Doclab的Caspar Sonnen在IDFA开创性互动计划成立15周年
DocLab’s Caspar Sonnen on the 15th Anniversary of IDFA’s Pioneering Interactive Program
Doclab成立于2007年，IDFA的互动纪录片艺术和讲故事的平台，准备通过一系列新项目和合作以及主题计划Liminal Reality庆祝其15周年。在新媒体上，卡斯帕·索南（Caspar Sonnen）回顾了在曲线之前证明的主动权。十五年后，艺术家变得更加容易获得技术，大多数主要的节日都有互动组件，但是该领域仍在不断地发明自己。“在节日巡回赛中，我们是最早创建专门的互动计划的人之一，”他说，指出虽然VR已经存在，但它被降级为专业实验室和大学。关于这种新的，解放的媒介和艺术家开始探索它的兴奋。”Sonnen说，就Doclab而言，它与纪录片艺术的联系证明对其身份至关重要，使艺术家能够感觉到自己的作品反映并代表了周围的世界。 “这是新媒体一直做的事情。发明电影时，他们将相机指向到达车站的火车上。”但是，尽管它最初是一个在线计划，但现实生活中的联系一直是活动的重要组成部分，将“无关”的社区聚集在一起。使用频率少的人。他们使短暂的作品很难指出，因此他们真的想见到听众。”他承认，大流行已经引发了截然不同的反应。在“测试时间”中，维多利亚·马普贝克（Victoria MapplebeckRT虽然Marcel Van Brakel和Mark Meeuwenoord的“共生”受到了科学哲学家Donna Haraway的启发。这不是对大流行的直接反应，但今天感觉尤其及时，”他补充说。大流行教会我们在网上展示工作方面仍然有很多事情要做。我的母亲必须在微软团队中体验姐姐的葬礼。它向我们展示了技术的所有美感和悲伤作为物理经历的代孕。艺术家和领土。“我们仍然看到一个非常西方主导的领域，但发生了变化，”他说，提到了Mengtai Zhang和Lemon Guo的“ Diagnosia”之类的，以及“疲倦的尼日利亚艺术家的休息指南”作者：拉希马·甘博（Rahima Gambo）。“这些都是惊人的经历，带来了普遍的观点。 “休息指南……”是从Instagram项目开始的，一年大流行后处理艺术家的疲劳。它与许多艺术家和电影制片人所经历的事情联系在一起，感到被低估了，想知道他们是否应该开始出售面具。并非第一个使用深层焦点的人，而是将其转换为仅仅是技术实验的形式。这也是我们想要的。每种新媒介都被销售为对现实的更好，更激烈的繁殖。它有一些道理，但是一本书比VR项目更具有沉浸感。这不是媒介本身，而是您所做的，”他说，称当前的状况为“之间”的时刻。“十五年前，我们开始庆祝实验和Openne互联网给我们的SS。现在，这是一个开放的操场。科技巨头正在飞往火星，但是我们希望技术去哪里？我真的相信我们仍然有选择，这就是令人兴奋的原因。”
Founded in 2007, IDFA’s platform for interactive documentary art and storytelling, DocLab, prepares to celebrate its 15th anniversary with a slew of new projects and collaborations, and theme program Liminal Reality.
“Everything has changed and nothing has changed,” says the festival’s head of new media, Caspar Sonnen, looking back on the initiative that proved ahead of the curve. Fifteen years later, technology has become more accessible to artists and most major festivals have an interactive component, but the field is still constantly reinventing itself.
“Within the festival circuit, we were one of the first to create a dedicated interactive program,” he says, noting that while VR already existed, it was relegated to specialized labs and universities.
“It was the time when people gathered in a room and said: ‘So, I guess this ‘internet thing’ is not going anywhere.’ There was a lot of excitement about this new, liberating medium and artists began to explore it.”
In the case of DocLab, its connection to the art of documentary proved crucial to its identity, allowing the artists to feel their work reflects and represents the world around them, says Sonnen. “This is something new media has always done. When film was invented, they pointed the camera at a train arriving at the station.” But while it started out as an online program, a real-life connection was, and continues to be an important part of the event, bringing the "unconnected" community together.
“Artists who work with interactive technologies are probably more critical of it than people who use it less often. They make ephemeral works that are hard to pinpoint, so they really want to meet their audience,” he says, admitting that the pandemic has triggered very different responses. In “Testing Times,” Victoria Mapplebeck uses voicemail messages from three generations experiencing lockdown, “TM” by Alexander Devriendt and Ontroerend Goed explores digital technologies and performance art, while “Symbiosis” by Marcel van Brakel and Mark Meeuwenoord was inspired by science philosopher Donna Haraway.
“She has been writing these speculative fabulations about the future when man, machine and nature come to some kind of symbiosis. It’s not a direct response to the pandemic, but it feels especially timely today,” he adds.
“The pandemic has taught us there is still a lot to be done in terms of presenting work online. My mother had to experience the funeral of her sister on Microsoft Teams. It showed us all the beauty and sadness of technology as a surrogate for the physical experience.”
As different "families" of new media are starting to take shape, Sonnen’s team tries to find the best home for each project, also concentrating on the underrepresented artists and territories.
“We still see a very Western-dominated field, but there is a shift happening,” he says, mentioning the likes of “Diagnosia” by Mengtai Zhang and Lemon Guo and “A Rest Guide for a Tired Nigerian Artist” by Rahima Gambo.
“These are amazing experiences, bringing a universal perspective. ‘A Rest Guide…’ started as an Instagram project, processing the artist’s fatigue after a year of pandemic. It connected to what many artists and filmmakers were going through, feeling underappreciated and wondering if they should start selling face masks instead.”
Noting the ongoing obsession with latest technologies, Sonnen admits that he is also "looking for the familiar."
“Orson Welles wasn’t the first one to use deep focus, but he converted it into a form that went beyond mere technological experimentation. That’s what we want, too. Every new medium is marketed as a better, ‘more intense’ reproduction of reality. There is some truth to it, but a book can be more immersive than a VR project. It’s not the medium itself, it’s what you do with it,” he says, calling the current situation an "in-between" moment.
“Fifteen years ago, we started to celebrate the experimentation and the openness that the internet gave us. Now, it’s a much less open playground. The tech giants are flying to Mars, but where do we want the technology to go? I really believe that we still have a choice and that's what makes it exciting.”
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发表于 2022-7-5 03:21:02
发表于 2022-12-2 12:53:32