Route 360, New Roads for Communication

Elisabeth Colding; Gitte Engholm; Rune Clausen

doi:10.4000/anthrovision.3435

Route 360, New Roads for Communication

Bidragets oversatte titel: Route 360, Nye veje for kommunikation

Elisabeth Colding, Gitte Engholm, Rune Clausen

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › peer review

Abstract

Forfatterne argumenterer for, at brugen af narrative teknikker i teknologiske udviklinger inden for film har konsekvenser for vores sanser og opfattelser af virkeligheder, som vi ikke nødvendigvis kan forudse. Men det bør ikke holde os tilbage fra at kommunikere ved brug af ny teknologi. Vi kan ikke kontrollere museumsbesøgendes oplevelser, til trods for vores styrende teorier og metoder, men vi har bestemt ansvar for at sætte problemstillinger i gang.

Nogle af de mange forbindelser, kombinationer og lag, som vi skaber ved at bringe vores metoder og teknologi i spil med udstillingens narrativer, bliver kun tydelige for os efter produktionen af det audiovisuelle materiale. Dette får os til at reflektere i efterrationalitet og forhåbentlig øge vores bevidsthed om de implikationer, vi vil møde i fremtidige projekter.

Vi diskuterer, hvordan nyere teknologier som 360 VR-video kan "ryste" os ud af vores sensoriske komfortzone på grund af den uforudsigelige karakter af seeroplevelsen. Og hvordan påvirker det vores opfattelse af virkeligheden, når vi forsøger at genskabe den audiovisuelt?

Derudover undersøger vi de mange betydninger af rammesætning og montage i relation til produktionen af to film baseret på deltagende metoder.

Bidragets oversatte titel	Route 360, Nye veje for kommunikation
Originalsprog	Engelsk
Tidsskrift	Anthrovision
Vol/bind	6
Udgave nummer	1
Antal sider	20
ISSN	2198-6754
DOI	https://doi.org/10.4000/anthrovision.3435
Status	Udgivet - 30 jun. 2018

Adgang til dokumentet

10.4000/anthrovision.3435Licens: Andet

https://journals.openedition.org/anthrovision/pdf/3435Licens: Andet

Citationsformater

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abstract = "The authors argue that engaging with narrative techniques in technological developments in film has implications for our senses and perceptions of realities that we can{\textquoteright}t necessarily anticipate. But it should not restrain us from communicating by using new technology. We can{\textquoteright}t control the museum visitors{\textquoteright} experiences, in spite of our guiding theories and methods, but we certainly have responsibility for setting issues in motion.Some of the multiple connections, conjunctions and layers we create by bringing our methods and technology to the narratives of an exhibition only become evident for us after the production of audiovisual material. These lead us to reflect in hindsight, hoping to raise our awareness about the implications in future projects.We discuss how newer technologies like 360 VR video can {\textquoteleft}rattle{\textquoteright} us out of our sensorial comfort zone because of the unexpected character of the viewing experience. And how does this affect our sense of reality in re-creating it audiovisually? We also explore the multiple significance of framing and montage in relation to the production of two films, based on participatory methods.",

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AB - The authors argue that engaging with narrative techniques in technological developments in film has implications for our senses and perceptions of realities that we can’t necessarily anticipate. But it should not restrain us from communicating by using new technology. We can’t control the museum visitors’ experiences, in spite of our guiding theories and methods, but we certainly have responsibility for setting issues in motion.Some of the multiple connections, conjunctions and layers we create by bringing our methods and technology to the narratives of an exhibition only become evident for us after the production of audiovisual material. These lead us to reflect in hindsight, hoping to raise our awareness about the implications in future projects.We discuss how newer technologies like 360 VR video can ‘rattle’ us out of our sensorial comfort zone because of the unexpected character of the viewing experience. And how does this affect our sense of reality in re-creating it audiovisually? We also explore the multiple significance of framing and montage in relation to the production of two films, based on participatory methods.

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