There is a problem with storing and retrieving audio-visual digital media files
using information and communication technologies employing text-based
indexing systems. Fundamentally, the complexities of language as a semantic
system do not serve well the complexities of the motion picture document.
The objective is to propose effective and affecting means by which creators and
audiences can store and retrieve the video files with which we work,
communicate and entertain ourselves, increasingly each day. The research has
employed practice-based research to extend our understanding of the precept of
a taxonomy based on the visual mnemonics of the motion picture document.
The research approach draws on the work of Schön: “…our knowing is in our
action…” (Schön, 1983) 49, together with Norman’s description of two modes of
cognitive behaviour, the experiential and the reflective (Norman 1993) 16. This is
echoed by recent work on ‘the configuration of indexicals’ (indexicality) where
communities of expertise can collaboratively establish ‘..shared meaningful
objects…’ within a referential network (Sarmiento and Stahl, 2007). It joins many
others, who have identified the activity of searching a database or collection as
“…part of a creative process.” (Kules 2006). These researchers have informed
the production of evidence in my research, that takes the form of experimental
models from which data has been gathered, both in the making of the artefacts
and their evaluation.
A series of seven experimental Models have been built using movie files
encountered as full screen motion-picture images, navigated with four-way
gestural interactivity. Mnemonics – aids to memory – are deployed taking two
broad approaches: a schema, (from the Greek skhema, meaning shape),
imparted with a word description at the outset of the interactive encounter of a
primitive to describe navigational principles for each Model; and the images and
sounds within the movies, associatively and semantically related mnemonically to
the knowledge domain of the collection.
Conclusions emerge from two areas of practice-based research, the
artist/designer and the potential user group. Initially, evaluation of the objective of
each experiment with the creativity support tool - the Mnemovie engine –
revealed the need to design interactive movie Models specifically for each
collection of movies. Subsequently, observational data from the test subjects
both confirmed and contradicted the precept, leading to the description by
participants of their own navigational designs using the Mnemovie system for
personal movie collections.
Further research objectives are reported emerging from the conclusions,
proposing specifications for a system, or series of systems, incorporating further
development of the Mnemovie engine support tool, live performance collaborative
projects, generative systems, and opportunities for interactive sensing systems