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Werkpakket 1: GEBRUIKERSNODEN Deeltaak 2: CREATIEF ATELIER - Cultuursector PROJECT: BOM-Vl (BEWARING EN ONTSLUITING VAN MULTIMEDIALE DATA IN VLAANDEREN) Werkpakket 1: GEBRUIKERSNODEN Deeltaak 2: CREATIEF ATELIER - cultuursector Datum: 09/2008 Auteur: Stoffel Debuysere (BAM) Met medewerking van de consortiumpartners vertegenwoordigd in WP1: IBBT/SMIT — Boekentoren — FARO — BAM — VTi — VITAYA — ATV — FocusWTV Comsof — Videohouse — VRT INHOUD Inleiding 2 1. Het Geconnecteerde Zijn : over connectiviteit, creativiteit en collectiviteit in de netwerksamenleving 3 2. De Tijd van Loslaten : media en geheugen in de netwerkmaatschappij 9 3. Collage, Sampling en Détournement : naar een nieuw mediaal bewustzijn 16 3.1 Found Footage Cinema: de wereld in fragmenten 16 3.2 Sampling en Cut-up: de herbronning van klank 27 3.3 Plunderphonics en Scratch Video: de technologische ontvoogding 33 3.4 Media en Archeologie: herinneringen aan de toekomst 45 3.5 Remixes en Mashups: the mix is the message 51 3.6 Mediarecyclage In Vlaanderen: koorddansers en dwarsliggers 59 4. Media en Ecologie : van beschikbaarheid naar openheid 65 BOM-VL Werkpakket 1 Deeltaak 2: Creatief Atelier 1 Inleiding Het archief als vergeten bergplaats van vergeelde documenten en stoffige objecten: het is een beeld van en uit het verleden, een grauw visoen dat langzaam maar zeker plaatsruimt voor een dynamisch, digitaal gekleurd begrip van opslag en geheugen. Het archief, als hernieuwd concept, belichaamt niet zozeer het verleden, maar de belofte van het verleden naar de toekomst. Zijn essentie ligt precies in het aanboren van het potentieel van gisteren, de opening naar het onbekende, het onverwachte en onvoorspelbare. In het licht van de voortschrijdende digitalisering en de mogelijkheid tot wereldwijde beschikbaarheid worden steeds meer collecties ontsloten en ontgonnen, als inzet voor genealogie en archeologie, als bron voor een veelheid van associaties en relaties, als eindeloos spoor. Het archief dient niet enkel als bron van wetenschappelijk onderzoek of didactisch gebruik – in het onderwijs, in nieuwsbladen en tv-documentaires – maar ook voor creatief hergebruik. Tal van culturele producenten en kunstenaars beroepen zich op bestaande beelden, klanken en geschriften en puren er nieuwe trajecten, perspectieven en dwarsverbanden uit. Zo wordt het archief benut als een publieke ruimte die het verleden niet enkel inventariseert en catalogiseert, maar ook herinterpreteert en actualiseert. Binnen dit werkpakket werd, via literatuuronderzoek, enkele gesprekken en vooral veel kijken en luisteren, gepeild naar verschillende mogelijkheden, motieven en tradities van mediarecyclage – dat afhankelijk van de invalhoek wordt aangeduid met termen als “found footage”, “sampling”, “cut-ups”, “détournement”, “remix” of “mashups”. Wat is het potentieel maatschappelijk belang van deze praktijken? Welke modellen kunnen vandaag gebruikt worden om tegemoet te komen aan de verwachtingen en noden van kunstenaars en allerhande creatieve mediaproducenten? Het idee van hergebruik van mediafragmenten kan niet gezien worden buiten de context van de socio-technologische condities die de postindustriële maatschappij typeren. In de eerste twee hoofdstukken wordt ingegaan op de invloed van de huidige informatie- en communicatietechnologieën op de betekenis van creativiteit, collectiviteit en het sociale geheugen. BOM-VL Werkpakket 1 Deeltaak 2: Creatief Atelier 2 1. Het Geconnecteerde Zijn : over connectiviteit, creativiteit en collectiviteit in de netwerksamenleving “We learned to crawl alongside the PC. We came of age with the Internet. Early-adopting, hyperconnected, always on: Call us Children of the Revolution, the first teens and tweens to grow up with the network. It takes a generation to unlock the potential of a transformative ecology - we are that generation. From IM to MP3 to P2P, we lab-test tomorrow’s culture. While others marvel at the digital future, we take it for granted. Think of it as the difference between a second language and a first. And imagine the impact when full fluency hits the workplace, the shopping mall, and the living room. In the past, you put away childish things when you grew up. But our tools are taking over the adult world. Check it out: The technology is trickling up.” - ‘Born Digital: Children of the Revolution’, Wired, september 2002 “Please God, just one more bubble!” - Silicon Valley bumper sticker, gespot in 2003 Ons online leven wordt gekenmerkt door relatieve passiviteit: we browsen, kijken, wachten, deleten, chatten, surfen. Op het netwerk heerst eerder chaos dan orde, eerder vluchtigheid dan persistentie. De banden tussen gebruikers onderling zijn overwegend informeel en onzeker, altijd op het punt van loslaten. Totaal engagement wordt geassocieerd met radicaliteit. Netwerken zijn, zoals Geert Lovink en Ned Rossiter ooit optekenden, “hedonistische machines van promiscue contacten”1, onafhankelijk, onverschillig, zonder essentie of waarheid. Netwerken beschikken immers niet over een centrum maar leggen verbanden. Wat ze gemeen hebben is een gedeeld bewustzijn van een potentieel, dat niet per se moet worden volbracht. Wanneer dat potentieel echter ontgonnen wordt, wanneer het leven er welig tiert, vormen netwerken een onuitputtelijke inspiratiebron voor nieuwe expressies, methodes en sociale praktijken. Vaak duiken daarbij intensieve vormen van samenwerking en culturele uitwisseling op, die de algemene tendens van fragmentatie en ongebondenheid overstijgen, al was het maar voor eventjes. Het internet wordt immers niet enkel gedefinieerd door zijn gebruik voor bestandstransfer en zelfpromotie, maar door zijn onderliggende sociale architectuur. Het is meer dan een tool, het is een omgeving. We weten intussen wel dat het “sociale” geëvolueerd is naar een marketingconcept en dat de “web 2.0” ideologie – en alles wat het representeert: participatie, collectivisme, amateurisme, remix - verworden is tot een discours om opkomende sites en online services op te frissen zodat ze voor grof geld kunnen worden verkocht, maar dit is geenszins afdoende om de vernieuwingen die de kern van de term “Web 2.0” uitmaken, af te wimpelen. 1 Geert Lovink & Ned Rossiter: Multitudes, Creative Organisation and the Precarious Condition of New Media Labour, 2005. http://journal.fibreculture.org/issue5/index.html BOM-VL Werkpakket 1 Deeltaak 2: Creatief Atelier 3 Ondanks de groeiende individualisering, is er een waaier van culturele bewegingen merkbaar die zijn ontstaan en functioneren rond de waarden en rituelen van delen en uitwisselen. Netwerken zijn niet nieuw: ze zijn er altijd al geweest, in elke economie. Wat nu het grote verschil uitmaakt is dat netwerken, voortgestuwd door nieuwe communicatietechnologieën, zo diep onze levens doordringen, dat ze de centrale metafoor worden waarrond ons denken en ervaren worden georganiseerd. We zijn allen onderdeel geworden van een online matrix van culturele levens, geconnecteerd met gedistribueerde archieven, geïndexeerd met behulp van metadata, tags en zoekmachines, via ‘microcontent-feeds’ en hyperlinks geaggregeerd naar gepersonaliseerde portalen. Deze netwerken hebben een nieuwe wereld van productie, creativiteit en samenwerking mogelijk gemaakt, die niet primordiaal wordt gedreven door een streven naar macht of controle. De eerder genegeerde en verworpen dimensie van culturele activiteit op het net valt niet meer simpelweg te bestempelen als afgeleide vormen van ‘actieve consumptie’ of vluchtige informatieoverdracht, maar heeft zich opgeworpen als een belangrijke vorm van culturele productie. Sociale netwerken, Peer-to-peer netwerken, vrije software, folksonomies, blogging en hacking wijzen op een actieve participatie van groepen die nog niet zo lang geleden als marginaal en onzichtbaar werden afgedaan, op een uitholling van de betekenisconstructie rond de term “consument” – zijnde het neoliberale idee van de passieve, niet-generatieve ontvanger van professioneel geproduceerde en one-way gedistribueerde content. De oppositie consument/producent, waarrond de eerste twee eeuwen van het industriële tijdperk werden georganiseerd, gaat niet meer op. We zijn, merkt filosoof Bernard Stiegler - in een opvallende utopische bui - op, terechtgekomen in een nieuw industrieel model, waarbinnen we niet meer fungeren als producenten of consumenten, maar als “contributeurs”.2 De utopische conceptie van het internet als platform voor een non- hiërarchische, gedecentraliseerde logica van zelforganisatie, krijgt af en toe ook vorm in de praktijk. De Wikipedia is daar wellicht het meest tot de verbeelding sprekende voorbeeld van. Deze gratis en open Internet encyclopedie wordt volledig ontwikkeld, ingevuld en onderhouden door een wereldwijd netwerk van vrijwilligers. Zowel de software als de content kunnen vrij gebruikt, aangepast en aangevuld worden. Het NPOV – ‘Neutral Point of View’- beleid en het sociaal concept van samenwerking en kwaliteitscontrole die de basis vormen van de werking van Wikipedia (en zijn spin-offs: de Wiktionary, de Wikiquotes, …) , bieden een glimp van het potentieel van het netwerk als open digitale omgeving die vertrouwen stelt in de gebruiker, als vorm van collectieve intelligentie, die voortdurend een evenwicht zoekt tussen persoonlijk belang en publieke waarde. Delen, bewerken, remixen, appropriatie en ‘détournement’: het zijn vaste waarden voor de Netwerkgeneratie. Voor deze generatie zijn de concepten van ‘on-demand’ en ‘interactieve’ televisie achterhaald nog voor ze effectief in gebruik worden genomen. De industriële retoriek gaat aan hen voorbij (vooraleer de retoriek zich aanpast, 2 Zie o.a.
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