IM1 – Reading Week One

This weeks reading was by Judith Aston & Sandra Gaudenzi, titled Interactive Documentary: Setting the Field. Found Here for anyone interested  So basically, this article speaks all about idocs. What are they you ask? Well, thanks to this article, I now know that idocs, can be defined as “…any documentary that uses interactivity as a core part of its delivery mechanism ” (126) According to Aston and  Gaudenzi, there are four different types – or modes – of what we now know as idocs. But hold up two seconds. What are we on about when we talk about interactivity? And what does it have anything to do with docs?? So many questions. So interactivity is pretty self explanatory, but in relation to idocs, Aston and Gaudenzi explain is as, “…a means through which the viewer is positioned within the artefact itself, demanding him, to her, to play an active role in the negotiation of the ‘reality’ being conveyed through the idoc” (126). Back to the four modes. Proposed by Gaudenzi, there are four modes interactive modes. They are;

1. The Conversational. In this one, you sit down and have a cup of tea with your idoc. Jusssttt kidding. Although, as the name suggests, the user is in a way holding a conversation with their computer – minus the cup of tea. Think of Video games. The user tells the computer what to do, and in response, the computer will navigate itself through the game, around the interactive world, killing zombies and stealing cars.

 2. The Hypertext Mode. Okay, so Hypertext… as Aston and Gaudenzi put it, “click here and go there” (127). In this mode, the user selects from pre existing options, giving them an ‘exploratory role (127). Correct me if I’m wrong anyone, but is this similar to a Korsakow video?

3. The Participative Mode. Simple Put, “this type of i-doc is described here as being participative, as it counts on the participation os the user to create and open and evolving database” (127). In this mode, users have the chance to active be involved with the production of the i-doc, therefore, it is often referred to as ‘collab-docs’. This could suggest producers would intake in activities such as, producing online or ‘shooting in the streets’ (127).  

4. And finally we have The Experiential Mode. We’ve all used a GPS, where the virtual represents out physical world, and just like in a GPS, “i-docs of this nature tend to play on our enacted perception while moving in space” (128). The experiential Mode of i-docs blurs the line between the two worlds (of virtual and physical) and “brings the user into physical space” (128) while experiencing this mode.

The article also makes reference to the first i-docs symposium, held in London at the Documentary Now! conference in January 2009. There were a number of findings that came from this symposium, but the concept surrounding the meeting was to publicise and generate understanding surrounding the development of i-docs and interactive technologies in our 21st century society, as they were no longer apart of a niche market. So why was it so important to generate these ideas? Aston and Gaudenzi note that it is “…a human need to try and make sense of the world around us…” (129), and that in this day and age, and the 21st century… digital media plays a huge role in creating that world. The point of it all really, was to understand and develop ways that this new interactive technology could help humans understand, because, this technology is ono …”flourishing and here to stay” (134)

“our view is that interactive media creates a dynamic relationship between authors, users technology and environment that allows for fluidity and co-emergence of reality”

(135)