The notion of “complexity” has been coming up lately across i-doc presentations I have been attending. I am looking forward to this masterclass by Judith Aston from the UK.
Overview of Judith Aston masterclass from the non/fictionLAB blog post Docuverse presents Snapshots 2: A talk by Judith Aston (written by Hannah Brasier):
Judith’s talk will show the trajectory that she has taken over the years, discussing the various projects that she’s worked on along the way. This will include videodisc, CD-ROM, installations and live performance. Throughout this time, a consistent theme in her work has been her belief in the potential for interactive documentary and non-linear forms of representation in helping us to better understand complexity. Ending up with her take on where interactive documentary might be heading, she will argue that it’s ‘intertwingularity’ makes it an important tool for twentieth first century problem solving. She will also make a plea for interactive documentary to remain an open-ended field of enquiry, incorporating a range of forms and processes and not becoming all consumed by current interest in virtual and augmented realities.
I found this MIT Open Documentary Lab docubase playlist by Sandra Gaudnezi via iFlab. Useful collection of reviewed interactive works.
There other playlists on docubase worth checking out there by other interactive documentary producers.
A new K-film release The End: Death in Seven Colours by David Clark. An overview and interview written up by Matt Soar. An excerpt from that review:
DAVID CLARK’s new Korsakow film The End: Death in Seven Colours is a labyrinthine and thoroughly absorbing exploration of the deaths of Alan Turing, Sigmund Freud, Princess Diana, Jim Morrison, Judy Garland, Walter Benjamin, and Marcel Duchamp. The deaths of these historic figures are examined through the prism a vast, encyclopedic media mash-up. The work presents an ‘exploded view’ diagram of our culture’s relationship to death and narrative closure. Like a chose-your-own-adventure conspiracy theory, The End weaves together a paranoid meta-text organized around themes of concealment, secrecy, the unknown, and the shifting boundary between animal, man and computer in the post-human era.
I was introduced to the Come in Doc, Collaborative Meta Interactive Documentary project recently by Arnau Gifreu Castells in his presentation at Visible Evidence XII. We were presenting on the same panel (“Processes, Modes And Methodologies For The Analysis And Design Of Interactive Documentaries”) with Matt Soar one of the Korsakow developers.
The Come in Doc project supported by MIT OpenDocLab, aims to interview interactive documentary practitioners and theorists about interactive documentaries and present that material in a type of interactive documentary. I completed a video interview with Arnau after the panel, so more later as the edit comes through.