“Noticing” – a work by Hannah Brasier
I have recently read 2012 Honours student Hannah Brasier’s work titled Noticing: creating slow and affective interactive online video. It was extremely helpful reading an exegesis at this stage in order to know what I should be aiming for both in terms of project planning and the quality of implementation expected.
Her Research Project explored the relationship between time in regards to the in-between moment situated in the isomorphic structure of perceiving and acting.”[S]peed has the power to disembody,” (7) (154, Illich) and in the busy hustle bustle of the modern digital age speed seems to be the driver for productivity and efficacy. We are now all experiencing “telepresence” (9) in our lives, existing both in a real and virtual environment. I remember distinctly engaging in an in-depth conversation with an Austrian software developer I met on a train in Salzburg who was incredibly enthusiastic about the philosophy behind this fragmentation of self. That we now have the ability to interact in a myriad of environments simultaneously. He was developing an iphone app that would allow you to scan items in the supermarket to work out the ingredients and background details of the product before you purchase it. This also can be used to scan individual ID cards to gain important health information in emergencies, etc. Great ideas. Anyway, I digress!
Using the theories of Deleuze, Illich, Rieger, Trapp, Manovich, and Bergson, among others, Brasier’s exegesis describes her exploration of creating short films testing this theory and how the use of online systems of narration realised her aim.
Her ‘initial filming began simply as “deciding to notice” (43), to ‘find the in-between through a process of observing’ (36), ‘a procedural and circula approach, as opposed to a structure and linear process of writing, shooting and editing…’ (36) This has made me reevaluate my approach to constructing my precursor concept. I initially conceived the project as going through this subconsciously prescribed linear process that I am well used to. However, perhaps a more organic process will be more beneficial.
I appreciate that ‘listing allowed [her] to attune [her] attention to further notice and then film the themes which were develiping, giving [her] a set of terms to structure additional filming around.’ (41) A process of practical ontography. List-making in order to “develop [a] sensitivity, to gain control.” (37) (83, Mason) Through the process of videographing my focus will hopefully refine into a particular research topic that I can articulate effectively at project end.
The flexibility of online interactive narratives was well summarized, traditional linear structures of storytelling are ‘overcome in the context of interactive online video’ (21) as ‘the quality emphasised within the clip changes as it is associate with other clips.’ (53) This impermanence and constant evolution dictated by the user who Deleuze coins the ‘centre of indetermination’ (64, Deleuze). Adrian backing this up by coupling the term ‘isomorphic’ with the indeterminacy and affective engagement of the user when interacting with the online work.
Isomorphic = the correspondence between two objects that in effect causes each object to operate in accord.
Korsakow Film = an online host that provides a platform in which you are able to upload a maximum of 8 clips (or equivalent size of photographic slideshow) to formulate an interactive documentary experience.