Interactive Film & Media Journal最新文献

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}

{"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}