Thursday, January 28, 2016
Breakthroughs in Storytelling
Filmmaker Magazine: Columbia University’s “Digital Dozen: Breakthroughs in Storytelling” celebrates the year’s most creative examples of digitally enabled storytelling as judged by the Columbia Digital Storytelling Lab. The works honored for 2015 include an ad campaign; a video game; an art installation; an experimental opera; an online community whose leaders have been targeted by murderous fundamentalists; and two journalism reports, one employing nonlinear narrative and the other virtual reality. Together they show the extraordinary range of narrative technologies in use today, from simple blogging platforms to virtual reality to face-substitution software.
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I don't know to be disturbed or amazed when I learn of things like this. All I know is, the world feels more surreal every day that we venture further into the distortion of reality through such media. No longer can we so easily define where the truth ends and the made-up begins - but isn't this what we want in a way? Isn't this a part of why we do what we do, to draw an audience into another world, show them fragments of themselves inside characters, and make them forget for a while that there is a life outside that dark theatre? Who's to say that this accomplishes anything different, that the intent behind it is any more disturbing than ours? I suppose what's more shocking about the digital aspect of what's shown in the article is the accessibility. One does not need a ticket or a seat or a method of transportation to go somewhere an be immersed in cases like these - one is simply taken over. To imagine what would happen if theatre evolved to do the same, to make its way to the audience and turn them into the character - this is not so hard as we think it is, as evidenced by the project shown. Therein lies the disturbance, as well as the innovation. And in this case, as in many others, the two go hand in hand.
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