Tag Archives: arts

Is getting stood up in the virtual world better or worse than in real life?

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Is getting stood up in the virtual world better or worse than in real life?

Or if your date or encounter just doesn’t deliver what you had hoped from the other person? Could you still enjoy the experience even if it wasn’t magical?

As the XR pendulum swings back from cold technology to the infiltration of the human connection, it grapples with the difficulty of the user experience no longer just dependent on the maker’s talent, but also – gasp – on the investment of other people. At this year’s Venice Immersive, the programme is ripe with pieces that call for connection, whether verbally or physically, and as people chatted in the courtyard about what they’d seen and what they’d liked, it was common to hear “it depends on who you’re with…”.

I experienced this firsthand for Fanny Fortage’s HEARTBEAT, a potentially very intimate piece where two people exchange heartbeats and stare at each other. I had a feeling about my 20:20 time slot, that the other ticket holder would be a few spritz’ in and forget to come, cancel or share their ticket. (Because I seem to have that luck. The same thing happened to me for ROAMance at IDFA’s DocLab, when my partner – utterly necessary for the piece – was a no show. Getting stood up in XR still feels pretty crappy, even though it’s likely not personal.)

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originally published on XR Must

One big family: Onassis and the intersection of culture, technology and art

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The Onassis Foundation has a big mission: to be a catalyst and embrace constant innovation and creative disruptions that will lead to a better society. And while this is a tall mission for any cultural organization, for the past 50 years, Onassis has formed a constellation of programmes and initiatives to nurture, inspire and challenge thinkers and makers to work and experiment in every art sector. And this investment in people and artists has also paid off in the new media industry – nearly every immersive festival or programme these days has at least one piece emerging from Onassis’ orbit.

Alongside Onassis Stegi, the dynamic space for cultural creativity, the foundation’s stream dedicated towards technology began in 2017 with the opening of the Digital Innovation department. To map the work of Onassis is less like a family tree and more like a bush, with one branch growing into or around another. But several things unite all the strands – the desire to experiment at the intersection of art and technology, and the priority of feeding into and building an ecosystem that serves the artist from idea to exhibition; an integrated space to learn, make and grow.

Within the cosmos of the digital and innovation work are several programmes and spaces based in Athens, Greece and New York, USA, serving both Greek and international artists. “We are interested in artists’ ideas, not their ID,” explains Panagiotakou. The ONX summer school, which just wrapped, brings together creative professionals, students and businesses to explore technology, culture and worldbuilding. Onassis Ready art space, which plans to open in Fall 2025, will serve as a factory of ideas, the home of Onassis ONX and AIR, as well as a performance and exhibition space.

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originally published on XR Must

“You Can Cheat on Reality”: Emeline Courcier on Her Immersive Artwork ‘Burn From Absence’

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For her immersive artwork Burn From Absence, artist Emeline Courcier creates an archive where there was none. Using artificial intelligence, she recreates a family album, visualizing and verifying a history that has been hidden, documenting it from her perspective. In the four-channel installation, digitally created images illustrate an audio track layering her family members’ memories of life in Laos, the ‘Vietnam’ war, and new beginnings in France. She produced it during an immersive residency at the Phi Centre in Montreal, which is also serving as the work’s distributor.

While AI usually mines and perpetuates the dominant narrative, Courcier completely upends that, building an archive that is a reckoning and a reclaiming and, despite its AI-creation, very real. After its premiere at IDFA last November, where it won the DocLab Special Mention for Digital Storytelling, Documentary spoke to Courcier about truth, archives, and working with deeply personal material.

Did you always intend to use AI to recreate these memories?

 I think using AI is really the core of the project, but how I treated it really evolved during the process.

In 2023, I had heard about AI, but never used it before. I was opposed to it at first, as a lot of artists were—but I was kind of curious at the same time, because what I like is the fact that you can cheat on reality. 

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originally published on Documentary

A look back at IDFA DocLab R&D Summit 2024

There was an irony at the core of IDFA’s DocLab programme this year. Distribution, which has long been a topic of conversation in the community, was front and center at its day-long DocLab R&D Summit. A difficult discussion for any art form, but as technologies are rapidly changing – both in the software used to create and produce, and the hardware to watch an exhibit – the issue at hand for XR is even more challenging.

DocLab is always experimenting with form (and function) – pushing the boundaries of new media, XR and live performance – so it’s not surprising that the work exhibited reflects creativity and experimentation and ranged from singular to collective experiences. While there was a lot of AI – and technology-influenced work, there were also in-person encounters, architectural installations and many multi-formed pieces. There were less VR-headset based works in the curatorial programme, or being pitched in the DocLab Forum. Which was ironic to me in reflection of the distribution challenges the industry faces. 

But DocLab’s curation gave us opportunities to embrace and ponder those questions.

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originally published on XR Must

Back from IDFA DocLab: 30 pieces of Phenomenal Friction

Phenomenal friction. When the New Media team at IDFA came up with this title, they knew it would reflect a recognition of tensions around the world, but the team had no idea that it would land in the midst of a war and public outcries that stirred up the festival, leading to several filmmakers – including immersive makers – pulling their work from showcase.

Phenomenal friction, as described by Caspar Sonnen, head of New Media, reflects a landscape where emerging technologies are changing how we see the world around us, but also one where we are still encountering and challenging each other’s identities and mindsets in the physical space.

This year’s DocLab and immersive exhibition brought together over 30 pieces from the most diverse set of artists and makers thus far, allowing the audience to encounter worlds not just different from their own, but also created by those living in the other worlds.

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originally published on XR Must

Kundura DocLab 2023: New crossroads of form, genres, and languages

Like other languages, filmmaking is one that is learned but also raised in historical, societal, and cultural patterns. As Augusto Boal posits in his book Theatre of the Oppressed, “By learning a language, a person acquires a new way of knowing reality and of passing that knowledge on to others.” In May 2023, Kundura DocLab brought together documentary theater- and filmmakers from Turkey and surrounding countries to explore the intersections of the two practices and encourage new languages.

Connecting Documentary Theater and Documentary Film

An initiative of Beykoz Kundura, an arts and cultural center in Istanbul, the DocLab’s first edition invited ten artists, half in each practice, for a one-week intensive workshop and creative incubator at the center’s campus in Beykoz. The program was designed as a mix of practical training sessions, project sharing, and personal exercises and exploration.

Anthropology has used both film and theater as tools to conduct and visualize research, and so it is fitting that documentary film can take inspiration from theater and vice versa. In the DocLab’s service region, which includes Turkey, Lebanon, Israel, Iran, Georgia, and Romania, strong storytelling language and creativity exist, in addition to histories of conflict, political challenges, and claims for freedom. How do filmmakers preserve their own narratives and creativity when many of the opportunities for funding or distribution expect certain subjects or styles? 

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originally published online and in Fall 2023 Documentary Magazine

Building a documentary culture in Turkey

Film still from Can Candan’s ''My Child'

Stories, exposure, education, networks, funding: Around the world, these things are not a given, nor are they easy to access.

In Turkey, the cultural and political context has made it difficult for documentary filmmakers to survive as working artists, despite their energy and interest. In a country with such a strong history, culture and language, there are many stories to be told. A national preoccupation with politics, however, means that even art is never completely free from responsibility.

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…printed in Summer 2019 Issue of Documentary Magazine

#Cinelove: 2015’s Memorable Documentary

I’ll dispense with the musings of year’s end, looking back, etc… and cut straight to the point to offer up the most memorable non-fiction films I saw this year.  My list cuts a wide spread across styles and subject matter, but I think the common denominator is that all the filmmakers approach their subjects with a pure desire to tell the story.

Democrats
Camilla Nielsson goes behind-the-scenes of the political process in Zimbabwe in this expertly crafted film about the making of a constitution. She and her editor manage to take a potentially dry subject and make it fascinating, absorbing, and touched with humanity.

Last Days of Freedom

Still from Last Day of Freedom.

Still from Last Day of Freedom.

The most memorable film of the year for me was this incredible short. Made by two artists, the film combines visceral animation, intricate sound design, and an intimate story in this emotionally powerful journey.  It’s the heart-breaking recollections of a man who discovers his brother has committed murder and must decide what to do. Being that I run a short documentary festival, I suppose it’s not surprising that it’s at the top of my list.  But it truly rivals any feature for a full, powerful experience. (Directed by Dee Hibbert-Jones and Nomi Talisman)

Heart of a Dog
I don’t love personal films and I don’t love dogs, so it was utterly surprising to me that I was enraptured by Laurie Anderson’s touching essay film. It’s not a traditional narrative, but instead washes over you with imagery, animation, music and, of course, Anderson’s lulling narration.
Cartel Land
In Cartel Land, sometimes you just can’t believe what you’re watching. Director Matthew Heineman says the film unfolds the way that he discovered the story and you can only imagine what it was like to be him as the filmmaker. Cartel Land’s incredible access gives you a different view of the fight against the Mexican drug cartels and gives thought to a big question: who is the good guy?

Spartacus and Cassandra
Ever fall in love with a film?  I felt myself doing just that while watching this impressionistic fairytale. Two Roma children are taken in by a young trapeze artist in a circus on the outskirts of Paris, and while it touches on hard aspects such as parents, legality and education, it also celebrates love and imagination. (Directed by Ioanis Nuguet)

Look of Silence
Joshua Oppenheimer’s companion piece to his The Act of Killing is quieter, more intimate, and in my mind, even more powerful.  It’s one man’s journey to confront his brother’s killers during genocide in Indonesia. It’s also a testament to the fact that social impact films can be cinematically beautiful.

Tocanda la luz
Charming and thoughtful, this verité film follows the ebbs and flows of life for three blind women in Havana. The women share their lives, fears, loves, and struggles for independence with us. (Directed by Jennifer Redfearn)

P.S. –  I define #cinelove as “to fall in love with a film in that way where it captures your heart through its beauty & humanity.”

– Karen Cirillo

Is raising awareness enough? Two more factors of impact

A few weeks ago, I was talking with Felix Endara, who works with the Artist as Activist program at the Robert Rauschenberg Foundation.

We were discussing an arts initiative I had managed, and he challenged me: “In addition to raising awareness, what kind of impact does the initiative have?”

Now, let me say that while I believe all art has impact, I don’t believe that all art has to “have impact” as its guiding force or purpose. But the nexus of this discussion revolved around projects and films that were indeed seeking to make an impact.

Adi and his mother, Rohani, share a solemn moment in Drafthouse Films’ and Participant Media’s The Look of Silence. Courtesy of Drafthouse Films and Participant Media.

Filmmaker Joshua Oppenheimer worked intimately with the people affected by the 1965 Indonesian genocides that he filmed for The Look of Silence (film still pictured here). Courtesy of Drafthouse Films and Participant Media.

At his question, I suddenly realized how dubious “raising awareness” could be as a purpose. Make no mistake – I believe strongly in the idea of it. My dream job would be to work for a large company akin to Bell Laboratories of the 1960s-70s, that believes that presenting employees with arts, music, lectures, etc… inspires its staff to see different perspectives, be inspired, and think creatively in its work. If I worked for a company like that, I would schedule programming that brought people into other worlds and introduced them to new concepts. I would be championing arts that raise awareness.

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What is art good for?

We’re in an age where everything seems to be quantifiable, whether it’s page views or Facebook likes or Twitter shares or how many people showed up for an event.* Or at least there are a lot of people and organizations out there that feel the need to quantify what we produce, what impact we’re having. This is not a bad thing necessarily, especially not when it comes to social campaigns or advocacy projects.

So is it elitist to want art to exist on a plane that’s different from the “quantifiable”? I’m not even speaking about the art for art’s sake idea – for art can indeed be a tool for social activism – but also from the standpoint of personal connection and exposure.

Zanele Muholi (South African, born 1972). Faces and Phases installed at dOCUMENTA (13), Kassel, Germany, 2012. (Photo: © Anders Sune Berg)

Zanele Muholi (South African, born 1972). Faces and Phases installed at dOCUMENTA (13), Kassel, Germany, 2012. (Photo: © Anders Sune Berg)

Lately, I’ve been devoting a lot of time to lectures, exhibits, and cultural exploration and it made me realize something. Aside from enjoying what I’m seeing and being inspired by different perspectives, I’m continuously learning about the world around me. It’s the comment that makes me think about something in a different way, or a series of photographs that evokes someone else’s state of mind, or a film that reveals to me that there’s a subculture within a subculture within another culture that I didn’t even know about.

And I think that’s one aspect of how art can connect us to what’s outside ourselves, and sometimes even make us realize what we never thought of as being inside ourselves.
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