Comparative Technology Transfer and Society最新文献_第4页

Polyphony and the Emerging Collaborative Ecologies of Documentary Media Exhibition 复调与纪录片媒体展览的新兴合作生态

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471011

P. Zimmermann

{"title":"Polyphony and the Emerging Collaborative Ecologies of Documentary Media Exhibition","authors":"P. Zimmermann","doi":"10.1525/aft.2020.471011","DOIUrl":"https://doi.org/10.1525/aft.2020.471011","url":null,"abstract":"How do media practices beyond the single screen imagine new ecologies to propel collaborative and co-creative modes in exhibition? How do these practices dispense with a romanticized auteurism, inadequate for multiscalar environmental and political issues that require many different perspectives and strategies? How do these new screen ecologies practices dispense with causal, character-driven linear storytelling? Can theorizations of co-creation move beyond production modalities into rethinking distribution, exhibition, and spectatorship/community/audiences? Can a collaborative polyphony of living, embodied ecologies of co-creative practices be enacted?\u0000\u0000\u0000\u0000IMAGE 1. \u0000Installation view of Vertigo Sea (2015) by John Akomfrah; courtesy the Herbert F. Johnson Museum of Art, Cornell University; photograph by Simon Wheeler.\u0000\u0000\u0000\u0000In Fall 2018, Alexandra Juhasz and Alisa Lebow launched an ambitious online participatory project in the online journal World Records entitled “Beyond Story: An Online Community-Based Manifesto.” It invites readers to contribute short articles about a wide range of documentary practices beyond long-form narrative story structures. They argue that documentary entails a great range of forms and practices beyond the “constricting contours” of a “one-size-fits all framework that is built to neatly hold a compelling cast of characters in their coherent world.”1\u0000\u0000Juhasz and Lebow contend that long-form narrative mainstream documentaries use a small number of characters, depend on identification and empathy, arrange actions through “a set of recognizable spatial temporal templates that cohere only nominally to lived reality,”2 and adhere to a cause-and-effect logic. Festivals, theatrical exhibitions, broadcasters, streamers, and funders favor this form partially …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128661482","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}

引用次数: 1

Review: Global Digital Cultures: Perspectives from South Asia, edited by Aswin Punathambekar and Sriram Mohan 《评论:全球数字文化:南亚视角》，Aswin Punathambekar和Sriram Mohan主编

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471017

Laboni Bhattacharya

引用次数: 1

Toronto Biennial of Art 多伦多艺术双年展

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471003

Chelsea Rozansky

{"title":"Toronto Biennial of Art","authors":"Chelsea Rozansky","doi":"10.1525/aft.2020.471003","DOIUrl":"https://doi.org/10.1525/aft.2020.471003","url":null,"abstract":"One of the first moves Senior Curator Candice Hopkins and her team made for the Toronto Biennial of Arts inaugural edition was to commission a document by performance artist Ange Loft titled the Toronto Indigenous Context Brief . The document offers an attempt by the biennial's curators to orient the exhibition in its history and geography, and in doing so, to pay respect to Indigenous land. This sort of document, in a similar vein to the land acknowledgements spoken before cultural events that have been increasingly common especially in Canada since 2008's Truth and Reconciliation Act, is an effort at centralizing Indigenous communities into cultural conversations. Loft's Brief raises the question “What does it mean to be in relation?”—which the Biennial asked its exhibiting artists to consider. Accordingly, I will ground my critique of the first Toronto Biennial with an attempt at a response.\u0000\u0000To begin, there's the relation between land and capital. The theme of this biennial was “The Shoreline Dilemma,” which explains its two main exhibition sites, located along Lake Ontario, rather remote from the city's core. Toronto, as Hopkins told ArtNews , is a “city with its back to the water.”1 While Loft's Brief outlines about one thousand years of activity by Indigenous communities along the water, Lake Ontario's recent history is mostly comprised of urban pollution and exploitation. Certain city developments exemplify this lack of care for the lake, such as focusing city planning further north, and building the Gardiner Expressway, a highway that runs along the lakeshore and makes access to the water difficult. Situating the Biennial's two main sites along the lakeshore, one in a former Volvo dealership, and the second in the Small Arms Inspection Building in Mississauga, a neighboring municipality swallowed into the Greater Toronto Area, is, I suppose, a way …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127590080","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}

引用次数: 0

Fifty Speculations and Fifteen Unresolved Questions on Co-creation in Documentary 纪录片共同创作的50个猜想和15个未解之谜

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471012

Reece Auguiste, Helen De Michiel, Brenda Longfellow, D. Naaman, P. Zimmermann

引用次数: 1

Review: DesignInquiry: Futurespective 回顾:设计探究:未来各自

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471013

Arzu Ozkal

引用次数: 0

Co-creation in Documentary 纪录片中的共同创作

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471006

Reece Auguiste, Helen De Michiel, Brenda Longfellow, D. Naaman, P. Zimmermann

引用次数: 3

The Private Lives of Documentary 纪录片的私生活

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471009

Helen De Michiel

引用次数: 1

Review: Capital Is Dead: Is This Something Worse?, by McKenzie Wark 回顾:资本已死:情况会更糟吗?麦肯齐·沃克(McKenzie Wark)著

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471016

Madeleine Collier

引用次数: 0

When is Co-creation Possible? 什么时候可以共同创造?

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471008

D. Naaman

{"title":"When is Co-creation Possible?","authors":"D. Naaman","doi":"10.1525/aft.2020.471008","DOIUrl":"https://doi.org/10.1525/aft.2020.471008","url":null,"abstract":"In the early stages of production of the participatory interactive documentary Jerusalem, We Are Here (2016), I described the process I had envisioned to a curator friend. She listened intently and then said, “I think you can pull it off, because you don't have an artist's ego.” I wasn't sure whether this was a compliment, but I recalled this statement recently, when I was asked about my position as an Israeli making a project with and about Palestinians, and a metaphor emerged. “I am the central nervous system of this project,” I replied. “But its heart is entirely Palestinian.”\u0000\u0000As an Israeli showcasing an actively obfuscated Palestinian past, and as a documentary filmmaker working with non-professionals, I knew from the get-go that I have a lot of structural power: professionally I knew what makes for a good story, and how to go about it. As an Israeli, I also had unparalleled access to archives and libraries and current Israeli residents and realtors, and was thus well situated to obtain information Palestinians are mostly unable to access. I also knew that the stories revealed in the process of our interactions were impacted by my subject position as an Israeli and a Canadian citizen. And I knew that I had (and still have) many blind spots.\u0000\u0000The question of how to work ethically within this structural imbalance of power occupied me from the beginning. The first …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125657970","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}

引用次数: 0

Co-creation Is Not for the Faint of Heart 共同创造不适合胆小的人

Comparative Technology Transfer and Society Pub Date : 2020-03-01 DOI: 10.1525/aft.2020.471010

Brenda Longfellow

{"title":"Co-creation Is Not for the Faint of Heart","authors":"Brenda Longfellow","doi":"10.1525/aft.2020.471010","DOIUrl":"https://doi.org/10.1525/aft.2020.471010","url":null,"abstract":"Since , I have been developing a series of documentary projects on women and incarceration that embeds co-creation into its core methodological and political frame. This work is a collaboration between the Centre for Restorative Justice at Simon Fraser University (Vancouver, British Columbia) and the Immersive Storylab at York University (Toronto), co-directed by my research partner, Brenda Morrison, and myself. From the beginning, we understood that because of the very complex histories and unique social vulnerabilities of the women we would be working with, our process had to be deeply relational, networked, and organically collaborative, particularly as a substantial percentage of the women would be Indigenous. In Canada, although Indigenous women account for less than  percent of the female population, they make up  percent of women in federal institutions and – percent of women in some provincial, territorial, and remand centers. As criminologist Lisa Monchalin (Algonquin, Métis) argues, Canada’s criminal justice system is “rooted in Euro-Canadian colonialism [and] fuels injustice that is directed specifically against Indigenous peoples.” With our limited funding, we were not ready to initiate the rigorous bureaucratic and unpredictable process of requesting security clearances and access to currently incarcerated women. We felt that listening to formerly incarcerated women’s stories would thus provide crucial immersion to help us design the “real” project we would propose in writing our grant applications. We launched a call on social media. For our first circle in September , nine women showed up to the tiny cramped quarters of a woman’s center in East Vancouver. Since then, our circle has grown to include a lively group of Indigenous (multiple nations) and nonIndigenous women. Our collaborators invite others. We continue to post photos and news of our circle on Facebook, a critical site and much loved platform for formerly incarcerated women who were once exiled from social and worldly connections. Indigenous elders or community members facilitate these circles. The talking circle is a dynamic and profoundly nonhierarchical process that has been central to Indigenous community life for millennia. Restorative justice and social justice","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115097179","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}

引用次数: 1