The tangled relationship between theory and practice presents us with something of a chicken-and-egg problem. On the one hand, we could say that all action emerges out of theory: we observe the world, generate various hypotheses about how things might work, then take action accordingly. But we could say with equal authority that it is action that comes first, for it is only through observing and interpreting the consequences of our actions – that is, through experimentation – that we ever really learn anything. Without action, there is no meaning, for there is nothing to make meaning with.
It is the position of this course that both these perspectives are true. Theory and practice are two sides of the same coin – or, perhaps more accurately, two steps in the same cycle. Enriching one enriches the other. Indeed, the one simply does not exist without the other. Whether we acknowledge it or not, our art and design practice always both informs and is informed by the contexts within which it occurs. The more we can be aware of where our work comes from, where it is heading, and what it does to the world it inhabits, the better designers and wiser artists we will be.
The primary focii of this course are the historical origins and theoretical contexts of interactive media and games. Our main objective is to deepen and broaden our awareness of the cultural, social, economic, and political implications and possibilities inherent to and latent in contemporary interactive media. Of particular interest are questions related to the functioning of narrative, the affordances of play and procedurality, and conceptions of space, time, and bodies. The first third of the course will entail the development of a common language for discussing these matters, using the concept of the situation, defined here as “an opportunity to act,” as a starting point for addressing interactive media from three perspectives: play, narrative, and space. The final two-thirds of the course will build on this foundation through an exploration via student-led discussions of a set of related themes.
The rapid rise in the power and accessibility of digital technology has made possible myriad new forms of entertainment, artistic expression, and socio-political engagement. Among these new forms, videogames and other kinds of interactive entertainment offer artists and designers unprecedented opportunities to engage not just with audiences, but with players and participants. Drawing on voices from game studies, cultural studies, art history, social psychology, game design practice, and games journalism, this course will explore a range of critical frameworks for understanding and analyzing digital games and related forms of interactive entertainment. To facilitate this exploration, digital works and practices will be contextualized within the broader history of games, interaction design, and play – a history that predates electronic computation by thousands of years and includes diverse cultural practices such as performance art, ritual, and political activism.
Daryl Cloran, Anita Doron and Mateo Guez’s interactive feature film, Late Fragment, is being featured at the Future of Cinema Salon at the Cannes Film Festival before it gets its DVD release on July 10th. You can check out a brief live demo of the work online at the NFB.
The future of cinema will not be defined by a single direction. Old genres will live alongside new genres. But it is increasingly becoming clear that at least one of these directions will take the form of cinema as some kind of participatory experience, where the audience of one or many may impact how a narrative unfolds itself over space or time. These new forms should not be reduced as simply “choose your own adventure” models but instead should be seen as the coming to life of post-modern preoccupations with multiplicity, diversity, open-endedness, spatial conceptions of self, and story puzzles explicitly expressed through interactive technology.
Late Fragment is an interactive film that lets audiences piece together, both literally and figuratively, the cinematic narrative in front of them. The physical experience is not unlike channel surfing in front of the television, except imagine that each channel presents different scenes from the same story. Sitting on the couch, remote control in hand, audiences can click “enter” on their remote control, and impact the way the story unfolds, sequencing the events of the story depending on when and how often they click “enter.” Late Fragment is like many of the non-linear movies we have come to love including Crash, Short Cuts, and Amores Perros. But with Late Fragment audiences now impact what scene they may get next. (nfb.ca)