" this series we focus on analyzing the two main parts that constitute the interactive documentary field: the documentary genre and interactive media. In these articles we introduce an original combined evolution of the digital and documentary mediums, in which it is interesting to observe that there are some significant coincidences in time between them. Our aim is to link moments of innovation in the documentary genre and storytelling in general with technological experiments, inventions and pioneering concepts in the digital field."
August 21st, 2013 · Online Interactive Documentary
August 8th, 2013 · Online Interactive Documentary
DocHouse & the Frontline Club present
More information in the blog post on the collabdocs website.
Between the Lines Festival | Rich Mix Cinema | 1-3 March 2013
Each technological change in filmmaking has influenced the way stories are crafted. Adapting to these new technologies has repeatedly been presented as a revolutionary new way of storytelling. The first films shot with handheld cameras allowed unprecedented access to events, and later, digital cameras made it cheaper to produce films. Now, with opportunities offered by new media, stories can be told in a non-linear fashion through different platforms, or made interactive. Do these new technologies truly revolutionize the way we document the world, or do they merely change the relationship between the maker and the viewer? Do the old methods of storytelling still apply to interactive or non-linear documentaries?
Between the Lines festival explored the challenges facing documentary makers, investigative journalists and citizen reporters in the new media landscape. Three days of powerful films and lively debate on the issues and opportunities raised by the internet, trans-media and merging documentary conventions.
August 1st, 2013 · Online Interactive Documentary
AFTRS 2012 Masters thesis ‘Documentary Producing and Interactive Platforms: Opportunities, Evolving Processes and the Changing Craft’ by Atalanti Dionysus of The Journey of Documentary website.
This research question led to investigation of some of the changes that have occurred in the documentary filmmaking industry and consideration of how approaches toward making a documentary are shifting, challenging all filmmakers to consider how and whether their project ideas can function using the new technologies and to look further into the opportunities that have arisen as a result. Recognising that filmmakers are seeking an understanding of these new opportunities in order to give their work a life as an interactive multiplatform documentary, from the cinema to DVD, the iPad, iPhone, radio, gaming and the web, this paper aims to provide research that will create access to these platforms for traditional and emerging documentary makers.
July 28th, 2013 · Online Interactive Documentary
http://wefeelfine.org/ – We Feel Fine (data collection)
Instigator of Cowbird project.
July 12th, 2013 · research
I have had my presentation included in the Video Vortex 9# re:assemblies of video reader, which is in the progress of being brought together. The interface is reminescent of Whale Hunt. The project documents all the speakers at VV9#.
July 11th, 2013 · Uncategorized, Web Documentary
I came across ‘paradigm and syntagm’ in (Manovich 2001, pp.202-05) and then recently read this analysis in recent paper ‘Remembering Bogle Chandler: an exploration of new media’s storytelling potential’on an interactive docuumentary Remembering Bogle Chandler produced by the author Young. (http://dx.doi.org/10.1080/14626268.2013.776973). I decided to note it here for more thinking some time in the future? For me pictures/visuals always make concepts so much clearer.
From the Young’s article pg 9:
An expanded section of the Remembering Bogle Chandler timeline (Figure 5) shows how the story is mapped on a horizontal/chronological/ syntagmatic axis and a vertical/point-ofview/ paradigmatic axis. Each module can be accessed in a chronological sequence (left to right) or compared to other modules seen from different character’s perspective at the same moment in time (top to bottom). Alternatively, the user can access the story modules in a more stochastic manner. No matter which path the user chooses, it is a unique one deriving from the variability of the digital narrative.
A diagram/graphic by Young accompanying the text (from the article):
From Manovich (p. 204):
Interactive interfaces foreground the paradigmatic dimension and often make explicit paradigmatic sets. Yet, they are still organized along the syntagmatic dimension. Although the user is making choices at each new screen, the end result is a linear sequence of screens which she follows. This is the classical syntagmatic experience. In fact, it can be compared to constructing a sentence in a natural language. Just as a language user constructs a sentence by choosing each successive word from a paradigm of other possible words, a new media user creates a sequence of screens by clicking on this or that icon at each screen. Obviously, there are many important differences between these two situations. For instance, in the case of a typical interactive interface, there is no grammar and paradigms are much smaller. Yet, the similarity of basic experience in both cases is quite interesting; in both cases, it unfolds along a syntagmatic dimension.
What is interesting me here is ‘paradigm’ in relation to indexing as a process.
Manovich, Lev. The Language of New Media. Cambridge, MA: MIT Press, 2001. Print.
Young, Rebeccca. “Remembering Bogle Chandler: An Exploration of New Media’s Storytelling Potential.” Digital Creativity (2013): n. pag.
June 4th, 2013 · Web Documentary
A ‘video reader’ (‘interlace software’) being developed by Robert Ochshorn who presented at Video Vortex 9. The lectures and presentations from the event will be brought together into the work in this software.
May 14th, 2013 · Web Documentary
Form the abstract:
This thesis concentrates on the emerging field of interactive documentaries. Digital interactive and networked media offer so many new possibilities to document reality that it is necessary to define what an interactive documentary is and whether there is any continuity with the linear documentary form. This research therefore proposes a definition of interactive documentaries and a taxonomy of the genre based on the idea of modes of interaction – where types of interactions are seen as the fundamental differentiator between interactive documentaries.
Gaudenzi, Sandra 2013. The Living Documentary: from representing reality to co-creating reality in digital interactive documentary .Doctoral thesis, Goldsmiths, University of London. [Thesis]
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May 12th, 2013 · Web Documentary
Database/Narrative/Archive, Seven interactive essays on digital nonlinear storytelling
edited by Matt Soar & Monika Gagnon
Database|Narrative|Archive is a collection of seven ‘essays’ by leading thinkers and makers in the emergent medium of nonlinear digital storytelling. Each contribution has been conceived and written for Scalar, an interactive, multimedia, scholarly publishing platform in development at the University of Southern California, under the direction of the Alliance for Networking Visual Culture. All of the contributors have been concerned with investigating and addressing critical, conceptual, and creative questions at the heart of contemporary nonlinear storytelling in this formative era of the Web, while underlining connectivity and historical resonances with earlier media forms and texts.
March 14th, 2013 · Documentary
A simple trick accounts for much of our success as a species: pattern recognition.
Confronted with complex interactions and wide-ranging inputs, we manage to sort through the clutter, emerging with dots that we can connect and actions we can take. Pattern recognition requires abstraction, distinguishing data from noise. But coherence has many forms, and only through demonstration does it stand as actionable argument.
Data visualization offers that demonstration. Over the centuries, it has served as the haiku of pattern recognition. Any particular visualization privileges specific parameters of experience, with data representing quantity, motion, duration, location, and so on. But the art – and success — of visualization turns on more than simply isolating data: the graphic rendering of that data carries the argument. As Edward Tufte and others have eloquently shown, the right data in the wrong form say little of importance. And as we can see through the long haul of history, getting it right has little to do with technology. The best arguments, it seems, are data-based stories of pattern recognition, whether inscribed on cave walls and strips of wood, or in digital animations and dynamic renderings.
March 12th, 2013 · Uncategorized
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March 12th, 2013 · video vortex
Video is everywhere, like a space in which we move, an ocean we can dive into. But video is no longer the video we once knew. To address this techno-social shift, Andreas Treske sketches the outlines for a philosophical and practical understanding of online video, offering up a theory for the YouTube generation.
Video is examined up close and as a societal phenomenon. The images of a video constantly refer to other images, to the user and to the world outside. There is a ‘thickening of the image’. Videos also exist in relation to each other. On YouTube each video is accompanied by dozens of suggestions commercials and comments. Or consider TED-talks: every presentation refers to many others, all connected in a network and easily changing from one hype to the next.
Useful for comprehending this relational context is the philosophy of Peter Sloterdijk, who describes human society in terms of ‘spheres’. Online video can be understood as similar to bubble stuck to other bubbles, coming together to from foam within the connected sphere of the human environment.
Most prominent effects so far is video as a means of protest in the squares of the world, where revolution is filmed an uploaded in real time. Video isn’t a defined movie-object watched individually, but a movement of millions of video simultaneously, causing a cascade of reaction throughout the world.