In October 2022, A/P Justin Leontini (Dept. of Mechanical and Product Design Engineering) and A/P Max Schleser (Dept. of Film, Games and Animation) ran a mobile storytelling workshop with a regional primary school in Victoria, Australia. Pupils learned digital storytelling and rookie smartphone filmmaking basics to engage in a discussion about energy. The co-created (Auguiste 2020) mobile stories are part of the development of an Energy Literacy Community Toolkit, which is developed by Schleser, Wheeler, Leontini and the Social Innovation Research Institute at Swinburne University of Technology for Central Victorian Greenhouse Alliance in connection with the Donald & Tarnagulla Microgrid Feasibility & Demonstration study. This study is supported by Centre for New Energy Technologies (C4NET) and the Department of Industry, Science, Energy and Resources (CVGA 2022) in Victoria, Australia. This research creation project Where does Power come from? illustrates the Community Engagement: Donald and Tarnagulla Microgrid Feasibility Study project’s process and the co-created understanding for the next generation of power end-users. The research objective was to develop a community voice in the microgrid feasibility study. The co-created mobile stories are developed with an interest-based model (McCosker et al. 2018). Through understanding the communities’ perspectives and perceptions, this research worked with micro, horizontal hierarchies and ‘open space’ storytelling approaches (Zimmermann and De Michiel 2018, 2, 33 and 31). The theoretical underpinning draws upon a legacy of community arts (Dunn and Leeson 1997) and activism notion of ‘nothing about us without us’ (Charlton 2000). The co-created method enables to develop an understanding about particular thematic through applying a community point of view or language to develop a resource for the community. Mobile story making (Schleser 2018) is a conversation starter. The pupil’s, their parents, neighbours and other community members will ‘like’ these videos because they are featured in these stories (Gondry 2008). The project shifts the conversation to the heart of the community and provides new community engagement touch points. Understanding local community needs such as reliability, cost and self-sufficiency is a key element in setting up a community microgrid. Rural and regional communities tend to be at the end of the grid or have long distribution lines, leading to quality deterioration of the electricity supply. These communities and their businesses are seeking a balance of reliable, sustainable and low-cost electricity tailored to their needs (C4Net 2022).
2022年10月，A/P Justin Leontini(机械和产品设计工程系)和A/P Max Schleser(电影、游戏和动画系)与澳大利亚维多利亚州的一所地区小学合作举办了一个移动故事讲述研讨会。学生们学习了数字讲故事和新手智能手机电影制作基础知识，并参与了关于能源的讨论。共同创建的(Auguiste 2020)移动故事是能源素养社区工具包开发的一部分，该工具包由Schleser、Wheeler、Leontini和斯威本科技大学社会创新研究所为维多利亚中部温室联盟开发，与唐纳德和塔纳古拉微电网可行性和示范研究有关。这项研究得到了新能源技术中心(C4NET)和澳大利亚维多利亚州工业、科学、能源和资源部(CVGA 2022)的支持。这个研究创建项目“权力从何而来?”说明了社区参与:唐纳德和塔纳古拉微电网可行性研究项目的过程和共同创造的下一代电力终端用户的理解。研究目标是在微电网可行性研究中形成社区的声音。共同创建的移动故事是用基于兴趣的模型开发的(McCosker et al. 2018)。通过了解社区的观点和观念，本研究采用了微观的、水平的层次结构和“开放空间”讲故事的方法(Zimmermann和De Michiel 2018,2,33和31)。理论基础借鉴了社区艺术的遗产(Dunn and Leeson 1997)和“没有我们就没有我们”的行动主义概念(Charlton 2000)。共同创造的方法可以通过应用社区的观点或语言来开发社区的资源，从而发展对特定主题的理解。移动故事制作(Schleser 2018)是对话的开始。学生、他们的父母、邻居和其他社区成员会“喜欢”这些视频，因为它们是这些故事的特色(Gondry 2008)。该项目将对话转移到社区的核心，并提供了新的社区参与接触点。了解当地社区的需求，如可靠性、成本和自给自足，是建立社区微电网的关键因素。农村和地区社区往往处于电网的末端或有较长的配电线路，导致电力供应质量恶化。这些社区及其企业正在寻求根据其需求量身定制的可靠、可持续和低成本电力的平衡(C4Net 2022)。
{"title":"Energy Literacies","authors":"Max Schleser, J. Leontini, Melissa J. Wheeler","doi":"10.32920/ifmj.v3i2.1755","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1755","url":null,"abstract":"In October 2022, A/P Justin Leontini (Dept. of Mechanical and Product Design Engineering) and A/P Max Schleser (Dept. of Film, Games and Animation) ran a mobile storytelling workshop with a regional primary school in Victoria, Australia. Pupils learned digital storytelling and rookie smartphone filmmaking basics to engage in a discussion about energy. The co-created (Auguiste 2020) mobile stories are part of the development of an Energy Literacy Community Toolkit, which is developed by Schleser, Wheeler, Leontini and the Social Innovation Research Institute at Swinburne University of Technology for Central Victorian Greenhouse Alliance in connection with the Donald & Tarnagulla Microgrid Feasibility & Demonstration study. This study is supported by Centre for New Energy Technologies (C4NET) and the Department of Industry, Science, Energy and Resources (CVGA 2022) in Victoria, Australia.\u0000This research creation project Where does Power come from? illustrates the Community Engagement: Donald and Tarnagulla Microgrid Feasibility Study project’s process and the co-created understanding for the next generation of power end-users. The research objective was to develop a community voice in the microgrid feasibility study. The co-created mobile stories are developed with an interest-based model (McCosker et al. 2018). Through understanding the communities’ perspectives and perceptions, this research worked with micro, horizontal hierarchies and ‘open space’ storytelling approaches (Zimmermann and De Michiel 2018, 2, 33 and 31). The theoretical underpinning draws upon a legacy of community arts (Dunn and Leeson 1997) and activism notion of ‘nothing about us without us’ (Charlton 2000). The co-created method enables to develop an understanding about particular thematic through applying a community point of view or language to develop a resource for the community.\u0000Mobile story making (Schleser 2018) is a conversation starter. The pupil’s, their parents, neighbours and other community members will ‘like’ these videos because they are featured in these stories (Gondry 2008). The project shifts the conversation to the heart of the community and provides new community engagement touch points. Understanding local community needs such as reliability, cost and self-sufficiency is a key element in setting up a community microgrid.\u0000Rural and regional communities tend to be at the end of the grid or have long distribution lines, leading to quality deterioration of the electricity supply. These communities and their businesses are seeking a balance of reliable, sustainable and low-cost electricity tailored to their needs (C4Net 2022).","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124839386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Four days before the 2022 State of the Union address, the CDC made a change to the risk-prevention pandemic map of the United States that changed the color of the map from red to green. Before the change, the CDC worked with guidelines that identified a substantially high risk as 50 cases per 100,000 people. After the change, the low risk category became 200 cases per 100,000 - a significant diminution of the calculation. As the People’s CDC notes, “The resulting shift from a red map to a green one reflected no real reduction in transmission risk. It was a resort to rhetoric: an effort to craft a success story that would explain away hundreds of thousands of preventable deaths and the continued threat the virus poses.” The People’s CDC, a collaborative of volunteer health experts who offer policy recommendations and guidance around COVID-19 issues, reframes the official US responses to the global health crisis by disseminating critical information via social media. On their website People’s CDC identify their collaborative project: “working alongside community organizations, we are building collective power and centering equity as we work together to end the pandemic.” In this presentation, I situate the equity-focused work of the People’s CDC within restorative justice and world building movements. Using their “layered, collective, and equitable” social media publications as a guide, I employ recent research on collective action to analyze the ways that the People’s CDC resists the hegemonic inequities embedded in state run public health systems and corporate mass media by redeploying and rewriting the rhetorical strategies of those systems. I argue that the People’s CDC’s ethos of care and collaboration is employing restorative world building practices as a response to global crisis. As they say, “We must urgently create a new normal in which commitment to community care drives policy and behavior. This charge requires sustained and collective action.”
{"title":"Radical Restorative Justice of The People's CDC","authors":"L. Shafer","doi":"10.32920/ifmj.v3i2.1761","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1761","url":null,"abstract":"Four days before the 2022 State of the Union address, the CDC made a change to the risk-prevention pandemic map of the United States that changed the color of the map from red to green. Before the change, the CDC worked with guidelines that identified a substantially high risk as 50 cases per 100,000 people. After the change, the low risk category became 200 cases per 100,000 - a significant diminution of the calculation. As the People’s CDC notes, “The resulting shift from a red map to a green one reflected no real reduction in transmission risk. It was a resort to rhetoric: an effort to craft a success story that would explain away hundreds of thousands of preventable deaths and the continued threat the virus poses.”\u0000The People’s CDC, a collaborative of volunteer health experts who offer policy recommendations and guidance around COVID-19 issues, reframes the official US responses to the global health crisis by disseminating critical information via social media. On their website People’s CDC identify their collaborative project: “working alongside community organizations, we are building collective power and centering equity as we work together to end the pandemic.” \u0000In this presentation, I situate the equity-focused work of the People’s CDC within restorative justice and world building movements. Using their “layered, collective, and equitable” social media publications as a guide, I employ recent research on collective action to analyze the ways that the People’s CDC resists the hegemonic inequities embedded in state run public health systems and corporate mass media by redeploying and rewriting the rhetorical strategies of those systems. I argue that the People’s CDC’s ethos of care and collaboration is employing restorative world building practices as a response to global crisis. As they say, “We must urgently create a new normal in which commitment to community care drives policy and behavior. This charge requires sustained and collective action.”\u0000 ","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"122 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129518784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The utilization of Indigenous Knowledge in natural resource management frameworks, including environmental assessments, is increasingly being recognized as an important asset by the environmental community. This is because Indigenous Knowledge, which has been developed over generations by Indigenous communities, can lead to the development of more effective and equitable resource management practices that are aligned with local needs, cultural values, and ecological knowledge. At the same time, Participatory Geographic Information Systems (PGIS) are also emerging as a valuable tool for storing and mobilizing information towards natural resource management. Considering shifts in the environmental community around natural resource management and the use of IK, and the potential of PGIS, the incorporation of Indigenous Knowledge into PGIS raises important ethical questions regarding knowledge ownership and sharing, and there are challenges and limitations to implementing Indigenous Knowledge-based PGIS platforms. This research paper seeks to explore the application of Indigenous Knowledge in natural resource management through a scoping review or relevant literature, including case studies of PGIS platforms used by Indigenous communities, both in Canada and abroad. The paper addresses the following key questions: How can Indigenous Knowledge be applied towards natural resource management frameworks and environmental assessments? How can Indigenous knowledge be stored and mobilised within PGIS platforms for future generations? What are the challenges and limitations surrounding the implementation of Indigenous Knowledge within PGIS platforms in natural resource management? What are the ethics surrounding Indigenous Knowledge-based PGIS platforms? The paper reveals that integrating Indigenous Knowledge into natural resource management frameworks can lead to sustainable management practices. The paper also demonstrates that PGIS platforms have the potential to facilitate knowledge sharing and collaboration among communities, but their implementation requires careful considerations of the challenges and limitations associated within Indigenous Knowledge-based systems. Balancing the need to share knowledge across communities with protecting intellectual property rights and the cultural significance of Indigenous Knowledge is crucial. The implementation of PGIS platforms also requires significant technological infrastructure and skills, requiring significant human resources, which can be challenging for Indigenous communities with limited resources.
{"title":"Tech for Collaboration","authors":"S. Shehwar","doi":"10.32920/ifmj.v3i2.1763","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1763","url":null,"abstract":"The utilization of Indigenous Knowledge in natural resource management frameworks, including environmental assessments, is increasingly being recognized as an important asset by the environmental community. This is because Indigenous Knowledge, which has been developed over generations by Indigenous communities, can lead to the development of more effective and equitable resource management practices that are aligned with local needs, cultural values, and ecological knowledge. At the same time, Participatory Geographic Information Systems (PGIS) are also emerging as a valuable tool for storing and mobilizing information towards natural resource management. Considering shifts in the environmental community around natural resource management and the use of IK, and the potential of PGIS, the incorporation of Indigenous Knowledge into PGIS raises important ethical questions regarding knowledge ownership and sharing, and there are challenges and limitations to implementing Indigenous Knowledge-based PGIS platforms.\u0000This research paper seeks to explore the application of Indigenous Knowledge in natural resource management through a scoping review or relevant literature, including case studies of PGIS platforms used by Indigenous communities, both in Canada and abroad. The paper addresses the following key questions:\u0000\u0000How can Indigenous Knowledge be applied towards natural resource management frameworks and environmental assessments?\u0000How can Indigenous knowledge be stored and mobilised within PGIS platforms for future generations?\u0000What are the challenges and limitations surrounding the implementation of Indigenous Knowledge within PGIS platforms in natural resource management?\u0000What are the ethics surrounding Indigenous Knowledge-based PGIS platforms?\u0000\u0000The paper reveals that integrating Indigenous Knowledge into natural resource management frameworks can lead to sustainable management practices. The paper also demonstrates that PGIS platforms have the potential to facilitate knowledge sharing and collaboration among communities, but their implementation requires careful considerations of the challenges and limitations associated within Indigenous Knowledge-based systems. Balancing the need to share knowledge across communities with protecting intellectual property rights and the cultural significance of Indigenous Knowledge is crucial. The implementation of PGIS platforms also requires significant technological infrastructure and skills, requiring significant human resources, which can be challenging for Indigenous communities with limited resources.","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126587336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The emergence of immersive media and new technologies such as Augmented Reality (AR), Virtual Reality (VR) and Mixed Reality (MR) has contributed to the shift in interactive documentary and community-based storytelling practices. Under the umbrella term known as Extended Reality (XR), the new technologies intervene with and provide the author with a space to negotiate authorship of interactive documentaries in a co-creation setting with the Salako community in Malaysia. Malaysia is a country in the Southeast Asia region. It occupies the Malay Peninsula and part of the Island of Borneo. There are over 120 different communities in Malaysia, and Sarawak, the largest state, has the most diverse communities. The Salako community migrated from West Kalimantan Province of the Indonesian Borneo to Pueh, Sarawak, in the 1870s due to political and geographical reasons. Today, the Salako community members are still involved in farming, and they perform various rituals to seek blessings to avoid harm to their crops. This study investigates the Salako community's storytelling practices in Pueh, Sarawak. It focuses on the co-creation of an interactive documentary storytelling of the paddy farming rituals among the community. Furthermore, it also aims to understand the dynamic relationship negotiated by the author and the community members. Therefore, the questions guiding the study can be framed as follows: How can practice-based research be used in negotiating collaboration with the Salako community? What insights can the author learn from the Salako community that contributes to the creative research practice? The study considers the concept of rhizome, introduced by French philosophers Gilles Deleuze and Félix Guattari, as an approach to decolonising storytelling structure in the co-creation of community-based storytelling with the Salako community. The conceptual and theoretical framework bring together recent studies on community-based storytelling and empirical evidence on interactive documentaries and co-creation with a focus on community storytelling practices. The author engages practice-based research as the creative research practice in this study. In the interactive documentary titled Listening to the Salako: Voices of the Paddy and Human, the author will share the creative research process involved in the initial phase of the study. Highlighting the observations and perspectives drawn from the interactive documentary storytelling project with the Salako community, the article offers insights into understanding the nexus of care, collaboration and craft. In addition, it also looks at how practice-based research is used in community engagement and the negotiation of authorship through a participatory design process with the Salako community in Malaysia. In this study, the author argues that while practice-based research is central to navigating the layers of complexity in community engagement, the element of care, collaboration and craft present add
{"title":"Co-Creation in Community-based Storytelling","authors":"A. Segar","doi":"10.32920/ifmj.v3i2.1785","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1785","url":null,"abstract":"The emergence of immersive media and new technologies such as Augmented Reality (AR), Virtual Reality (VR) and Mixed Reality (MR) has contributed to the shift in interactive documentary and community-based storytelling practices. Under the umbrella term known as Extended Reality (XR), the new technologies intervene with and provide the author with a space to negotiate authorship of interactive documentaries in a co-creation setting with the Salako community in Malaysia.\u0000Malaysia is a country in the Southeast Asia region. It occupies the Malay Peninsula and part of the Island of Borneo. There are over 120 different communities in Malaysia, and Sarawak, the largest state, has the most diverse communities. The Salako community migrated from West Kalimantan Province of the Indonesian Borneo to Pueh, Sarawak, in the 1870s due to political and geographical reasons. Today, the Salako community members are still involved in farming, and they perform various rituals to seek blessings to avoid harm to their crops.\u0000This study investigates the Salako community's storytelling practices in Pueh, Sarawak. It focuses on the co-creation of an interactive documentary storytelling of the paddy farming rituals among the community. Furthermore, it also aims to understand the dynamic relationship negotiated by the author and the community members. Therefore, the questions guiding the study can be framed as follows: How can practice-based research be used in negotiating collaboration with the Salako community? What insights can the author learn from the Salako community that contributes to the creative research practice?\u0000The study considers the concept of rhizome, introduced by French philosophers Gilles Deleuze and Félix Guattari, as an approach to decolonising storytelling structure in the co-creation of community-based storytelling with the Salako community. The conceptual and theoretical framework bring together recent studies on community-based storytelling and empirical evidence on interactive documentaries and co-creation with a focus on community storytelling practices.\u0000The author engages practice-based research as the creative research practice in this study. In the interactive documentary titled Listening to the Salako: Voices of the Paddy and Human, the author will share the creative research process involved in the initial phase of the study. Highlighting the observations and perspectives drawn from the interactive documentary storytelling project with the Salako community, the article offers insights into understanding the nexus of care, collaboration and craft. In addition, it also looks at how practice-based research is used in community engagement and the negotiation of authorship through a participatory design process with the Salako community in Malaysia.\u0000In this study, the author argues that while practice-based research is central to navigating the layers of complexity in community engagement, the element of care, collaboration and craft present add","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132278728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research creation presentation aims to showcase and stimulate discussion on our last round of creative practice interactive interventions developed within the ongoing collaborative and co creative project called: “Polyphonic Documentary” (www.polyphonicdocumentary.com). Working as practice-based researchers and through creative practices, we argue that self-reflexivity is a key requirement for decolonizing the mind and the way in which we construct and tell stories (Aston, Odorico 2022). Our interest here is in considering how the interactive documentary form, through the use of interactive storytelling authoring tools, can facilitate this process. Our project looks at the factual digital storytelling practice of interactive documentary through the lens of polyphony. We use the concept of polyphony as a research approach and method which encourages us to embrace complexity and plurality, and to respect different perspectives and points of view within a context of care.
{"title":"Polyphonic Documentary","authors":"S. Odorico, J. Aston","doi":"10.32920/ifmj.v3i2.1792","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1792","url":null,"abstract":"This research creation presentation aims to showcase and stimulate discussion on our last round of creative practice interactive interventions developed within the ongoing collaborative and co creative project called: “Polyphonic Documentary” (www.polyphonicdocumentary.com). \u0000Working as practice-based researchers and through creative practices, we argue that self-reflexivity is a key requirement for decolonizing the mind and the way in which we construct and tell stories (Aston, Odorico 2022). Our interest here is in considering how the interactive documentary form, through the use of interactive storytelling authoring tools, can facilitate this process. \u0000Our project looks at the factual digital storytelling practice of interactive documentary through the lens of polyphony. We use the concept of polyphony as a research approach and method which encourages us to embrace complexity and plurality, and to respect different perspectives and points of view within a context of care.","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125892331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Story telling and informal learning is passed down generations and has been recognized as the best approach for human evolution and development. Its efficient process has made its impact and has demonstrated its benefits scientifically at the DNA level. There are scientific publications that attribute human evolution to this DNA based memory, making humans thrive on this planet as dominant species with emotions and care. One such form of storytelling and informal learning is folk quilting which has an extensive history. The power of storytelling and informal learning over generations helped quilters acquire their sense of identity, belonging with a deep sense of felt values. Every patch in a quilt is a story to say invoking memories presenting a living tradition in the folk world. The story of quilts are not just personal appeal to those who stitch but symbol of care, comfort, and inspiration to their loved ones and to those who eventually own them. Community of collaborative quilters within families and guild collectives resonate to social values; patience, connectedness and expression that are central to the form. Hybrid networks of quilting communities in developed countries maintain integrity of social values different from that of traditional folk quilters in developing countries due to the very nature of digital accessibility. With the growing global market, native folk quilters are approached by the creative industries with a certain sense of urgency. Creative technological tools are introduced to meet the demand for increased production. With market driven production, care and collaboration are in question. To top it all, as digital immigrants, traditional folk quilters struggle with technological adoption as they are already threatened to survive and sustain the purity of the indigenous form. They now are further challenged to impart their sense of effective passing down of traditions to their younger generation with the care different from their own. Adopting technology on their own terms is no easy feat, as makers of technology don’t necessarily see folk artists as their primary users. As part of my research into creative technology influencing quilters, I hope to draw on transdisciplinary methodologies ranging from textual analysis of case studies from India and North American folk art history, folk feminist ethnography, cultural studies, ethno-mathematics and digital fabrication. I will be interviewing folk quilters, quilt guilds, artists, designers and technologists to understand the complex dynamics of the interplay of social values, aesthetics, technology and production. In my proposed paper, I will share voices from the field that will examine the changes in the process of how memories and stories are told with the coming of new digital tools and technology and a reaction on how to take forward care for cultural nature of this rich artistic tradition to their own communities through living practitioners. These voices could help t
{"title":"Needles to Say","authors":"Anupama Gowda","doi":"10.32920/ifmj.v3i2.1737","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1737","url":null,"abstract":"Story telling and informal learning is passed down generations and has been recognized as the best approach for human evolution and development. Its efficient process has made its impact and has demonstrated its benefits scientifically at the DNA level. There are scientific publications that attribute human evolution to this DNA based memory, making humans thrive on this planet as dominant species with emotions and care. One such form of storytelling and informal learning is folk quilting which has an extensive history. The power of storytelling and informal learning over generations helped quilters acquire their sense of identity, belonging with a deep sense of felt values. Every patch in a quilt is a story to say invoking memories presenting a living tradition in the folk world. The story of quilts are not just personal appeal to those who stitch but symbol of care, comfort, and inspiration to their loved ones and to those who eventually own them. Community of collaborative quilters within families and guild collectives resonate to social values; patience, connectedness and expression that are central to the form. Hybrid networks of quilting communities in developed countries maintain integrity of social values different from that of traditional folk quilters in developing countries due to the very nature of digital accessibility. With the growing global market, native folk quilters are approached by the creative industries with a certain sense of urgency. Creative technological tools are introduced to meet the demand for increased production. With market driven production, care and collaboration are in question. To top it all, as digital immigrants, traditional folk quilters struggle with technological adoption as they are already threatened to survive and sustain the purity of the indigenous form. They now are further challenged to impart their sense of effective passing down of traditions to their younger generation with the care different from their own. Adopting technology on their own terms is no easy feat, as makers of technology don’t necessarily see folk artists as their primary users. As part of my research into creative technology influencing quilters, I hope to draw on transdisciplinary methodologies ranging from textual analysis of case studies from India and North American folk art history, folk feminist ethnography, cultural studies, ethno-mathematics and digital fabrication. I will be interviewing folk quilters, quilt guilds, artists, designers and technologists to understand the complex dynamics of the interplay of social values, aesthetics, technology and production. In my proposed paper, I will share voices from the field that will examine the changes in the process of how memories and stories are told with the coming of new digital tools and technology and a reaction on how to take forward care for cultural nature of this rich artistic tradition to their own communities through living practitioners. These voices could help t","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"12379 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129288318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In November-December 2022, Khoj, a not-for-profit contemporary arts organization based in New Delhi, India, presented a bilingual exhibition (Hindi and English), “Threading the Horizon: Propositions on Worldmaking through Socially Engaged Art Practice”. The stimulus for this paper comes from the encounter with the fourteen research-driven, community-based projects curated at the gallery. In particular, I explore ‘the how and why’ of five artists/activists and their three projects – how they intervene in the everyday experience of negotiating violence through invisibilities, rights, inequality, and leisure by women and gendered others in the capital city, how the projects in the gallery act as sites of conversation and reflection, and why is it significant to delve into the everyday urban and digital context in which these projects unfold. The artists’/activists’ site-specific placemaking interventions are characterized by transformative processes that emerge from their close, long-term engagement, dialogue, and collaboration with participating communities and other artists/curators/designers. The first project is 5 Bigha Zameen (1 Acre Land) by the architect and artist/activist Swati Janu in collaboration with the Social Design Collaborative. The year-long project, based in Yamuna Khadar, Delhi, sought to actively support the women farmers’ rights to lives and livelihoods on the floodplains of the Yamuna River. Fursat ki Fizayen (Spaces for Leisure) by the spatial design practitioners Divya Chopra and Rwitee Mandal emerged from the leisure experience of women in Madanpur Khadar, an urban village in South Delhi. Rarely seen occupying public spaces for leisure, women reclaimed a small terrace to sit and have tea together – women whose lives were occupied mainly by household responsibilities and work outside. The third community-based project is Aao, Jagah Banaye! (Come, Let’s Make Space!) by the co-founders of City Sabha, Saleha Sapra and Riddhi T. Batra. It sought to empower informal women vendor groups in Raghubir Nagar, New Delhi, facing spatial injustice in an everyday context riddled with deeply-entrenched patriarchy. Drawing on de Certeau’s understanding of “the procedures of everyday creativity” and a Lefebvrian framework to look at spaces, the qualitative study examines women’s (artists/activists’ and the communities’) endeavours to (i) resiliently (re)imagine Delhi as an urban setting; (ii) (re)claim public spaces for leisure, and (iii) (re)configure real and online spaces (on Instagram) through the entanglements of socially engaged creative practices with quotidian experiences. The paper emphasizes the complex power relations between the artists/activists and their communities/collaborators, the bonds of care and compassion formed in and through the projects, and how they can carry forward during the various production, curation and exhibition processes. It raises the following questions: (i) How can tracing the artists/activists’ entangl
2022年11月至12月，位于印度新德里的非营利性当代艺术组织Khoj举办了一场双语展览(印地语和英语)，题为“穿越地平线:通过社会参与的艺术实践创造世界的命题”。这篇论文的灵感来自于与14个研究驱动的、以社区为基础的项目在画廊策划的接触。我特别探讨了五位艺术家/活动家和他们的三个项目的“如何和为什么”——他们如何通过首都女性和性别其他人的不可见性、权利、不平等和休闲来干预暴力谈判的日常经验，画廊中的项目如何成为对话和反思的场所，以及为什么深入研究这些项目展开的日常城市和数字背景很重要。艺术家/活动人士对特定场所的干预，其特点是与参与的社区和其他艺术家/策展人/设计师进行密切、长期的接触、对话和合作，从而产生变革过程。第一个项目是5 Bigha Zameen(1英亩土地)，由建筑师和艺术家/活动家Swati Janu与社会设计合作。这个为期一年的项目设在德里的亚穆纳卡达尔，旨在积极支持亚穆纳河洪泛区女农民的生存权和生计权。Fursat ki Fizayen(休闲空间)由空间设计从业者Divya Chopra和Rwitee Mandal设计，源于德里南部城市村庄Madanpur Khadar女性的休闲体验。很少看到女性占据公共休闲空间，她们开垦了一个小露台，坐在一起喝茶——这些女性的生活主要被家庭责任和户外工作占据。第三个社区项目是Aao, Jagah Banaye!(Come, Let 's Make Space!)由City Sabha的联合创始人Saleha Sapra和Riddhi T. Batra撰写。它试图赋予新德里拉古比尔纳加尔(Raghubir Nagar)的非正式女性供应商群体权力，这些群体在日常生活中面临着根深蒂固的父权制所带来的空间不公正。利用德·塞托对“日常创造力的过程”的理解和看待空间的列非弗式框架，定性研究考察了女性(艺术家/活动家和社区)的努力(i)弹性地(重新)想象德里作为一个城市环境;(ii)(重新)要求公共休闲空间，(iii)(重新)通过社会参与的创造性实践与日常经验的纠缠来配置真实和在线空间(在Instagram上)。本文强调艺术家/活动分子与他们的社区/合作者之间复杂的权力关系，在项目中形成的关怀和同情的纽带，以及它们如何在各种生产、策展和展览过程中发扬光大。它提出了以下问题:(i)追踪艺术家/活动家与不同日常环境的纠缠实践，以及城市/农村、物理/在线空间和想象的替代生产，如何帮助我们扩大对社会参与的创造性实践的理解?(ii)艺术家/活动人士如何关注他们的人类合作者和非人类环境，以创造更具包容性的项目，发展微妙的方式来增强他们的声音，并分享他们的集体想法和经验?
{"title":"Collaboratively Reimagining Spaces Through Socially-Engaged Creative Practices","authors":"Sonal Sharma","doi":"10.32920/ifmj.v3i2.1776","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1776","url":null,"abstract":"In November-December 2022, Khoj, a not-for-profit contemporary arts organization based in New Delhi, India, presented a bilingual exhibition (Hindi and English), “Threading the Horizon: Propositions on Worldmaking through Socially Engaged Art Practice”. The stimulus for this paper comes from the encounter with the fourteen research-driven, community-based projects curated at the gallery. In particular, I explore ‘the how and why’ of five artists/activists and their three projects – how they intervene in the everyday experience of negotiating violence through invisibilities, rights, inequality, and leisure by women and gendered others in the capital city, how the projects in the gallery act as sites of conversation and reflection, and why is it significant to delve into the everyday urban and digital context in which these projects unfold. The artists’/activists’ site-specific placemaking interventions are characterized by transformative processes that emerge from their close, long-term engagement, dialogue, and collaboration with participating communities and other artists/curators/designers.\u0000The first project is 5 Bigha Zameen (1 Acre Land) by the architect and artist/activist Swati Janu in collaboration with the Social Design Collaborative. The year-long project, based in Yamuna Khadar, Delhi, sought to actively support the women farmers’ rights to lives and livelihoods on the floodplains of the Yamuna River. Fursat ki Fizayen (Spaces for Leisure) by the spatial design practitioners Divya Chopra and Rwitee Mandal emerged from the leisure experience of women in Madanpur Khadar, an urban village in South Delhi. Rarely seen occupying public spaces for leisure, women reclaimed a small terrace to sit and have tea together – women whose lives were occupied mainly by household responsibilities and work outside. The third community-based project is Aao, Jagah Banaye! (Come, Let’s Make Space!) by the co-founders of City Sabha, Saleha Sapra and Riddhi T. Batra. It sought to empower informal women vendor groups in Raghubir Nagar, New Delhi, facing spatial injustice in an everyday context riddled with deeply-entrenched patriarchy.\u0000Drawing on de Certeau’s understanding of “the procedures of everyday creativity” and a Lefebvrian framework to look at spaces, the qualitative study examines women’s (artists/activists’ and the communities’) endeavours to (i) resiliently (re)imagine Delhi as an urban setting; (ii) (re)claim public spaces for leisure, and (iii) (re)configure real and online spaces (on Instagram) through the entanglements of socially engaged creative practices with quotidian experiences.\u0000The paper emphasizes the complex power relations between the artists/activists and their communities/collaborators, the bonds of care and compassion formed in and through the projects, and how they can carry forward during the various production, curation and exhibition processes. It raises the following questions: (i) How can tracing the artists/activists’ entangl","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133441257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, I explore how the Harun Farocki’s late cinematic essays engage with a variety of computer-synthesised images to critically interrogate cultural anxieties regarding the waning of the index and the ostensible ‘loss’ of the real in the era of digital filmmaking. Applying close textual analysis to the projects Serious Games (2009-2010) and Parallel I-IV (2012-2014), I demonstrate that Farocki’s sustained engagement with ex nihilo images extends the filmmaker’s career-long interest in deconstructing the technical, ideological and economic aspects of ‘operational’ imagery to the specific context of advanced digital animation. In these cinematic essays, I argue, Farocki repurposes a range of digitally simulated images extracted from different sources, including footage extracted from popular video games, 3D architectural models, and military training programs, to investigate both the aesthetic qualities of computer animation and the role they play in wider social and institutional processes. Before I examine Farocki’s late work in depth, I first address the scholarly discourse surrounding the development of digital filmmaking, which treats the split between analogue and new media in terms of a straightforward conflict between the inherent trustworthiness of the former and the unreliability of the latter. According to such a viewpoint, the fact that analogue media is based on pro-filmic light values being physically imprinted onto a photochemical surface creates an immediate isomorphic link between the referent and its cinematic record, which means that analogue footage can be relied on to function as a ‘trace’ of the real. Having established this as background, I then examine the essayistic strategies mobilized by Farocki in his late digital works to challenge the ‘truth status’ of cinematic images and encourage the viewer to think carefully about the process of production which created the image and the social context in which it was circulated. Applying close textual analysis of the projects Serious Games and Parallel I-IV, I illustrate that Farocki’s late cinematic essays offer a sophisticated examination of the nature of realism, materiality and epistemological uncertainty in the digital era. It is my contention that, instead of communicating a single, objective ‘truth’ to the viewer, Farocki’s cinematic essays reflexively call into question the truth status of the images they place under scrutiny, therefore pointing to the ways in which images may be manipulated, falsified and inflected with bias. Farocki, therefore, mobilizes essayistic strategies to realize the epistemological potential of synthesized images which hold no direct indexical connection to pro-filmic events by subjecting them to a rigorous process of critical reframing. In exploring the function, formal design, and technological constitution of contemporary simulated images, Farocki expands and reconfigures classical notions of ‘truth value’ in nonfiction cinema based
{"title":"Age of Visible Machines is Over","authors":"James Slaymaker","doi":"10.32920/ifmj.v3i2.1758","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1758","url":null,"abstract":"In this paper, I explore how the Harun Farocki’s late cinematic essays engage with a variety of computer-synthesised images to critically interrogate cultural anxieties regarding the waning of the index and the ostensible ‘loss’ of the real in the era of digital filmmaking. Applying close textual analysis to the projects Serious Games (2009-2010) and Parallel I-IV (2012-2014), I demonstrate that Farocki’s sustained engagement with ex nihilo images extends the filmmaker’s career-long interest in deconstructing the technical, ideological and economic aspects of ‘operational’ imagery to the specific context of advanced digital animation. In these cinematic essays, I argue, Farocki repurposes a range of digitally simulated images extracted from different sources, including footage extracted from popular video games, 3D architectural models, and military training programs, to investigate both the aesthetic qualities of computer animation and the role they play in wider social and institutional processes.\u0000Before I examine Farocki’s late work in depth, I first address the scholarly discourse surrounding the development of digital filmmaking, which treats the split between analogue and new media in terms of a straightforward conflict between the inherent trustworthiness of the former and the unreliability of the latter. According to such a viewpoint, the fact that analogue media is based on pro-filmic light values being physically imprinted onto a photochemical surface creates an immediate isomorphic link between the referent and its cinematic record, which means that analogue footage can be relied on to function as a ‘trace’ of the real.\u0000Having established this as background, I then examine the essayistic strategies mobilized by Farocki in his late digital works to challenge the ‘truth status’ of cinematic images and encourage the viewer to think carefully about the process of production which created the image and the social context in which it was circulated. Applying close textual analysis of the projects Serious Games and Parallel I-IV, I illustrate that Farocki’s late cinematic essays offer a sophisticated examination of the nature of realism, materiality and epistemological uncertainty in the digital era. It is my contention that, instead of communicating a single, objective ‘truth’ to the viewer, Farocki’s cinematic essays reflexively call into question the truth status of the images they place under scrutiny, therefore pointing to the ways in which images may be manipulated, falsified and inflected with bias. Farocki, therefore, mobilizes essayistic strategies to realize the epistemological potential of synthesized images which hold no direct indexical connection to pro-filmic events by subjecting them to a rigorous process of critical reframing. In exploring the function, formal design, and technological constitution of contemporary simulated images, Farocki expands and reconfigures classical notions of ‘truth value’ in nonfiction cinema based ","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121380093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 11-minute VR film Border Sounds takes the viewer on a journey across an invisible line that separates Northern Ireland from the Republic of Ireland through haikus and sounds by people who live near this line. These stories were captured during a collaborative outreach program by the official archive for Northern Ireland, PRONI (Public Record Office of Northern Ireland), and the creative media hub Nerve Centre in 2021. This reflective practice-led research examines the filmmaking process, particularly how digital technology was used to engage with people remotely and make a film in a participatory way: to what extent can digital technology, such as Zoom, make filmmaking more accessible to rural people? What role can participatory filmmaking play in post-conflict storytelling? I also discuss the strengths and limitations of virtual reality as a storytelling format – does it really offer a more immersive experience? Are there any access barriers? Is it the most adequate medium to tell stories about the border, particularly in sensitive contexts such as Northern Ireland? I argue here that while virtual reality technology enabled Border Sounds to offer a unique on-screen experience of the Irish Border, it also has limitations in terms of audience reach, long-term preservation and access.
{"title":"Lockdown Silver Linings","authors":"Laura Aguiar","doi":"10.32920/ifmj.v3i2.1800","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1800","url":null,"abstract":"The 11-minute VR film Border Sounds takes the viewer on a journey across an invisible line that separates Northern Ireland from the Republic of Ireland through haikus and sounds by people who live near this line. These stories were captured during a collaborative outreach program by the official archive for Northern Ireland, PRONI (Public Record Office of Northern Ireland), and the creative media hub Nerve Centre in 2021.\u0000This reflective practice-led research examines the filmmaking process, particularly how digital technology was used to engage with people remotely and make a film in a participatory way: to what extent can digital technology, such as Zoom, make filmmaking more accessible to rural people? What role can participatory filmmaking play in post-conflict storytelling? I also discuss the strengths and limitations of virtual reality as a storytelling format – does it really offer a more immersive experience? Are there any access barriers? Is it the most adequate medium to tell stories about the border, particularly in sensitive contexts such as Northern Ireland?\u0000I argue here that while virtual reality technology enabled Border Sounds to offer a unique on-screen experience of the Irish Border, it also has limitations in terms of audience reach, long-term preservation and access.","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126240728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This creation is part of the ongoing project “Positioning the Audience in Cinematic Virtual Reality”, supported by the Scientific and Technological Research Council of Turkey. The project engages with the attentional and corporeal resonance between spectators and visual experiences in participatory and immersive practices. In the continuing first phase of the project, we are designing and producing a VR creation that will then enable us to conduct audience research to focus on the attention practices of the viewers in the second phase. Hence, as a critical research-creation project it has two complementary and symmetrical foci that employ both theory and practice, and that are intertwined with one another. In tandem with making an interactive and photorealistic (cinematic) VR film where spectator crafts the very narrative unfolding by voluntary and involuntary attentional participation in a given scene, we are also developing a conceptual framework on how immersive and interactive technologies are conditioned by the freedom given to the spectator. As interdisciplinary project it brings together researchers from film studies, new media studies and psychology to develop a holistic understanding on the attention of spectator in moving image technologies. In making, instead of using game-based interactivity technologies enabled by the controllers, the VR film uses gaze detection techniques and the attentional economy of the spectator as active defining element of the narrative unfolding. Combining both the bottom-up and the top-down attentional procedures it allows spectators to craft a circular experience and aims to problematize the craft of the spectator. In theory it aims to develop an historical and critical understanding of visual practices where spectator is the active producer of the optical experience in certain media ecology including technologies from proto-cinematic devices to the post-cinematic media constellation comprising video games, Virtual Reality etc. Therefore we aim to problematize and rend sensible the craft and the autonomy of the viewer by combining conventional academic research practices with artistic experimentation. The creation undertaken in the first phase of the research is aimed to result in multiple alternative designs, which will form the basis of our presentation at IFM2023.
{"title":"Crafting Attention in Immersive and Interactive Practices","authors":"Reşat Fuat Çam, M. Behlil","doi":"10.32920/ifmj.v3i2.1783","DOIUrl":"https://doi.org/10.32920/ifmj.v3i2.1783","url":null,"abstract":"This creation is part of the ongoing project “Positioning the Audience in Cinematic Virtual Reality”, supported by the Scientific and Technological Research Council of Turkey. The project engages with the attentional and corporeal resonance between spectators and visual experiences in participatory and immersive practices. In the continuing first phase of the project, we are designing and producing a VR creation that will then enable us to conduct audience research to focus on the attention practices of the viewers in the second phase. Hence, as a critical research-creation project it has two complementary and symmetrical foci that employ both theory and practice, and that are intertwined with one another. In tandem with making an interactive and photorealistic (cinematic) VR film where spectator crafts the very narrative unfolding by voluntary and involuntary attentional participation in a given scene, we are also developing a conceptual framework on how immersive and interactive technologies are conditioned by the freedom given to the spectator. As interdisciplinary project it brings together researchers from film studies, new media studies and psychology to develop a holistic understanding on the attention of spectator in moving image technologies.\u0000In making, instead of using game-based interactivity technologies enabled by the controllers, the VR film uses gaze detection techniques and the attentional economy of the spectator as active defining element of the narrative unfolding. Combining both the bottom-up and the top-down attentional procedures it allows spectators to craft a circular experience and aims to problematize the craft of the spectator. In theory it aims to develop an historical and critical understanding of visual practices where spectator is the active producer of the optical experience in certain media ecology including technologies from proto-cinematic devices to the post-cinematic media constellation comprising video games, Virtual Reality etc. Therefore we aim to problematize and rend sensible the craft and the autonomy of the viewer by combining conventional academic research practices with artistic experimentation. The creation undertaken in the first phase of the research is aimed to result in multiple alternative designs, which will form the basis of our presentation at IFM2023.\u0000 ","PeriodicalId":366062,"journal":{"name":"Interactive Film & Media Journal","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126803759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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