Throughout my time at university, pretty much since I finished my first studio class “Seeing the Unseen V2”, I have been fascinated with my innate need to ‘storify’ (Weidle 2016, pg 122). While I don’t necessarily think this is a bad thing, as I love engaging with and creating traditional narrative content, and find the practice of thinking in the form of story helpful to my process, I am fascinated by my desire to, and why it’s so hard to break away from it when making experimental and non-narrative content. Weidle talks about how ‘literary linearity’ has left an undeniable mark on the creative industry (2016, pg 112), making it so hard to approach thinking in the opposite manner, but I wonder what it is that makes people so unaccepting to the practice. Is it fear of the unknown? if it ain’t broke, why change it? I have no answers, and while I am here to embrace non-linear storyless content, based purely off feeling and enjoyment than meaning something directly, I think this battle for the need to make every a story is fascinating.
During the early stages of brainstorming and planning for Assignment 4, Adele, Galih, Meg and I have been exploring moving away from traditional narrative, with a relatively strong idea of interactively exploring feelings and sensations and the links between them, such as how an audience member weaves their way between these in their own unique way.
Our ‘logline’ for the work is:
How can we use new media forms to correlate a poetic list of individual fragments in a non-narrative way?
Above is some of the brainstorming we have been doing throughout this past week, getting us feeling a lot more comfortable for the upcoming pitch. I’m excited for the coming weeks to see how we further explore the medium of new-media, non linear, storyless, poetic gathering content (quite a mouthful, but an exciting one at that!).
Reflection References
Weidle, F., 2016. Korsakow Perspective(s): Rethinking Documentary Knowledge in Digital Multilinear Environments. (Links to an external site.) VIEW Journal of European Television History and Culture 5, 110–123.