three exciting passages:

As a finite set of elements that can also refer to the etcetera of a field beyond the chosen items, the list can motivate individual processes of synthesis and provide the means for documentary to embrace fragmentation, provisionality and complexity…Decisions around the appropriate amount of glue required to make the assemblage hang together need to be made with a weather eye on the media literacy of the audience and the experience being created.

Under the influence of general internet use and a fragmented cultural consciousness, audiences are becoming more accustomed to open forms that either require greater levels of interpretation and participation or that offer further non-sequiturs, adding to the overall experience of fractured daily life. As Bourriaud determines, “[w]hat was yesterday regarded as formless or ‘informal’ is no longer these things today. When the aesthetic discussion evolves, the status of form evolves along with it, and through it” (2002, p. 21). Changing media literacies means that audiences are able to understand shifts in flows of information and develop strategies to deal with gaps.

In this instance the film as an experience in itself is augmented by other modes of information and exchange. It is a poetic expression in a categorical form. In the spaces created between the elements of the list there is scope for the viewer to access a range of sources within the web interface in order to delve deeper into the associations that are provoked. The poetic work becomes a prompt that may goad the viewer into further exploration of the complex and changing circumstances surrounding Iraqi Kurdistan.

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