Papers by Julia Noordegraaf
Dutch visual artist Marijke van Warmerdam is best known for her film-based installations, which p... more Dutch visual artist Marijke van Warmerdam is best known for her film-based installations, which present simple settings or actions, such as a girl performing a handstand, in short, 16mm film loops that are projected in the gallery space. In 2011 van Warmerdam took the decision to digitize most of her film installations. From a conservation perspective this is remarkable, since the disappearance of the analogue 16mm projectors from the gallery space significantly alters the experience of van Warmerdam’s film-based works. However, with reference to recent ideas from performance studies, in particular the notion of “dramaturgy,” I argue that there is no inherent difference between the analogue and digital versions of her installations. The case serves to explore a more radical freedom of interpretation in the execution of time-based media installations and proposes a perspective on documentation that shares responsibility among all different stakeholders, extending the “ecosystem” of time-based media conservation beyond the museum’s walls.
Abstract: this paper I want to demonstrate the possible value of this approach with a discussion ... more Abstract: this paper I want to demonstrate the possible value of this approach with a discussion of aspecific case: the Teyler Museum in Haarlem, the Netherlands. I use the Teyler case as anexample, to argue that the museum, as it emerged in the early nineteenth century, belongs tothe same, spectacular realm as the popular and commercial media of the nineteenth
La numérisation de l’archive, la rendant accessible en ligne pour le grand public, modifie son st... more La numérisation de l’archive, la rendant accessible en ligne pour le grand public, modifie son statut et sa structure, et met en question le rôle de l’archiviste comme expert et des institutions patrimoniales comme gardiennes du savoir. L’essence de l’archive numérique est une conception dynamique de l’idée d’archive et de l’archivage : les instituions font de plus en plus appel au « taguage », forme d’indexation audiovisuelle effectuée par les usagers complète les descriptions des archivistes professionnels. Ces expériences introduisent un nouveau type de savoir participatif dans l’archive, sans rupture radicale avec les pratiques archivistiques traditionnelles, et laissant intacte l’épistémologie de l’archive.
In this article I focus on the archive as a specific site of memory, in particular the audiovisua... more In this article I focus on the archive as a specific site of memory, in particular the audiovisual archive. I investigate the use of audiovisual archival records as sources for remembering war, specifically the war in the former Yugoslavia (1991-1995). I do so by discussing one particular case study, the two-channel video installation Raw Footage (2006) by the Dutch artist Aernout Mik. In this work, Mik presents a selection of unused, unedited news footage from the archives of press agencies Reuters and ITN – literally “raw footage.” Mik selected, compiled and staged this material in an installation that present us with a different perspective on that conflict, a view on the war in the former Yugoslavia that we literally have not seen before. My discussion of this example aims to show that the reuse of audiovisual archival material in artistic work can be a means to move the public memory of war in new and unexpected directions. By extension, I argue that keeping track of such iterations of archival footage is crucial for a proper understanding of the different ways in which we remember the past
In this text I describe how our MA Preservation and Presentation of the Moving Image trains futur... more In this text I describe how our MA Preservation and Presentation of the Moving Image trains future curators of the (digital) moving image.
The proliferation of digital technologies has changed the way we perceive of and use audiovisual ... more The proliferation of digital technologies has changed the way we perceive of and use audiovisual archives and their holdings. The emergence of virtual archives and online portals is changing the relation between the keepers and users of audiovisual heritage, challenging the role of the archivist as principal expert on the knowledge the collection represents. In this article I investigate the implications of these developments for the status of the (audiovisual) archive as a gatekeeper of knowledge. I discuss a recent experiment with social tagging, the Netherlands Institute for Sound and Vision’s video labeling game WAISDA?, and ask to what extent experiments like this destabilize the existing archival platforms for validating and describing audiovisual heritage. I argue that, even though these new forms of access introduce a new type of ‘participatory knowledge’, in fact digitization only exposes the archives’ inherently dynamic, performative nature.
… Studies in Television: scholarly studies in …, Jan 1, 2010
This article investigates the implications of online access to television archival material and t... more This article investigates the implications of online access to television archival material and the knowledge it represents. I discuss the impact of digitisation on the TV archive, and ask how that affects the role of the archivist as a gatekeeper to its knowledge. I argue that far from being a gatekeeper, the archivist becomes an editor of data generated by various agents. The article also questions the impact of this development on the status of television archives as repositories of television history - what happens to the 'history' in television history when its digitised source material becomes part of an eternal online present?
The Moving Image, Jan 1, 2009
Conference Proceedings by Julia Noordegraaf
Despite the widespread prevalence of crowdsourcing projects in the cultural heritage domain, not ... more Despite the widespread prevalence of crowdsourcing projects in the cultural heritage domain, not all initiatives to date have been universally successful. This study has revealed that the conditions in which projects are realized, and the design properties of those projects, have a significant impact on success or failure rates. Through a literature analysis and close study of two cases—Red een Portret (Save a Portrait) at the Amsterdam City Archives and a photo-tagging project of the Maria Austria Institute on the Vele Handen (Many Hands) crowdsourcing platform—this study identifies those conditions and implements them in the design of a model to assist in the design and evaluation of effective cultural heritage crowdsourcing projects.
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Papers by Julia Noordegraaf
Conference Proceedings by Julia Noordegraaf