Rezine 01

This is a small iBook project that came out of the nonfictionLab symposium held in December. Been working on it over Christmas, amongst cleaning the pool, presents, family and visitors. Rezine 01: Research Notes Toward Critical Nonfiction Practice (iBook, 157MB). From the introduction: The first nonfictionLab symposium kicked off at RMIT University in December 2013 […]

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Interactive Documentary and Digital Poetics version 0.4

In Australia the peak research funding body is the Australian Research Council (the ARC). Getting ARC money is a big deal. Highly competitive and as they always tell you, the money runs out well before the good projects. For most academics this is the royal road in Australia to fame and fortune. A simple indication […]

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The Gay Indifference of Technical Media

This constrained task is used to create a particular suite of patterns that the project makes literal, constituting the intent of the work, while also relying upon and making visible a particular digital and technical logic that becomes a poetics of minor variation and the accidental. This allows ‘About 7am’ to become a way of thinking in digital, networked video about the ‘agency’ of the human and the posthuman in the context of technical recording media, and allows the work to argue that technical media’s indifference to that which is recorded allows not only for a poetics of minor patterns, but that the associated and inevitable indexical ‘accidental’ becomes a guarantor of the real.

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Affective Assemblages: Documentary Practice

My slides from the 2012 Visible Evidence conference held in Canberra in December. Arguing that network specific ‘aggregators’ such as Cowbird are documentaries, that such systems revolve around or respond to indeterminacy in particular ways and are therefore affective assemblages (affect engines) in the sense of affect provided by Deleuze in Cinema One.

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Storys, Bleah

If only because as I return to it I may find new relations, new parts, different ways of understanding the parts. … We aren’t in the business of stories partly because we’re not interested in yet more ways to tell others what matters.

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Open Humanities Alliance

They have a journal incubator where if you want to turn an existing journal (that you or your organisation owns), or create a new one, that is open then they help you set it up and so on. … These days it is no longer just a question of having a pile of stuff that people might look at, but having an API that lets other services use these things, and, increasingly, let people make new stuff with this stuff.

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Bergson, Affect, Korsakow

More significantly, while all films contain a mix of these three large forms Deleuze argues that: “a film, at least in its most simple characteristics, always has one type of image which is dominant: one can speak of an active, perceptive or affective montage, depending on the predominant type.” … Deleuze’s use of the sensory motor schema and its devolution into the three varieties of the movement image provides an impressive heuristic for reconceiving Korsakow films and database cinema as the passage from Bergson’s sensory motor schema into the movement image offers a framework for interactive media that avoids framing its problem as one of narrative, audience or user.

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Affect Images, Interactivity and Documentary Relations

In relation to interactive works we can see that they require the perception of the work (the interface, the content) then insist upon an action to proceed (generally literally realised as a motor action such as a click, a press, or swipe), and that the distance between these moments of perception and action becomes a zone of indetermination. … The craft of documentary in these contexts shifts from determining a particular and fixed passage through the material (the traditional linear film realised via editing) to providing for the possibility for users to ‘co-edit’ their own pathways where such paths need to reflect and express those patterns that lie as possibilities through the original material.

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From viewers to users, four propositions for digital specific documentary

The second problem that of course follows is that we know that most audiences, most of the time, do not and will not want to see all of the footage available, so how then can a work be structured to allow audiences to ‘scale’ their attention in relation to the work? The simplest answer to this problem is to recognise that viewers are now users which means that as makers we a) do not ‘own’ the space of distribution and reception (it is a personal screen where the user generally does several things, in several programs, at the same time), b) do not own their attention (they have not given up their time to attend a screening or to watch something on a box), c) can be expected to return to a work where there is a reason to do so (it is no longer a single view economy), and d) that granularity and porousness are fundamental attributes of network specific media and practices.

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