Category: Examples of Documentaries

GUI

According the Castells who made his PHD in the field of interactive documentary  first graphical user interface (GUI Graphic User Interface) was a key for the decade that began till today for any interactive application, and especially in the case of the interactive documentary.

“A graphical user interface (GUI), is a type of user interface that allows users to interact with electronic devices through graphical icons and visual indicators such as secondary notation, instead of text-based user interfaces, typed command labels or text navigation.”

Design of the visual appearance and temporal behaviour of a GUI has a pivotal value because that is what enhances the “usability”. Usability is a key principle of designing the efficiency of every type of human -computer interaction. Software programmers and designers find most sufficient methods to create user centred applications.

 

 

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Documentarist

Documentarist’s field is reality and the outside world. All kind of social contexts,and their relations might be the increments of the documentary maker. Yet, many documentary examples and documentarists are outside the boundaries of the big fiction system and outside the major film studios.

Documentarist deal with the questions like how can one organize the material within which topic or more border themes? How can one deal with the mixture of facts, dramatic power and emotionality? How the coherency achieved by which methods?

Beside these types of questions, contemporary documentarists need to be adaptive to the existence and upcoming technologies that create its own social construction and  aesthetic concerns. By experiencing with the new tool kits documentary designer has to be aware of various types of languages such as graphics, computation, animation, sound, film and dialogs.

As Seth Keen puts into the words in his PhD thesis;

“Documentary practitioners require a new set of skills and knowledge to work online if they wish to practice within the dynamic and technology-driven domains of the Internet. In linear documentary making, shots are recorded then combined together on a timeline on a linear sheme.  The exported documentary is one video file made up of quite a few shots. In contrast, interactive documentaries are designed to present video in separate files.”

According to the section he called as “Documentary Designer Manifesto” there are severals points that every maker has to check. These are;

  1. The documentary designer designs and produces interactive media across a range of digital platforms.
  2. They develop skills and knowledge that can be applied to a variety of contexts.
  3. They design tools and make content for ‘lean forward’ users.
  4. They give up authorial control and work as a co-creator.
  5. They have strategies in place to work with the ephemeral state of what is designed and produced.
  6. They understand that tools are not permanent and fixed, they are a means to an end that constantly change and are quickly superseded.
  1. They accept that technologies and ways of doing things may not be available, they will have to be created, and developing what is required involves being open to working with software, hardware and practices from other fields.
  2. The documentary designer has some knowledge of code to work with interaction designers and programmers.

    Netvideo, Nonvideo, Newvideo 239-240 Seth Keen

Project J-Fest Doc

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Interactive storytelling is the novel form of art. As Schneider (2011) proposes that documentary is in a state of flux due to the influence of ‘network conditions’ like all the forms of media. In Schneider’s argument, the objective is to reinvent documentary by responding to the ‘aesthetic potential of contemporary networked production’ (2011). Working from this argument, the objective in my research and my project is to explore possibilities outside of this acculturated approach towards linear documentary production. This demanded using the existed archive of the past 10 years and customised tools to produce an online interactive documentary.

According to Seth Keen who is a professor and the practitioner explores the ongoing requirement to respond to the development of new technologies and the redefinition of documentary practice due to the effect of those changes, paying attention to the affordances of granularity, remix, indexing and spatial montage; a better understanding of the affordances of video, computers and the network, documentary designers will be able to change their practice and improve the quality of documentaries published on the Internet.

My research method will be experimential