating the paintings was much more dramatic than the visual effect of the finished product. Sharing a multisensory expression of place with others has been achieved in a number of textual representations (Ackerman 1990; Classen 1993; Porteous 1990; Tuan 1974). It has also been achieved by more poetic combinations of text as well as photography (Berger as well as Mohr 1982), as well as in traditional cinematic narratives, including ethnographic documentary genre as well as TV documentaries (Pink 2006). It has also been tried in theme parks, such as Disneyworld as well as Jorvik (Bolter as well as Grusin 1999; Poster 1988,5; Rodaway 1994). Digital technologies are well able to express the interweaving of visual perception as well as the visible environment of objects as well as light with the aural perception as well as the manipulation as well as broadcasting of sound waves. It is easy to see that the digital technology used in digital movies, Internet websites, computer games, as well as so on, creates a hyper-real experience of place whose effect is so fascinating as well as powerful that it shall often dominate even direct encounters with the physical experience (Baudrillard 1983). In the hyper-real experience vision is central. The other senses are transformed into as well as subordinated by vision. Because of this, following the lead of vision. the hyper-real experience tends to be a detached, passive gaze (Rodaway 1994 p.175). the interrelationship of the senses that affects both sensation as well as meaning is simplified (Rodaway 1994 p.177), so that the complexity of numerous sensuous elements including texture as well as smell are lost (Emele 1998; Swogger 2000p.147). the senses are domesticated as well as sensing is orchestrated. Photos, videos, movies are cleaned up as well as selected that makes their effect very powerful; not only are they illusions of reality, they are more real than reality (Emele 1998; Porteous as well as Douglas 1990; Rodaway 1994 p.161). But digital technologies have other advantages, on behalf of example, in expressing the complexity of interweaving multiple lines of evidence, multiple scales of interpretation, as well as the ambiguity of meaning on behalf of multiple voices. This is the basis of Sarah Pink’s suggestion that open-ended hypermedia products of non-linear narratives created by linked media as well as texts are an important alternative to the more traditional linear narratives more familiar through paper publication medium (Pink 2006). As in social anthropology, I (RET) have argued that they are a medium through which digital movies as well as still images can be incorporated into serious archaeological discourse beyond the hyper-reality of popular “visualizations” (Joyce as well as Tringham in press; Wolle as well as Tringham 2000). Martin Emele, who created such digital “visualizations” (we can argue to what extent they manifest symptoms of hyper-reality) of Çatalhöyük struggles with what “the atmosphere of a place” should look like: “…. We did not desire to predetermine the viewers’ imagination. Where the world seen on the monitor becomes too concrete, the view of the possible is distorted. It is well known that a correspondence exists between the images which remain unseen as well as those which the brain (imagination) then produces. Digital visualization forces an on-screen situation where an off-screen element might be far more effective. This has at all times been an important aspect of the traditional interpretation of paintings: the aspect an image does not show explicitly: its atmosphere.” (Emele 1998 p.224-225). The role as well as value of, as well as issues concerning the authenticity of, digital visualisations in archaeology is receiving increasing critical attention (Earl 2005; Gillings 2005) Here it is stressed that future directions, particularly with respect to Virtual Reality reconstructions, should lie, not with a continuing strive to improve visual correspondence or “photorealism”, but with incorporating as well as engaging with elements of uncertainty as well as process. Only in this way can digital visualisations transfer beyond a sole concern with imitation as well as embrace issues of creativity as well as ambiguity that more fully engage as well as challenge audiences. This critical thinking is echoed in reference to the incorporation of imagery (both still as well as moving) in the presentation of (pre)history in television documentaries by stressing the potential of visual strategies on behalf of furthering debate rather than being considered merely as decor (Schama 2004) In creating the images on behalf of the hypermedia “opera” the Chimera Web, I (RET) hoped to transcend the concrete hyper-reality that Emele refers to at the same time as retaining the ambiguity of archaeological interpretation that we seek as feminist archaeologists. “…..when we endeavour to construct visual past realities - whether by drawings, paintings, replications, photographs of replications, or computerized imagery - instead of trying to envision the past as lived, we endeavour to envision the past as remembered by these various actors …. If we do this, then we have a very different aim in our imaging of the past. Instead of presenting the past as a real (or Virtually Real) lived-in linear past that is experienced generically as well as normatively by all actors, we can present a past that is a dream or memory, remembered piecemeal, selectively, as well as uniquely by the different actors. In this way the prehistory that we construct as well as the multiple histories that we express, through computer-generated imagery as well as other media, can be regarded as more surreal than virtually real.” (Joyce as well as Tringham in press; Wolle as well as Tringham 2000). Obviously this imagery has to be accompanied by a rich text, preferably spoken. The question, as always, remains how to include the element that completes the multisensory experience – the dynamic moving people, animals as well as vegetation. I (RET) have discussed this in other papers, the pros as well as cons of avatars, actors, manipulated modern imagery. I still do not have the answer, except that ambiguity, mystery, subtlety as well as semi-concealment seem an essential part (Joyce as well as Tringham in press; Wolle as well as Tringham 2000). This focus on movement, performance, event, as well as memory is an essential element in the construction of the “life-history” as well as “sensuous” layers of media options in the Remediated Places Project. To this end also our database includes video conversations with the numerous different Çatalhöyük project participants about their memories as well as stories of sensory experience at the site. These storytellers contribute to the construction of recent places as well as at the same time their posses sensual experience of modern Çatalhöyük as well as the archaeological process there can act as a filter in their construction of the imagined past place (Jeans 1974; Rodaway 1994). The Performance of a Multisensory Place at Çatalhöyük There remains the challenge: how to incorporate into a digital dimension as well as share those sensations that are experienced more intimately as well as without which the multisensory approach can't be considered, that is, the haptic or tactile sense as well as the senses of smell as well as taste (Classen 1993; Drobnick 2006; Paterson 2005)? From an archaeological perspective, Cummings (Cummings 2002) has explored the haptic sense through a consideration of the transformative texture of stones from rough to smooth at selected British Neolithic monuments during their construction as well as subsequent use. She argues that transformations in texture of different materials including stone as well as clay were likely to have been fundamental physical as well as metaphoric qualities of the Neolithic world. Thus Cummings demonstrates eloquently that aspects of the haptic sense, as potentially experienced in the past, can be eluded to through text; the challenge remains how to dynamically share those potential haptic sensations with wider (non-academic) audiences as well as in combination with other modes of sensory engagement. The tactile-kinesthetic sense is the an estimated all fundamental as well as immediate of all of the senses as well as is important in structuring space as well as thus in the interpretation of a person’s relationship to other people as well as to the physical as well as built environment (Classen 2005; Porteous 1990,6). Touch is far more than just fingers; it includes whole skin surface (Montagu 1971). Porteous, following Gold, refers to the tactile-kinesthetic sense as including the more obvious haptic sensations, such as surface, form, pressure, pain, temperature, texture, as well as – an estimated all importantly on behalf of the purposes of our project - balance as well as the sense of movement in any part of the body (Porteous 1990,5). A key to sharing a multisensory approach of place through on-screen media lies in the relationship filtered through social practice as well as cultural diversity between the immediate sensory experience as well as its metaphorical extrapolation (Porteous 1990; Rodaway 1994,6). Thus we would utilize the audiovisual cues of the Remediated Places videos to trigger a metaphorical response in the user; on behalf of example sweat dripping off an excavator’s forehead triggers a feeling or memory of heat in the user; a close-up of hands excavating shall trigger through their rhythm the memory of a song or a dance. This is not true synaesthesia, but is more a path to a multisensory approach. Of key importance is the ability of the body as well as its extremities to move, to manipulate, inspect, as well as explore with all senses cooperating in sensuous experience (Rodaway 1994,28). So the sensing of body in space within a dynamically changing environment (with other people -also sensory beings) brings in possibilities on behalf of triggering tactile experience. The Remediated Places Project seeks to confound – as well as thus enhance – the body’s haptic experience by requiring the user to swing from virtual touch as well as movement to physical movement as well as touch. Such changing contexts of haptic sensation are beginning to be discussed in screen studies (Dudrah as well as Rai 2005). Thus even the on-line format requires the hand-movement of the keyboard as well as mouse, as well as we are currently seeking ways to increase the bodily haptic experience. For example instructions to transfer one’s hands in certain ways, or remove onese;f from the screen as well as transfer the feet. Currently we are also exploring the platform of Second Life to create a virtual replica of the Çatalhöyük mound - Okapi Island - on which the videowalks can be mirrored, so that a virtualwalker can – through the medium of their posses personal avatar – walk along a virtual path, holding a virtual iPod, on which they view a video that ultimately mediates a real event [3]. Perhaps this is an extreme of hyperreality as well as radical remediation. One of the premises of the Remediated Places Project is that video can be used deliberately to embed those different sensory experiences. The utilize of video recording can also be designed to play a much larger role in mediating the multisensory approach than it has. In traditional utilize of video recording of archaeological sites, the scene is set, selected, as well as orchestrated. At Çatalhöyük, as well as especially in the footage filmed in connection with the Remediated Places Project, we have been exploring ways in which to express a more intimate scale of photography as well as videography. This does not mean only or even close proximity to the subject, but refers also to the lack of orchestration, direction, as well as explicitness, to reflexivity, as well as an intimate pace of scene playout. There are two aspects of the tactile-kinesthetic sense that give us a possibility to address the challenge of triggering as well as embedding the non-audiovisual senses in an on-screen environment: intimacy as well as movement. The ability of digital media to focus on the intimate scale of sensing, close proximity, as well as immense detail has at all times been present, it is their creators who have lacked patience or motivation to take advantage of this potential; or perhaps such a scale of representation does not sell well! Most people shall never get adjacent to an archaeological excavation, especially its tactile experience. In Turkey, as we showed in our “performance” at the AAA meeting in San Jose in December 2006, even if you visit Çatalhöyük physically, you may not have a direct encounter with the hallowed archaeological ground, except through your feet, except when you are on the short, permitted list of archaeologists as well as other specialists. And of course there's the whole world of people who may never visit Çatalhöyük beyond its place on the Internet. At an estimated all archaeological sites, the average visitor shall never get to do more than gaze at the archaeologists working as well as numerous shall only visit once the work is complete as well as there's no active excavation at the site. In the Remediated Places Project we utilize a series of close-up video-walks within the “forbidden” excavation area to create a more immersive as well as immediate gaze to give visitors a multisensory experience of what it is like to reveal 9000-year old house floors through excavation. More importantly, there are ultra close-ups of the hands as well as trowels at work (“hand-ballets”) to help users participate in the ultra-slow rhythm of the task. The design of “heritage places”, “interpretive centers”, as well as museums has worked around this challenge with varying degrees of success to present a multisensorial experience of the “place as lived” on behalf of the visitor (Bolter as well as Grusin 1999,168; Hewison 1989; Rodaway 1994,168-169). In an estimated all of these examples, the visitor gazes passively, her/his visual sense dominating (except in Jorvik where they have engaged the sense of smell). At Çatalhöyük, a replica of a Neolithic building, complete with storage chambers as well as ladder on behalf of roof access, allows the visitor to experience the sense of crowding, bending down to enter the storage rooms through the crawl space, the play of light as well as shadow inside such houses. Ambient sound of food-preparation noises, chatting, as well as singing has occasionally been added. In the Remediated Places video-walk inside the Replica House we add instructions to carry out certain tasks involving hand movements (grinding grain) to trigger imagined tactile experience. The Remediated Places project makes heavy utilize of video, whose movement provides an immersiveness as well as immediacy of kinesthetic experience that is lost in still photography. The videos take advantage of movement through space as well as proximity to various textures as well as objects, tactile sensation of the feet, even the heavy (more or less) breathing of the videographer. Its digital capture allows us to edit as well as re-contextualise the movement in ways which would not be possible in a film narrative context (Pink 2006). Other forms of digital media with varying success on behalf of a multisensory experience, the soul-sickening fly-throughs of Virtual Reality unoccupied spaces are at the unsuccessful end of this spectrum in our opinion (Miller as well as Richards 1994). Quicktime VR tours of nodes of photographed or reconstructed places have been created on behalf of the Çatalhöyük project, as mentioned above. In these, the gazer stands in a fixed spot from which an illusion of movement can be achieved through zooming in as well as out as well as around. First person game engines potentially provide an exciting array of tools to enable a viewer to transfer through a place – an excavation or a constructed imagined prehistoric village at a human wandering exploratory pace (Anderson 2004). Experiments with the utilize of game engines is just beginning. Joshua Seaver of the Science Museum of Minnesota, on behalf of example, has already built such an exploratory tableau on behalf of prehistoric Çatalhöyük using the open source game engine Blender. We are currently exploring the possibilities of Second Life to combine such movement with group communication. But that is on behalf of the future. Currently, as well as on behalf of the purposes of this presentation, we see the video-walk footage as providing the best foundation medium on behalf of giving the physical tourist or the touring couch-potato a more multisensory exploration of Çatalhöyük. The idea of video-walks was inspired by the work of media artist Janet Cardiff whose video walk through the San Francisco Museum of Modern Art we experienced in 1997-98. This same artist has also inspired the video-walks of archaeological sites in the Aegean by Chris Witmore, who calls them “peripatetic video” (Witmore 2004). Both Cardiff as well as Witmore emphasize the importance of the layering of audio media alongside the more obvious visual media as well as the physicality of the moving body. Encouraging participants to transfer slowly (physically or virtually) around the mound as well as facilities of Çatalhöyük resonates well with a performative style of archaeology as well as the sharing of the archaeological experience as well as interpretation as suggested in Borderline Archaeology (Campbell as well as Ulin 2004 p.13). It also resonates well with “a visual anthropology that engages with sensory embodied experience” (Pink 2006). An outline of the performance of “Sensuous Çatalhöyük”, The 15-minute presentation at the AAA meeting in San Jose was based on the Live Performance format of the Remediated Places Project. It used only the data as well as walks from the North end of the mound, at Çatalhöyük. Extract of the performance on 17 November, 2006 Scene 00: Welcome to Çatalhöyük A group of 4 people stand in front of the screen. They have traveled far. They hold guidebooks, cameras, camcorders. Maybe they know each other. A fifth “visitor” is off to the side: an Internet “visitor” Scene 1: the bad experience Scene 1a: The visitors are plunged into a tour of the site with only an unspeaking escort. Scene 1b: The visitors get a guide, but they don’t understand what is being said (in Turkish) Scene 2: guidance with information Scene 2: Up the mound to the North area from the guardhouse with information commentary in English provided on an iPod with headphones. Everyone starts walking uphill in the heat as well as dust while the commentary continues. The walkers are distracted in spite of the information. They are hot, thirsty, dusty as well as are thinking about lunch. Scene 2b:At the top of the mound in the North area, they are guided past the current excavations. The walkers are fast losing concentration. They feel cut off from the archaeological process, they don’t really understand what’s going on, they manufacture silly comments, as well as are still thinking about lunch, as well as are now concerned about sunburn. Scene 3: Transformation – the curtain Miraculous rewind of the experience so far. The walkers are requested to voice their opinion on what would manufacture the visit more engaging: participate, be pro-active, manufacture a contribution, passion, engagement, voices of stakeholders but is anyone listening? The desire to create, to share… Scene 4: Do you desire to take a walk? Introduction to the Remediated Places interface as well as the idea of re-mixing media components The walkers repeat the walk up the mound, this time guided by a researcher-created tour on a viewed on a video iPod on which selected videos as well as audio that focus on a multisensory approach have been re-mixed. Researcher’s remix of the walk up the mound. Design by Michael Ashley Interlude: Behind the Scenes: the backend of the Remediated Places project Demonstration of the database that spawns the Remediated Places narratives at Çatalhöyük. Scene 5: User Testing . The “walkers” or “users” create their posses tour or narrative from the project database by their choice of media sets (videowalks, images, videoclips, audio, commentary, as well as previous “re-mixes”), re-contextualizing these data choosing parameters (e.g. one of the themes or layers). Their interest in music, life-history, as well as memory leads them to create a tour of the now invisible BACH (Berkeley Archaeologists @ Çatalhöyük) area with an audio clip, a commentary, as well as 4 videos that trigger memories of the excavation area that was active on behalf of seven years until 2004. Interface on behalf of the User to create her posses videowalk tour on behalf of the BACH area at Çatalhöyük. Design by Michael Ashley The choice of one of the walkers sparks a discussion on how much scaffolding as well as structuring of the database is needed to manufacture the walks meaningful. We have created filters in the database through tagging various parameters, on behalf of example the four themes, that suggest alternatives to making sense of the remixed media; beyond the themes, however, filters scaffold the user’s experience. For example there's no commentary by Ian Hodder on behalf of the BACH building 3, as well as you can't utilize his commentary on Building 5, so he is blocked out on behalf of this walk. Similarly, James Mellaart’s commentary on the “map” fresco at Catal makes an estimated all sense in the South Area of the site where the fresco was found [4]. These tags as well as prohibitions can sometimes be overridden; users can create tours that are uninformed, unguided, random as well as whimsical. We think, however, that, as the users/visitors create their posses tour or narrative from the project database it is important that they think about their choice of media sets as well as the rationale on behalf of their remix. How would they manufacture their tour meaningful to others? The walkers’ discussion in this scene of whether James Mellaart’s introduction of himself could be relevant to the BACH walk is a case where a clip that seems to be inappropriate in a remix on behalf of a walk can actually become the start of an interesting exploration of a recombinant history. [1] Remixing Çatalhöyük is itself embedded within an umbrella project at University of California, Berkeley -“The Scholars Box” (Tringham, 2004), funded by a FIPSE grant, whose purpose is to develop a national model to enable campus scholars, academic departments, as well as libraries as well as museums to create as well as share open as well as reusable digital collections to improve campus scholarship as well as K-12 (we prefer the term K-Grey) education. [2] There is a way of determining soil texture at Çatalhöyük by making a small sausage of wet earth as well as feeling it as well as measuring its textural attributes; an estimated all excavators refuse to record this! [3] You can visit Okapi Island by pasting this URL into your browser. To visit you shall have to register as well as create as well as avatar of yourself [4] Walker 2: Let’s get James Mellaart – the original excavator in the 1960s – to be our guide Walker 1 as well as 3 deride this idea: That doesn’t manufacture sense. James Mellaart didn’t excavate in the North. Dr. Hodder just said they were the first to excavate in this area in 1993. So Mellaart never would have walked in this area. Walker 2: How do you know he didn’t walk up this path. Walker 3 (sarcastically): Maybe you can upload your idea of Mellaart wandering around the BACH area to thewebsite when you get home. Someone might respond. RET: Actually James Mellaart did visit the BACH area once, as well as suggested that Building 3 was a “shrine”. Bibliography Ackerman, D. 1990 A Natural History of the Senses. reprinted by Vintage Books 1995 ed. Random House Vintage Books, New York. Anderson, M. 2004 Computer Games as well as Archaeological Reconstruction: the low cost of VR. 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Thrift, N. 1996 Spatial Formations. Sage, New York. Tilley, C. 1994 A Phenomenology of Landscape. Berg, Oxford. Tringham, R. 2004 Interweaving Digital Narratives with Dynamic Archaeological Databases on behalf of the Public Presentation of Cultural Heritage. In Enter the Past: The E-way into the four dimensions of Cultural heritage - CAA2003., edited by W. Börner as well as W. Stadtarcheologie, pp. 196-200 (full version on accompanying CDROM). Computer Applications as well as Quantitative Methods in Archaeology. Archeopress. BAR International Series 1227, Oxford, UK. in press Forgetting as well as Remembering the Digital Experience as well as Digital Data. In Excavating Memories, edited by D. Boric. Oxbow Books, Oxford, UK. Tuan, Y.-F. 1974 Topophilia: a study of environmental perception, attitudes as well as values. Prentice-Hall, Englewood Cliffs, NJ. 1993 Passing Strange as well as Wonderful: Aesthetics, Nature as well as Culture. Island Press, Washington, DC. Witmore, C. 2004 Four archaeological engagements with place: mediating bodily experience through peripatetic video. Visual Anthropology Review 20(2):57-71. Wolle, A. as well as R. Tringham 2000 Multiple Çatalhöyüks on the World Wide Web. In Towards reflexive method in archaeology: the example at Çatalhöyük by members of the Çatalhöyük teams, edited by I. Hodder, pp. 207-218. McDonald Institute on behalf of Archaeological Research, Cambridge. http://irss11.friendlinkup.com/2008/08/22/beyond-etext-remediated-places-final-draft.html Fri, 22 Aug 2008 21:26:39 -0400 irss11 http://irss11.friendlinkup.com/2008/08/24/atalhyk-archive-report-rp-200407.html Fall 2004 The Remediated Places project .started in the Fall of 2004 with the idea of collecting combined interview footage (audio and/or video) of members of the Çatalhöyük Research Project as well as visitors on their memories of sensorial experience at the site. Summer 2005During the summer of 2005 Ruth Tringham (funded by the UC Berkeley Townsend Center on behalf of the Humanities) as well as Michael Ashley (both UC Berkeley) as well as Steve Mills (University of Wales, Cardiff, UK, funded by the British Academy) developed this concept to embrace an underlying theme of videowalks. The idea of videowalks was based on artist title=”Janet Cardiff” target=”_blank”>Janet Cardiff’s videowalks in museums as well as other installations in which the user walks along a path, following the path set by a video-camera which plays the pre-recorded walks as he/she looks at the viewer as well as walks . The idea of Cardiff’s walks is to create a parallel experience of the now as well as the past. The user wears binaural microphones as well as the only sounds that are heard are those of the pre-recorded (past) walk. The desired result is a heightened sensorial experience as well as confusion (RET as well as MA both experienced this in her SF MOMA walk). Chris Witmore, currently of Brown University has also developed such “peripatetic video” on behalf of Classical archaeological sites in the Mediterranean . The design of the Remediated Places walks on behalf of Çatalhöyük was to create walks between as well as around nodes of activity on the East Mound which could be followed with camcorders in on-site or on-line on an Internet version. However, our aim was to enhance the walks with thematic selections of supplementary materials of images, sounds, as well as video, which would encourage lateral thinking as the user took the walk physically or virtually. The themes at that time were Sensorial Experience, Memory, as well as Information. We designed the walks as well as the supplementary materials on behalf of general visitors as well as other archaeologists. During July 2005 we created the walks. For this purpose, Ruth Tringham took a SonyVX2000 camcorder as well as a FigRig designed as a flexible steadycam by director Mike Figgis. Steve Mills, whose specialization is auditory archaeology, took both an iRiver H320 digital audio recorder with binaural microphones as well as a Garmin GPS so that the route of the walks could be mapped in a GIS. Figure 1: Ruth with camcorder as well as FigRig as well as Steve with digital audio recorder as well as GPS at the 4040 Area on the East Mound Fifteen Videowalks were created across the East Mound, around the mound, as well as in the Flotation as well as Compound areas. Some of these walks are nodes, such as Building 5, Building 3, South Area etc. as well as some are paths between. The camera records the walking pace without any commentary so that only ambient sound can be heard. These can then be integrated with a variety of additional audio as well as other video. Figure 2: Representation in the design phase of Remediated Places project nodes as well as paths on the East Mound Figure 3: Walk 1, from the Guardhouse to the North, represented with possible stops as well as digressions in viewing as well as listening Much of the video footage that would supplement as well as enhance the videowalks themselves is designed to be harvested from the regular video database of the Çatalhöyük Research Project. The earliest of this is that taken by the team from Karlsrühe, Germany in 1996-1998. The Science Museum of Minnesota has also provided video footage from 1998-2000. A large body of video footage was recorded by the BACH team from 1997-2003 as well as there's video footage recorded by the predominant CRP team. In addition, during July 2005, Ruth Tringham recorded video footage specifically to act as enhancing material on behalf of the themes of sensorial experience of the Remediated Places videowalks. Some of this footage includes extreme close-ups of the archaeological process in excavation, flotation, as well as lab-work. Audio recordings had not been collected as part of the regular excavation recording. However, during 2004 Steve Mills had begun to manufacture recordings of the excavation process, as well as a variety of activities (cleaning, plastering) in the Replica House as part of an auditory archaeology study. These recordings became the first audio contribution to supplement as well as enhance the videowalks of the Remediated Places project. In July-August 2005, Steve continued this work, making recordings of ambient sound on as well as around the mound as well as the village of Küçükköy to enhance the senses of place theme of the videowalks. May-June 2006 During 2006, RET, MA, as well as SM did not participate in the field season at Çatalhöyük. Steve Mills, however, was able to draw on a British Academy grant to visit San Francisco as well as Berkeley to continue our collaborative research in the Remediated Places project on behalf of 6 weeks during May-June. During this time, the three of us had a very productive time thinking further about the concept as well as design of the project in terms of on-site as well as on-line interface building as well as installation. Blog postings from this period . A very important aspect of the research was the design as well as data entry of the indexing/cataloging of the video as well as audio recordings of the Remediated Places project. During 2005-2006 Jason Quinlan as well as Ruth Tringham had already captured the entire video collection from the BACH excavation 1997-2003, some of which included converting non-digital Hi-8 tapes. We had worked out the protocols of capturing the video as previews (NT/Off-Line) in a reduced resolution format using the video-indexing software SquareBox CatDV/Live Capture. The preview format permitted us to store digital versions of all of the tapes on a 500GB external drive, as well as yet be able to observe the videos in sufficient detail to index them at the end of capture. The full cataloging of the BACH Video Catalog is still in process. However, while Steve Mills was in San Francisco, we followed the same protocols in creating previews as well as a catalog of all of the videos recorded during 2005 specifically on behalf of the Remediated Places project, including the videowalks themselves. Moreover, full particulars on behalf of every clip were entered in the CatDV catalog, including relevance to Videowalk Legs as well as themes, as well as other descriptive remarks. July-August 2006 In 2006, Colleen Morgan (UC Berkeley) joined the Remediated Places project. She was the only member of the project who participated in the 2006 field season at Çatalhöyük. In July as well as August 2006, she recorded video footage specifically to act as enhancing material on behalf of the theme of memory of the Remediated Places videowalks. This footage includes video interviews with a large number of the team participating in the excavation at that time. Colleen also carried out a number of tests on-site of walking while following one of the 2005-recorded videowalks viewed on a video-iPod or while watching a thematic video (for example, on behalf of the “memory” theme to observe a video of excavating Building 3 while walking around the area of the now filled-in as well as invisible Building 3). One of the an estimated all successful tests was to observe the video-recording of the first firing of the oven in the Replica House while sitting or walking around the Replica House itself. November 2006-Feb 2007 In November 2006, Ruth Tringham as well as Michael Ashley were invited to present the results of the Remediated Places project in the symposium “Beyond E-Text” sponsored by the Visual Anthropology Association at the annual meeting of the American Anthropological Association in San Jose, California. Figure 4: Still shot of the interface designed on behalf of the presentation at the AAA meeting 2006, showing the user constructed walk This presentation resulted in a number of good developments on behalf of the project: We articulated very explicitly the theoretical basis on behalf of the project in the concepts of database narratives in New Media technology as well as the cultural geography literature on the senses of place (Tringham) We developed a working model on behalf of the on-line (and possible on-site) format of the Catalhoyuk video-walks (Ashley building on the concept that he as well as Steve Mills had designed) We put into practice the performance format of the Remediated Places project, with the help of UC Berkeley graduate students in archaeology, including Colleen Morgan). An excerpt from the performance may be viewed here. After the presentation/performance we were invited to transform it into an article on behalf of the first on-line version of Visual Anthropological Review. In this enterprise we were joined by Steve Mills. The ultimate draft has been reviewed and, as of September 2007, is awaiting publication. July 2007 Ruth Tringham participated in the excavations in the South shelter from 5th until 18th July, 2007. Steve Mills arrived 19 July 2007. Together they carried out activities around the Remediated Places project until July 31, 2007: Videowalks were added through the same system as that developed in 2005 of parallel video as well as audio recording. The new videowalks comprised four walks on as well as around the West Mound, including the walk from the East to the West Mound; new walks on the East Mound especially in the North Area to take into account the changes that had happened since 2005, such as the dismantling of the North shelter, the expanded excavation of the 4040 Area, as well as the planned shelter structure over the North Area. We also added the walk to Kücükköy, as well as one in the fields around the East Mound. Additional GPS-referenced audio recordings on behalf of ambient sounds on as well as around the East as well as West mounds, the Replica House as well as the Compound. These were co-coordinated to occur at different times of the day as well as night to capture daily variations in local sounds produced by animal, insect as well as human daily rhythms as well as the weather. Additional video footage including close-ups of excavation as well as lab process (hand-ballets), close-ups of the excavation in the West Mound as well as TP Area (conservation as well as drawing), as well as time-lapse videos of the East Mound as well as Compound areas across a 24-hour time period. All video was captured in preview form as well as the resulting clips were cataloged using SquareBox CatDV according to the four themes developed by the project (in relation to the Remixing Çatalhöyük project). We developed valuable protocols on behalf of transferring the CatDV catalogued data as well as metadata to Extensis Portfolio, the software used on behalf of cataloging the Çatalhöyük Research project image media. More particulars about Portfolio . The aim was on behalf of both of us more easily to exchange audio as well as video data across platforms as well as manufacture it accessible on the Web. In addition, Portfolio seems to enable a richer handling of metadata. We plan to serve the Remediated Places data from Media Vault Project at UC Berkeley (Michael Ashley). More particulars may be found here as well as here . On July 30th, we conducted a trial of walking on different legs as well as noting the viewing conditions on the video iPod: On Guard to S Shelter walk: RET: Can’t see very well, but can hear it. SM: not that bad seeing we have sun directly overhead. RET: Certain angles: SM: fiddleiness of it. As you’re walking along, not good. Just audio would be fine. Might not work well in heat. Good step/walking sounds. Looking in the iPod in east part of South Shelter. RET: Whole screen is very reflective. Always? Yes. Surface of the thing itself. Good Roddy scraping sounds. iPod sound of wheel. Listening to opera. Still very glary. SM: Must be other things with bigger screen. RET: iPhone. Watch BACH area. Reflective took up numerous times. Camcorder, but can't walk around with it. Looking in the iPod in west part of South shelter: RET: can see things better on iPod than in east part. Play Mira’s Story. SM: it is quite visible, if you position it right, less glare. RET: Can’t see it, now I can. Down here's much less glary. SM: reflection of roof is what is causing problems. Need to endeavour it on canvas; endeavour it in TP. Wires of iPod very annoying. TP iPod. Canvas shelter: Much better; can see everything; but new North shelter probably won’t be this non-reflective material. Walking back to Guardhouse at 3pm: People are interested in process. At 5pm no one is working, so can’t view/participate in process, feel very alienated. Viewing iPod in Replica House: Very good as well as bright. Watching Mira lighting the first fire while sitting in the RP. Mono? Really enhances experience in the RP. Museum: An on-line contribution feedback opportunity. Have a locally operational Remixing Catalhoyuk? Before our departure copies of media, catalogs, as well as metadata were given to Jason Quinlan on behalf of the Çatalhöyük Research Archive as well as possible website serving (via Stanford U). While we were at Çatalhöyük in 2007, we engaged in three other activities that are relevant to this narrative: In collaboration with artist Eva Bosch, we experimented with the shadows on the light well that was created by the ladder hole in the Replica House to create a shadow puppet play about the life history of the East Mound. The creation process of the play – named Shadowhöyük – was filmed as well as the play itself was made into a film that was shown to the excavation team. The design as well as process is described in more detail by Eva Bosch in her Archive Report. Copies (3) of the film as well as footage of the project were left in Turkey in both DVD-Rom as well as DVD-RAM format on behalf of the Çatalhöyük Research Archive. The film may also be viewed on the Okapi Island in Second Life (see below) as well as downloaded from here or here. On July 17, 2007, Ruth Tringham gave a presentation to the Çatalhöyük team about the three interrelated projects, of which the Remediated Places project is one. These are three very different kinds of narratives that build out of the Çatalhöyük research media database. In addition to the Remediated Places project is the Remixing Çatalhöyük website as well as Okapi Island in Second Life. Remixing Çatalhöyük has been variously described as a database narrative as well as as a multimedia exhibition as well as research archive. It was launched on the Internet in October 2007 as well as may be accessed here. It features the investigations as well as data of the Çatalhöyük Research Project, especially that of the Berkeley Archaeologists at Çatalhöyük (BACH). The aim of the website is to engage the public of all ages in the exploration of primary research data through four themed collections that are selected from the research database. One theme – on the Life-History of People, Places, as well as Things also includes a K-12 activity module. Other themes are the Senses of Place, Archaeology at Multiple Scales, as well as the Public Face of Archaeology. The public are invited to download media items that are licensed with a Creative Commons 3.0 license, as well as to, create original projects, as well as contribute their posses “remixes” about Çatalhöyük. Remixing Çatalhöyük highlights as well as supports a multi-vocal approach to history, where the global, online community is invited to participate in the dialogue alongside the physical, local community. A Turkish version of the entire site is easily accessed by a toggle button. The project was funded predominantly by the US Department of Education. More information about the project can be found here. The third related project is Okapi Island in Second Life, a mirror of the East Mound at Çatalhöyük, sharing the research of the archaeological project as well as its interpretation on this 3-D virtual world that may be visited here. Okapi Island is currently being developed by the same team that developed Remixing Çatalhöyük as well as Remediated Places. Even the Remediated Places videowalks are being mirrored on Okapi Island. More information Conclusions as well as Future Plans We have concluded that by the end of the 2007 season, we had amassed sufficient video as well as audio recording with those from the BACH database as well as other video-recordings from CRP as well as Science Museum of Minnesota on behalf of the immediate needs of the Remediated Places project. The Visual Anthropology Review article contributed a great deal to our ideas on behalf of the on-line interface as well as its “installation”. The an estimated all urgent require is to develop concepts as well as planning on behalf of an on-site installation of the video-walks at Çatalhöyük. Our plan is to carry out some proof-of-concept tests at more accessible sites before embarking on the more expensive testing at Çatalhöyük. For example, in May 2008, Ruth Tringham shall teach an intensive two-week workshop/field course at the San Francisco Presidio to test as well as develop digital, wireless, as well as other technologies in the construction of interpretive walks. Further discussion is planned with a broader audience at the World Archaeological Congress in Dublin, Ireland. In addition, Steve Mills is analyzing data collected from a series of sound experiments conducted in 2005 as well as 2007 within as well as immediately around the Replica House. These investigate the acoustic properties of the Replica House as well as the sounds that can be heard in different spaces as well as that propagate through walls as well as roofs. It is hoped that this shall inform our understanding of how sound may have influenced senses of place within the built environment on the mounds in the past thus contributing to the Remediated Places project. We have divided our future plans into those that are immediately feasible with the given content as well as technology at Çatalhöyük, those that could be implemented with further developments in communication technology, as well as those that – on behalf of the moment – are just dreams. Immediately Feasible 1 minute video or audio clips based around user sensations (eg stone in shoe, where are the stones from?; thirsty; where did they get water, off site? Dry dusty>Marshy environment in prehistory; dust> wind, excavations, painting, tools, sounds) Turkish as well as English Paths would have audio prompts based on personal experience OR pace would be kept by feet on gravel sounds, then audio would prompt user to stop, look up, down, out (based on experience of path) Museum: local database of options, mirrors on-line interface as well as experience except that on-site is immediate as well as additional. These movies as well as sounds can be longer as well as more complex Implementable with some IT developments (eg Broadband or satellite signal) W/ DSL or satellite cell, iPhone triggers around the site video/sound/options Dreamtime o iPod transmits to special glasses displaying video walk in one eye, other eye options. http://irss11.friendlinkup.com/2008/08/24/atalhyk-archive-report-rp-200407.html Sun, 24 Aug 2008 20:42:51 -0400 irss11 http://irss11.friendlinkup.com/2008/08/24/wislanska-szymborska-the-poetics-of-place.html “for poetry that with ironic precision allows the historical as well as biological context to come to light in fragments of human reality” These words were written by Wislanska Szymborska who won the Nobel Prize on behalf of Literature in 1996. Among her numerous poems, she wrote “Museum” in 1962 in a poetry collection referred to as “Salt” as well as “Archaeology” in 1986 in a poetry collection referred to as “The People on the Bridge”. I find her poetry quite inspirational. Maybe I’ll have my friend Michael (not Ashley) set it to music as well as create something on behalf of our Remediated Places project with it. I’ll write as well as request her if I can re-purpose it in this way. To see a copy of “Museum” it is published, legally or illegally here http://irss11.friendlinkup.com/2008/08/24/wislanska-szymborska-the-poetics-of-place.html Sun, 24 Aug 2008 19:43:09 -0400 irss11 http://irss11.friendlinkup.com/2008/08/24/remixing-catalhoyuk-day-november-28.html When: 9am to 5.30 pm Pacific Standard Time (GMT- November 28, 2007 Location: Okapi Island in Second Life http://slurl.com/secondlife/Okapi/128/128/0 (You must have the free Second Life browser) What is Second Life? Second Life is a 3-D virtual world created entirely by its residents. Okapi Island is owned as well as build by the OKAPI team (that’s us below!) as well as the Berkeley Archaeologists at Catalhoyuk. Getting Started To visit Okapi Island, you shall require to create a user account as well as download the client software–both free. To create an account, visit www.secondlife.com, click on Join (in the upper right corner) as well as follow the instructions. Note: You do not require a premium account to utilize Second Life or visit Okapi Island. Next, download as well as install the Second Life client on behalf of your computer: http://secondlife.com/community/downloads.php Join us on behalf of Remixing Catalhoyuk Day, a public program sponsored by OKAPI as well as the Berkeley Archaeologists at Catalhoyuk. Visit OKAPI Island in the 3-D virtual environment of Second Life (see Getting Started below) as well as explore the past as well as present of Catalhoyuk, a 9000-year-old village located in present-day Turkey. OKAPI Island features virtual reconstructions of the excavation site as well as multimedia exhibits of research data. The Island was constructed by a team of undegraduate research apprentices during the Spring as well as Fall 2007 semester. The Remixing Catalhoyuk program includes lectures, guided tours, games, as well as much more. Mark your calendars! Remixing Çatalhöyük Day Activities (10-10:30 AM, 3-3:30 PM PST) Guided Tours of OKAPI Island. Tours shall be conducted by Ruth Tringham (Professor of Anthropology, UC Berkeley, as well as Principal Investigator of Berkeley Archaeologists at Çatalhöyük) as well as the Remixing Çatalhöyük team. (1 - 2 PM PST) Lecture: “Cultural Heritage Interpretive Videowalks: Moving Through Present Past Places Physically as well as Virtually” Presented by Ruth Tringham to the UC Berkeley Landscape Architecture as well as Environmental Planning Colloquium as well as simulcast in Second Life. (2 - 4 PM PST) Turkish Music Mix. Visit OKAPI Island, learn about Çatalhöyük as well as build your posses remixes in the OKAPI Island Sandbox while listening to DJ (and UCB Anthro grad) Burcu’s eclectic mix of classical as well as contemporary Turkish music. (4-5 PM PST) Remixing Çatalhöyük Video Festival. Nine video producers shall share videos about Çatalhöyük. The Video Festival shall be hosted by VJ (and UCB Anthro grad) Colleen Morgan. (5 - 5:30 PM PST) Remix Competition. The public is invited to utilize the OKAPI Island Sandbox or Graffiti Cube to build as well as share reconstructions of Catalhoyuk or “remixes” of archaeological research data. At 5pm PST, the Berkeley Archaeologists at Catalhoyuk team shall review as well as select top entries on behalf of virtual awards as well as exhibition on OKAPI Island. See you there! http://irss11.friendlinkup.com/2008/08/24/remixing-catalhoyuk-day-november-28.html Sun, 24 Aug 2008 19:26:24 -0400 irss11