Alone Together - The First 25 Years of Digital Storytelling by Paradox

Alone Together

The First 25 years of Digital Storytelling

Cover image: Alma, A Tale of Violence, Miquel Dewever-Plana and Isabelle FougĂ¨re, 2012, web documentary and app

1. Introduction

2. Background

7-16 7 7 11 15 16

2.1 Origins 2.2 Digital storytelling: a definition 2.3 Different backgrounds, different terms 2.4 A different relation with media and technology 2.5 Important technological developments

3. Research

17-22

3.1 Categorization 3.2 Examples of the categories

4. Exhibition

17 19

23-34

4.1 Potential works in relation to technological developments and Alone Together

5. Book/App

6. Symposium

7. Audience

8. Possible partners

8.1 Research 8.2 International venues

9. Appendix

35 35

For inquiries please contact travelling exhibitions manager Agnes Wijers (aw@paradox.nl)

> Alma, A Tale of Violence > 2012 > Miquel Dewever-Plana en Isabelle FougĂ¨re > App and web documentary > Linear narrative with second layer information > Viewer/user becomes editor > Lean back User can view background information in second layer which pulls down over the first screen.

1. Introduction Alone Together – Why We Expect More from Technology and Less from Each Other is the title of a pioneering study of human behavior by the American media sociologist Sherry Turkle (2011, Basic Books). The book is a perceptive analysis of the individualization arising out of online technology which our society has undergone in the past few decades – and which has now resulted in the increasing dominance of mobile media. We still seek each other’s company, but we are now attached to one another by a digital umbilical cord. In public space the individual who is interacting with a tiny screen is an omnipresent phenomenon, but even in the intimacy of dinner around a table that is increasingly the case; the smartphone lies ready next to the plate, the smartwatch on the wrist rings with the addition of a new ‘Like’ on our Facebook page. Personalized mobile media providing us with an unending flow of events, large and small, are the core of the digital society which has taken shape over the last quarter century. Alone Together – the First 25 Years of Digital Storytelling reveals how we have moved from traditional mass media based on broadcasting to narrowcasting. Using its technological and creative possibilities, over the past 25 years journalists, photographers, artists, and large and small media concerns – and in their wake, uncounted ordinary people – have collectively provided the content for this new phenomenon of online communication, life online. It has produced (and still produces) an ever-growing mountain of repulsive or fascinating nonsense, but it also led to pioneering productions which have set the course for the development of the new phenomenon. Or ones that could or should have done so, but have been passed by unnoticed. Alone Together – The First 25 Years of Digital Storytelling examines today’s media society, and in doing so makes the first attempt to interpret the developments of its first 25 years. The role of multimedia documentary practice is central here. It manifested itself primarily online, and to an increasing degree on mobile media, but began even before the internet in 1991, with the CD-ROM. However, the multimedia documentary also expressly developed in three-dimensional presentations in museum spaces. What characterized both environments was the degree to which an individual experience of the material provided is possible, in combination with an interfacing that seems increasingly naturally linked with the body. Wandering through a projected installation, museum visitors edit their own cinematic experience; scrolling horizontally or vertically through a contemporary web documentary (scrollytelling), an individualized image of a social phenomenon emerges. Employing virtual reality for the personalized experience is the logical next step. That future began yesterday. Alone Together – The First 25 Years of Digital Storytelling reveals where we came from in that process, and where we (potentially) are going. An inseparable part of this is also the degree to which average people, through social media and blogs, have become digital storytellers. Alone Together investigates the contemporary media society and looks back at the past quarter century, but also looks forward to what is coming. The project will be comprised of an exhibition, a book (app), and a symposium, and in this way will address a diverse audience.

> The Ballad of Sexual Dependency > 1979-1986 > Nan Goldin > Predecessor of spatial digital storytelling > Analogue audiovisual installation: slide projection with soundtrack

> Predecessor of digital storytelling > Picture story > Spread from LIFE

2. Background 2.1 Origins Digital storytelling has various predecessors, in which photographers, filmmakers and journalists used analogue media in order to convey stories to their audience in images, and in some cases audio too. From photography, the tradition of the picture story, the photo book and audiovisual installations are an important point of departure. The tradition of the picture story arose in the 1920s, as a new phenomenon in photojournalism. The cameras photographers used were becoming increasingly more compact, enabling them to more easily shoot images on location. Editors then could make a selection from the various images, which together would make up a picture story. The photos were provided with captions so as to make the story complete, but the emphasis lay on the images. One of the most important photo magazines which stood out in this field was founded in 1936: LIFE. Autonomous photographers looked to the photo book, with or without a text, but in which the editing played a great role, just as in the case of the picture story. In what order were the images to be placed in order to convey the story as well as possible? The same question could be asked with regard to audiovisual installations that artists began to put together in the 1960s. Slide projectors were often used for these, in combination with audio. For example, between 1979 and 1986 Nan Goldin photographed the people around her, friends and family, and used these images in the ever growing work The Ballad of Sexual Dependency, which she presented as a slide show, but also had published as a book. In cinema the development of linear documentaries and, within them, experiments with archival material are important. In the same way that editing is important in the making of a picture story or photo book, it is also important in making a film. Many interactive documentaries begin with a short introduction in the form of a trailer. This idea clearly comes from the world of film, in which trailers are used to give viewers a taste of what is to come. Not only elements from photography and the film world laid the foundations for the development of digital storytelling. Ideas from the world of gaming also are to be found in digital storytelling. When playing a video game, alone or online with other players, the player is carried along with a story that develops incorporating the playerâ&#x20AC;&#x2122;s input. Among the important aspects of a game are that the player takes on a certain role, and that by playing the game well you can earn â&#x20AC;&#x2DC;pointsâ&#x20AC;&#x2122;, and as a result are enabled to go on further in the game. Often the player also receives some other reward. These elements have now been worked into some interactive documentaries, in which, for instance, the player takes on the role of an investigative reporter, who has to interview the people he meets, in order to discover the whole story. In this way the user becomes very actively involved in the unfolding of the narrative.

2.2 Digital storytelling: a definition Digital storytelling is an umbrella term for multimedia projects published on a digital platform, either online or offline. It is often also characterized by the manner in which the public relates to the work, generally interactivity, which can be present to varying degrees.

> Alma, A Tale of Violence > 2012 > Miquel Dewever-Plana and Isabelle FougĂ¨re > App available on tablet > 1:1 experience > Lean back

> CD-ROM > 1:1 experience > Lean forward

> Refugee Republic > 2014 > Jan Rothuizen, Martijn van Tol and Dirk Jan Visser > Interactive documentary > 1:1 experience > Lean forward

> The Last Days of Shishmaref > 2008 > Jan Louter and Melle van Essen > Spatial montage > Lean forward

Multimedia: combination of various media, for instance still and moving images, audio, and text Digital platform: CD-ROM, web, app, VR, installations Online: connected with the web Offline: not connected with the web Interactivity: the possibility for the user to influence the course of the narrative Lean forward vs lean back Interactivity assumes an active attitude on the part of the user; the accompanying experience therefore can also be described as ‘lean forward’, as opposed to the ‘lean back’ experience of watching a film or reading a book. The viewer or reader becomes a user, interactor or participant as a result of the necessity for interaction (‘lean forward’). Passive entertainment and interactive entertainment are often referred to as ‘‘lean back’’ and ‘‘lean forward’’ experiences, respectively. ... What the audience does or does not do in terms of relating to the material is one of the most profound differences between interactive and passive entertainment. (Carolyn Handler Miller, Digital Storytelling, 77) Interaction vs participation Another important aspect of digital storytelling is ‘participation’. This aspect is not present in all projects, but can be characteristic for digital storytelling. Although your participation could be considered as a form of interactivity, the website momentsofinnovation.mit.edu, made by MIT’s OpenDoclab and IDFA Doclab, approaches the difference between interactivity and participation as follows: interactivity is defined as an act to which you get a response (i.e., clicking, scrolling), through which you can view the production further, while participation really is about producing information or images yourself, often aptly called ‘user-generated content’. Individual 1:1 or spatial experiences In the most frequent cases, we speak of works that are viewed by one person on one screen as being a 1:1 experience. This term applies to CD-ROMs, the web, to an app, or to virtual reality. But there are also multimedia installations to which the term can be applied, because of the changing relationship between body and work in a physical sense. One can think here of spatial installations with multiple screens, allowing the viewer to make a selection from the images presented by moving from one screen to another, a three-dimensional montage or loop, and the scale relationship between the work and the viewer’s body. Platforms: CD-ROM Web App Installation Virtual reality

> Money & Speed: Inside the Black Box > 2011 > Marije Meerman > iPad app > Linear narrative with second layer including background information > Lean back Background information for a scene appears above right in an icon. User jumps from the main line to consult the extra information, for instance biographies or current exchange rates.

2.3 Different backgrounds, different terms There are differing terms used in this newly opened field. One can often work back from these terms to uncover the discipline from which they came. Early online productions were termed web documentaries, or webdocs for short. Later the term interactive documentary was frequently used (abbreviated as i-doc). These are all often a combination of still and moving images, audio and infographics. Although in the case of a web documentary the emphasis is on the publication platform (web), interactive documentary places the emphasis precisely on the interactive element in the publication. These can be either online publications or apps. As far as is known, the Dutch documentary and accompanying iPad app Money & Speed is the only production which has been termed a ‘touchdoc’ by its makers, an intuitive, logical term for the app, combining the manner of operating a tablet (directly touching the screen to navigate through the project) and documentary. The term ‘long read’ is known from journalism, comparable with longer background articles in paper publications, with added still and moving images that at appear online. Web documentary/webdoc: has its origin in projects with photography. Multimedia project. Emphasis on the publication platform: web. Interactive documentary/i-doc: has its origin in the film discipline. Multimedia project, published on line as app. Long read: has its origin in written journalism. Multimedia project with greater role for text.

> Analogue media: broadcasting > Wide audience > Simultaneous > Identical content

> Alone Together: narrowcasting > Specific audience > Private moment > Personally geared content

> Collective viewing experience in cinema > Viewer has no influence on the viewing process > Lean back experience

> Why Mister, Why? > 2004 > Geert van Kesteren > Viewers move freely through the space > Individual perspective > Lean forward experience

> I Photograph To Remember > 1991 > Pedro Meyer > CD ROM > Lean back experience Story of Pedro Meyerâ&#x20AC;&#x2122;s parents. Archive material and new images. New: computer used to convey emotions.

2.4 A different relation with media and technology „It was the first time that anybody anywhere had seen a computer used to express emotional ideas. For thirty minutes you could have heard a pin drop, nobody made a sound.” This citation is from Bob Stein, former director of the Voyager Company, describing the 1991 event at which he showed the CD-ROM I Photograph to Remember to a wide audience for the first time. Up to that moment computers had almost exclusively been used in a business environment, and thus this publication was the first time that the medium had been employed in a different manner. The relation between man and machine at that time was impersonal. Early projects often had a prominent interface – menu structure and buttons – that had to be operated by the user. To help the user with this, early CD-ROMs often came with ‘instructions’ of a sort for users, which explained what the parts of the CD-ROM were and how the user had to navigate to them. Over the years in which digital storytelling developed, a shift has taken place from physically clicking on buttons to taping or swiping on the touchscreen of a tablet or smartphone, movements which by now feel as turning the page of a book. This way of interaction has also found its way to the computer, and in these cases it feels more natural to use a trackpad rather than a mouse. In digital storytelling this is also called scrollytelling: publications in which you advance from one fragment to another through a flowing movement, and the video or audio begins to play by itself. But that the movements feel natural does not mean that it is self-evident to everyone how to navigate a digital storytelling project. Short explanations about navigation are still regularly to be found at the beginning, just as they were earlier with CD-ROMs. While our lives have become increasingly interwoven with technology, do people still need this sort of overview? Or in such cases, has the interfacing fallen short? Presently there are many people who are reachable 24 hours per day, connected (albeit at a distance) with one another by means of digital communication, and via social media people have the possibility of sharing all aspects of their life: nice ones, absurd ones, but also emotional ones are shared publicly in this way. The relationship with, and ways of dealing with (mobile) media and technology have thus changed radically in this period, and the consequences of this and responses to it can also be seen in digital storytelling projects.

2.5 Important technological developments Various technological developments have provided the foundation for the burgeoning digital storytelling of the past decades. The most important are:

IBM presents the first personal computer for consumers: the IBM PC (HW)

2014 Google Cardboard

2002 Web 2.0

Users can place information online or make a user profile, etc. (P)

2012 Occulus Rift

1993 Macromedia Director

virtual reality glasses (P)

software for constructing content for CD-ROMs (SW)

1981

viewing virtual reality via your own smartphone placed in a cardboard holder (P)

2014 2012 HTML 5

1993 WWW

does not use Flash plug-in for interactive content (SW)

developed in the 1980s, accessible for everyone in 1993 (P)

1986 CD-ROM

popular until the mid-â&#x20AC;&#x2122;90s, as interactive archive and distribution platform (P)

1996 Flash

software for online use in, for instance, playing video and making web applications (SW)

2010 iPad/Tablet (HW)

Hardware = HW Software = SW Platform = P

3. Research The basis of this project is an inventory of works on CD-ROM, online publications, apps and multimedia installations. This research was carried out from July to September, 2014, by Hannah Hagen, a student in the Masters programme in Film and Photographic Studies at the University of Leiden, as commissioned by Paradox. The inventory was prepared on the basis of research in literature, on the internet, and through contacts with people in the field. Twenty persons were approached by letter with the question of whether they could list valuable projects which should be included in the database; feedback was received from ten of them. Concrete titles were received from George Legrady, Arnau Giffreu and Daniel Meadows. Annet Dekker provided a reference to the CD-ROM art inventory project conducted by Sandra Fouconnier, which collects about 80 CD-ROMs. The following details were recorded for each work: - title - author - producer - year of publication - country - interactive/linear - (URL) - software - subjects - short description/remarks This growing database charts what was made over the past 25 years, and where it can still be found. Because of the relatively short existence of the CD-ROM as a platform, and its limited availability in physical form (CD-ROMs were issued in limited editions), this category is in all likelihood the most complete. Online projects are being produced at high speed; the best known publications are included in the growing list, but this list is far from complete. The number of apps that are being produced is lower, and they are thus easier to keep track of, although here too the inventory is presently not definitive. And finally, the number of installations which have been inventoried is most likely only a limited share of a much greater phenomenon. There has never been any research focused on this area.

3.1 Categorization Because the domain of digital storytelling is a field in development, the definition and categorization is difficult. Various researchers have made attempts to categorize the interactive documentary, but in doing so emphasize that their work is no exhaustive analysis. The same is true for this preliminary research (in fact, more of a stimulus to real research). Loosely based on Sandra Gaudenziâ&#x20AC;&#x2122;s PhD research The Living Documentary: From representing reality to co-creating reality in digital interactive documentary, we have presently arrived at our own categorization. Gaudenziâ&#x20AC;&#x2122;s work has been extremely useful in selecting the conditions for a classification.

Archive

Photo, film, graphics

Game

Narrative structure

Role of user

Lean forward/ Spatial relationship lean back

Navigation

Content

Soundscape, voiceover, Linear, interviews linear +

Hypertext, scrollytelling, body movement

Limited; user follows Author; story with minimal user generated effort.

1:1, spatial

Lean back

Soundscape, voiceover, Non-linear, interviews multi-linear

Hypertext, scrollytelling, body movement

Author; User selects path in user generated prescribed structure

1:1, spatial

Lean forward

Hypertext, scrollytelling, body movement

User assumes role; must complete 1st step in narrative to reach next one; perhaps Author; receives reward for user generated â&#x20AC;&#x2DC;performanceâ&#x20AC;&#x2122;

1:1, spatial

Lean forward

Soundscape, Photo, Film, voiceover, Non-linear interviews Graphics

In making a division, we have looked at: -- the visual aspect (photography, film, graphics) -- audio (soundscape/interview/voiceover) -- the narrative structure (linear, linear+ (linear narrative you can easily step out of to view extra information), non-linear, multilinear -- navigation (hypertext, scrollytelling, body movement) -- content (provided by author, user generated) -- the role of the user (the user has only a limited active role and only chooses a following fragment in a pre-determined structure; users select their own paths in a pre-determined structure – database; users take on a role and are (for instance) researchers) -- the spatial relationship between the user and the work (1:1 experience in front of a computer or tablet vs a three-dimensional experience in which the body interacts with the work in space, for instance through the scale of the installation or an installation with multiple screens, in which the viewer has influence on what is seen by moving through the installation) -- is the work a lean forward or lean back experience? The distinctive characteristics for the different categories are: -- the narrative structure (Linear, linear+, non-linear, multilinear), -- the role of the user (the user has a limited active role and only chooses a following fragment in a pre-determined structure; users select their own paths in a predetermined structure – database; users take on a role and are (for instance) researchers), -- lean forward/lean back experience. The different tentative categories are: -- linear narrative -- archive -- game-like Both 1:1 and three-dimensional productions are to be found in all three categories. Many of the productions are not easy to place in just one of the categories, but are hybrid in form – for instance, when the user’s role suggests a ‘game’ while the interface inclines toward an archive structure. The table on page 18 shows the characteristics in a scheme that clearly indicates which characteristics are important in each category.

3.2 Examples of the categories a. Linear narratives The most important characteristic of the linear narrative is the form of the narrative itself. This can be linear, but in later productions one also sees linear with a second layer of information. Alma, A Tale of Violence (2012), made by Miquel Dewever-Plana and Isabelle Fougère for ARTE, is a web documentary also published as an iPad app. In this production, Alma tells about her life as a member of one of he most violent gangs in Guatemala. While telling her story she looks right into the camera. Meanwhile the viewer can look at a second layer of visual material (photos, videos and drawings) through second screen that is pulled down by swiping. This creates a kind of split screen, while Alma continues to tell her story. This is thus a linear narrative offering a second layer of visual material which the user can choose to view. The web documentary and iPad app are both typical 1:1 experiences that the user can view, in principle alone, on one device. View Alma, A Tale of Violence

> An Anecdoted Archive From the Cold War > 1994 > George Legrady > CD ROM > Clear archive structure > Lean forward Overview, story lines, and one of the stories

The Last Days of Shishmaref (2008) is a spatial montage of film material by Jan Louter, on five screens. The Last Days of Shishmaref is about the influence of climate change on the life of a community in Alaska. The installation runs as a loop, so that viewers enter the projection at different moments. In this way viewers choose their own beginning and end points. The work can be viewed by various people at the same time, and is a spatial experience. Because of the projection on different screens, each spectator has his or here own perspective, and each viewing experience is different. Walking around in an environment like this is in effect editing the different channels. Unlike in a cinema, the viewer assumes a physical measure in relation to the projected image. b. Archive The most important characteristics of the archive are the form of the narrative, nonlinear or multilinear, and the role of the user. On the basis of a predetermined structure, the user can make a selection from the database with information. The CD-ROM An Anecdoted Archive from the Cold War (1994), made by George Legrady, has a clear interface and structure. The ‘floor plan’ refers to a physical archive and each category has various layers of information, so that you can delve deeper into the archive with each click. In this way the user makes his or her own selection form the database with information that Legrady uses to tell his family history, interwoven with information about the Cold War. In this way you can, for instance, choose a section with propaganda, but also a section with home videos. This CD-ROM is a 1:1 experience. The interactive documentary Refugee Republic (2014) is a multilinear narrative about the lives of Syrian refugees in Camp Domiz, in Iraq. Drawings by Jan Rothuizen form the interface of the interactive documentary. There are four different routes indicated on a large map, each with its own theme, for instance money or housing. These narratives were made by journalist Martijn van Tol and photographer Dirk Jan Visser. The user walks through the refugee camp by scrolling or swiping. It is thus an example of scrollytelling, horizontal rather than vertical. Like many other digital storytelling productions, Refugee Republic also indicates how the user can best navigate. During your walks you encounter short videos and photo stories which offer background in the narrative. View Refugee Republic c. Game-like Works in the ‘game’ category are characterized by non-linear narrative and the fact that the user assumes a role, and for instance conducts research. Another characteristic can be that to the degree you go further into the story, the more material becomes available. Prison Valley (2010), made by David Dufresne and Phillipe Brault, takes place in Fremont County, Colorado. The user assumes the role of a journalist who is researching the prison industry. Prison Valley starts with a short inductory film, a sort of trailer. This technique is employed by many interactive documentaries. In it the subject is briefly introduced and the visitor is then invited to go further to discover the rest of the story. After this introduction you can check into a motel, to which you can regularly return. If you subscribe to the website, you can return to the point in the story where you left. Along the way you encounter various characters who give you information. Various objects are kept in the motel room, and at certain points you can enter into conversations with other Prison Valley users, via the forum.

> 9 Scripts From a Nation at War > 2012 > Documenta in Kassel > Table top miniature > Alternative presentatation method

> An Anecdoted Archive from the Cold War > 1994 > George Legrady > 1:1 experience translated into spatial installation > A larger audience can watch how one person controls the work

4. Exhibition Audience perspective The technological progress which has in part made digital storytelling possible, and the way in which photographers, filmmakers, designers and journalists make use of these advances for productions that break new ground conceptually, aesthetically or in terms of content, is an important motivation for the realization of this research and presentation project. But apart from the purely substantive experience of individual works, and partly a certain nostalgia with regard to employing vintage hardware, the interaction among technology, content and formal development is a layer in the exhibition that is particularly relevant for professional colleagues (including curators). In the exhibition these developments are placed in the broader perspective of our changing society, and in this way are intended to address a larger audience. Everyone is confronted with countless screens every day, with permanent reachability, with personalized content on the internet. This almost permanent reachability also influences our relations with one another. For instance, at one and the same time people are linked to one another and separated from one another, everyone pouring over their own screen. The exhibition Alone Together – The First 25 years of Digital Storytelling shows a selection of works from that period, which focus on this aspect of the individualized experience. 1:1 and spatial It is necessary that the exhibition Alone Together also include works that are made for an individual 1:1 experience. By definition, it is difficult to have these function in an exhibition space. Only one person can use them at a time, and the museal experience conflicts with the desired concentration and intimacy. Considerable attention will thus have to be given to this point in the spatial design. There are roughly two different ways of exhibiting these works: 1. as 1:1 experience on a computer or tablet, with one person operating and viewing the work. When using hardware it is important to use the old hardware, so that the contrast between the old and new is visible, and this contributes to the user’s experience. And 2: some of these works are also possibly suitable for exhibition as installation or projection – see, for instance, the installation of An Anecdoted Archive from the Cold War by George Legrady. In that case, other people can view them along with those who actually ‘steer’ the work. Table top miniature and virtual reality Next, there are spatial installations that will require (much) more room. Practical problems related to showing multiple installations include lack of space and open sound, with the audio from various installations spilling over to one another. An alternative manner of presenting some of these installations, which takes up less space but does take the viewer into a closed world, is the table top miniature. On the adjacent page you can see the work 9 Scripts from a Nation at War during Documenta 12 in Kassel. The image is to be seen on three screens and the audio heard on headphones. Viewers who bend forward move into the scale of the installation, just as they would with a doll house or model railroad. The illusion of a monumental installation is (almost) perfect. The most important conceptual drawback: it leads to a simplified perspective, and the function of (the sound of) the physical footstep is lacking. Nonetheless, it could certainly be successfully employed for a number of installations. Another experimental alternative that occupies less space is the representation of installations by means of virtual reality. Visitors can experience the installations in a virtual environment. In the more advanced representations they can also interact with the work physically.

> Stress > 2002 > Bruce Mau Design > Spatial installation > Linear narrative > Combination of archive material, photography, text and audio

4.1 Potential works in relation to the technological developments and Alone Together a.1 Linear narratives 1:1 I Photograph to Remember (1991) by the photographer Pedro Meyer, the first CD-ROM with a photographic narrative, tells the life story of the photographer’s parents on the basis of archive images and new photographs. As seen in the quote from Bob Stein referred to earlier, I Photograph to Remember was a unique work at the time it was published, because for the first time a computer was being used to express emotions, rather than for everyday business purposes. This is now difficult to imagine, if only taking into account the volume of narratives which appear in this research – and these are only a fraction of what has been published. The way in which we relate to computers has changed radically in the intervening years, and this work can be regarded as an early step in this development. The narrative is linear and a lean back experience, but the publication on CD-ROM makes it possible for viewers to choose for themselves whether they will look (further), and to select the language of the voiceover. Money & Speed: Inside the Black Box (2011), made by Marije Meerman, is the first and only ‘TouchDoc’ (a term which has not been used elsewhere), but suitable because of the platform on which the app was published: the iPad. TouchDoc thus literally refers to touching the screen in order to discover more information. Brought out as a linear documentary (VPRO) and as an iPad app, Money & Speed is about the flash crash in 2010. In the documentary people who were involved in the situation firsthand have a chance to speak, and in the app the user can obtain extra information about the subject in a second layer of the documentary, based on real time data. It is thus a linear narrative with access to extra material. Although the app supplies the information in a second layer, the use of the app is so intuitive that this also feels like a lean back experience. This also again illustrates the hybridity of the phenomenon of digital storytelling. Some projects are difficult to place in any strictly defined category. a.2 Spatial linear narratives In 2002 designer Bruce Mau produced a multimedia installation, Stress, a combination of archival material, new photography, text and audio. The installation reveals an image of today’s society by means of visual material from important political and historical events. The theme works through in the high speed montage. The length of the projection screen forces the viewer to move physically. Because of this form of spatial installation everyone’s viewing experience is unique, while it is possible for more than one person to view the project at the same time. In his work Omer Fast investigates the construction of narrative in film, and for instance presents different perspectives within the same story. 5000 Feet is the Best (2011) is a cinematic translation of interviews Fast did during an encounter with a drone operator from the American army, in which the operator described his work and the traumatic situations that he experienced in it. Presently it is possible to steer armed drones by remote control from very great distances and wage war in that way. The physical distance between the person and weapon also influences the soldier’s emotional experience. Instead of standing eye to eye with your opponent, it appears that this manner of waging war in front of a screen is more like playing a computer game. The installation 5000 Feet is the Best is a linear narrative and is played as an endless

> Antirom > 1994 > CD-ROM > Anti-archive > Lean forward > Disclaims a formal interface Once the menu is found, a built in randomizer means any choices invariably lead to results other than expected. Antirom assigns the characteristics of hypertext structures by denying them.

> 18 Days in Egypt > 2011 > Jigar Mehta and Yasmin Elayat > Interactive documentary > User generated content > Archival structure > Lean forward Screen shot of overview page with various â&#x20AC;&#x2DC;streamsâ&#x20AC;&#x2122; that users have uploaded.

loop. Therefore there is no fixed succession of the repeated components; each viewer experiences the flow differently. b. Archive The CD-ROM Antirom (1994), made by the antirom collective, is really an anti-archive. It is a collection of parts that all reflect to the idea of interactivity, but rather than having a logical structure, as is usually the case with an archive, Antirom lacks all logic. There is therefore no interface in which you make choices, but the computer makes random choices for you. Antirom makes use of existing visual, text and audio material. Although you as viewer have no influence on what happens, Antirom can be considered a lean forward experience. The user must do something to go further; it is just not possible to navigate with this interactive process. The project dates from 1994, and is thus an early reflection on the possibilities of the medium and interactivity. The flood of visual stimuli that Antirom is also refers to the speed and abundance that is characteristic of visual culture today. The CD-ROM was made with Macromedia Director, which came out in 1993. 18 Days in Egypt (2011), by Jigar Mehta and Yasmin Elayat, makes use of the principles of Web 2.0. This form of the internet, which arose in the early 2000s, makes it possible for users to add material themselves. 18 Days in Egypt is a platform on which material is published that has to do with the revolution in Egypt in 2011 and the events which followed it. It is based on user generated content. User generated content challenges the role of the author in digital storytelling. Blogs and social media give everyone the space to be an author and tell their own story in their own way. Users of 18 Days in Egypt can upload their own story in a ‘stream’. This stream can consist of a combination of photography, film and text. A selection can be made from these streams on the basis of date, popularity, recommended videos, and the most recent material. During the revolution the makers realized that to a great degree the events were being reported by the demonstrators themselves, with their smartphones, by making photos and videos and posting them on social media such as Facebook and Twitter. The use of social media is characterizing for this time. Social media are increasingly used not only to stay in touch with people one already knows, but to show the world what one is doing or spread opinions. The possibility to share images and text through these platforms and the fact that almost everyone nowadays carries a camera in the form of a smartphone also challenges journalistic conventions. Not only traditional media can report on events such as the revolution in Egypt, almost anyone has that possibility. View 18 Days in Egypt Universe Within (2015) is the fourth part of the Highrise series, made by Katerina Cizek. This interactive documentary investigates the hidden digital lives of ‘highrise’ residents on the basis of a various questions. As a user you first choose one of the three ‘hosts’, who then poses questions to the user about emotions, empathy and ethics in this digital era. By answering these questions the user makes a selection from the total database. This documentary is thus also a lean forward, personalized experience, because what the user gets to see depends on the answers that are chosen. Bekijk Universe Within c. Game-like The interactive documentary Do Not Track (2015), made by Brett Gaylor, lets users see who (i.e., which businesses) are following their internet behaviour. Now that people

> Do Not Track > 2015 > Brett Gaylor > Interactive documentary > Game-like > Lean forward Project concerning the use of internet and how the internet uses its users. Asks for data about the userâ&#x20AC;&#x2122;s internet behaviour, which is then analyzed.

> Portrait One > 1995 > Luc Courchesne > CD-ROM > Game-like > User plays the role of interviewer > Lean forward User makes contact with Marie. Marie breaks off conversation if it becomes intimate too quickly. If the conversation goes well, the user receives a warning that she is a virtual character.

are almost always online today, that internet usage leaves behind an invisible trail that many are not aware of. In seven installments that appeared between April and June, 2015, Do Not Track investigates various themes, for instance explaining to the user the process of ‘like mining’ (analysing the ‘likes’ on Facebook), or what sort of information a smartphone stores about its owner. There is an option to use the data of the maker, but what makes Do Not Track interesting is that you as user are repeatedly asked for input – what websites you visit, what is in your Facebook profile – and thus you not only get an explanation, but immediately get to see what happens with your personal data. In order to go a step further in the documentary, the user regularly has to make a choice or fill in data. The user thus has the role of the one whose data is being analysed; if you fill in personal data you are rewarded by an analysis. The interface of Do Not Track however looks like an archive structure. This interactive documentary is made as a 1:1 experience, for one person, who fills in his or her own data. View Do Not Track As user of Luc Courchesne’s Portrait One (1995) you can ask Marie, the central character, questions, which she answers. You choose from a number of questions each time, but if you become personal too quickly she excuses herself. When you reach a certain degree of intimacy Marie warns the user that she is virtual, and thus can not enter into any real connection with you. Portrait One is a work on CD-ROM. The original computer variant demands presentation as a three-dimensional installation. Via a monitor the work is projected on a plate of glass so that Marie appears to be in the same space as the user. This work allows the user to investigate the relation between human and machine, in which Marie’s answers depend on the path chosen by the user. Portrait One can be seen as a game because you, as the user, assume the role of interviewer, whereas if, during the course of the interview, the questions become too personal, Marie announces ‘game over’ and stops the conversation.

> Installation photos from Born Digital in MOTI (2015) > Works in which the digital world and our digital lives are central > Spatial work, installations and online projects > Do Not Touch, by Moniker (upper left). Interactive video clip that can be played online > Here, on a podium, to be operated by one person. Other visitors watch via a projection. > The Smoking Room, by Pinar & Viola (below) > Presented as physical space where the visitor can use the online project

5. Book / App A book / app that offers an overview of the technological developments which have been important for the rise of digital storytelling, and the narrative and aesthetic developments which are connected with them, will be issued to accompany the exhibition. As in the exhibition, these developments will be placed in the framework of todayâ&#x20AC;&#x2122;s media society, for instance by means of background essays. In this way the two layers that are also present in the exhibition will be fully represented.

6. Symposium How has the publication of work changed? How do you get a story across to an audience clearly, if the audience itself can make a selection of the material presented? In what way does the role of the author change when everyone has the possibility of making images and texts and publishing them on the internet? These questions regarding the technological developments will be posed in a symposium for fellow professionals and other interested parties. To date, little or no attention has been paid to the systematic collection of these productions, and what acquisitions there have been call up many questions about the conservation of these works. Rapid technological progress [sic] threatens to make the hardware and software necessary for viewing many of these projects obsolete â&#x20AC;&#x201C; and thus to make the works themselves inaccessible. A symposium is also the right environment for bestowing attention on the issues around the collection and conservation of this digital heritage. During the symposium there will ls be attention given to the way in which digital storytelling will develop in the future. At the moment of writing, many experiments are being done with virtual reality. Will this develop into a new storytelling platform?

> Virtual reality > Immersive Reality during IDFA DocLab 2014

> Project Syria > 2015 > Nonny de la Pe単a > Virtual reality > Users feel they are on the spot, as it were Project concerning bomb attack in Aleppo, Syria. Second scene takes place in a refugee camp.

7. Audience Through the various components – exhibition, book/app and symposium – Alone Together is intended to reach a broad audience. The exhibition provides an overview of the developments in digital storytelling over the past quarter century and the technological advances that have contributed to this. These developments are investigated from the perspective of today’s mediated society in order to be able to interpret how these developments are related to one another. The theme of the exhibition is intended to address those with an interest in developments in the field of media and technology, and the influence these have on society: the ‘users’ of these works, and (media) historians. In addition, the technical aspects that are characteristic of digital storytelling are particularly interesting for photographers, filmmakers, producers and journalists. The catalogue, to be published in the form of a book or app, will offer an overview of the works in the exhibition, in combination with in depth background information, for users, makers, museum colleagues and academics. Makers, fellow professionals and academics will be addressed by means of a symposium which will shed light on the manner in which storytelling has changed in the digital era, issues concerning collection and conservation of works, and future developments.

> Installation photos from ANGRY, Nederlands Fotomuseum (2011) > Photography, videos, multimedia installations and online publication > Narrative environment > Monumental structure > Environment contributes to bringing the exhibition narrative across to the audience > Red cubicles form points of rest within the setup: video portraits of former radicals The same sort of narrative structure in the setup, with resting points between the large installations, is intended for Alone Together.

8. Potential partners 8.1 Research -- University of Leiden, academic partner for research project -- LIMA, performs research on CD-ROMS and conservation issues -- MIT Open Documentary Lab, research centre of MIT, which focuses on the fields where documentary and technological innovation overlap -- IDFA DocLab, IDFAâ&#x20AC;&#x2122;s festival component that is devoted to the presentation and discussion of, and support for the development of digital storytelling projects -- VPRO MediaLab, focusing on the development of apps and experiments with virtual reality These institutions could be interested on cooperating in the framework of research running up to the exhibition and the symposium dealing with developments in the field, and at the same time the problems surrounding the collecting and conservation of our digital heritage.

8.2 International venues The following locations (among others) could be possible places for showing the exhibition: -- Nederlands Fotomuseum, Rotterdam -- EYE, Amsterdam -- Jeu de Paume, Paris -- Fotomuseum Winterthur, Winterthur -- International Center of Photography, New York -- Three Shadows Photography Arts Center, Beijing

9. Appendix Digital Storytelling Inventory - CD-ROM

Title

Artist/Author/Director

Publisher

I Photograph to Remember

Pedro Meyer

The Voyager Company

1991 USA

Lineair

From Alice to Ocean

Rick Smolan

Against All Odds

1992 USA

Interactive

The Voyager Company

1993 USA

Lineair

Self published

1993 USA

Interactive

1994 UK

Interactive

The Voyager Company

1994 USA

Interactive

History, Nucleair weapons, Hiroshima Storytelling, Freak show

Truths & Ficitions, A Journey From Documentary to Digital Pedro Meyer Photography She Loves It, She Loves It Not

Christine Tamblyn, Marjorie Franklin, Paul Tompkins

Antirom

The Day after Trinity: J. Robert Oppenheimer and the Jon Else Atomic Bomb

Year

Country Mode

Collection(s)

Software

Macromedia V2_ / Bas Vroeg Director

Topics Parents, Childhood, Death Australia, Travel, Road trip Photography, Digital revolution

Bas Vroege

Ideology, Power, Memory, Violence, Communication Bas Vroege

Freak Show

The Residents

The Voyager Company

1994 USA

Interactive

An Anecdoted Archive From the Cold War

George Legrady

HyperReal Media Productions

1994 HU

Interactive

Al Reinert

The Voyager Company

1994 USA

Interactive

Space, Apollo Vietnam, photojournalism

For All Mankind

Bas Vroege

War, History, Archive

Rick Smolan

Against All Odds

1994 USA

Interactive

John Vink

Apple France/Magic Media

1994 FR

Interactive

Lovers Leap

Miroslaw Rogala

ZKM/Institute for Visual Media, Karlsruhe and Hatje Cantz Publishers

1995 USA

Interactive

Chicago, Streetphotography, Interactivity

Material World

Peter Menzel

Multimedia StarPress

1995 USA

Interactive

Global, photojournalism

Luc Courchesne

ZKM/Institute for Visual Media, Karlsruhe and Hatje Cantz Publishers

1995 CA

Interactive

Communication, Portrait, Intimacy

The Deaths in Newport

Lewis Baltz

Paradox

1995 NL

Lineair

Dans un Quartier de Paris

Gilberte Furstenberg, Janet H. Murray

Yale University Press

1996 USA

Interactive

Paris, Urban, Daily Life

ACTUALITE DU VIRTUEL : ACTUALIZING THE VIRTUAL.

Various contributors

Revue Virtuelle

1996 FR

Interactive

Digital technology, New media, Digital art, Media art

From Silver to Silicon

Frank Boyd, Anrew Dewdney, Martin Lister

Artec

1996 UK

Interactive

Bas Vroege

Macromedia Director

Photography Digital revolution

Rehearsal of Memory

Harwood & Ashwood Arts

Artec and Book Works

1996 UK

Interactive

Bas Vroege

Macromedia Director, Quicktime

Mental health, Hospital

Passage to Vietnam Camp de Réfugiés

Portrait One

Slippery Traces: The Postcard George Legrady Trail Million Man March/World Wide Web

Reggie Woolery

House of Pain

Tim Hetherington

A Bronx Family Album: The Impact of AIDS Inmemory

Community, Identity

Interactive

1997

Interactive

Pixel Press

1997 UK

Interactive

Hospital, Violence

Visual culture, Database, 20th century Video Data Bank (vdb.org)

Steve Hart

Scalo

1997 US

Interactive

Family, Health, AIDS, Daily Life

Chris Marker

Centre Pompidou, Musée de l'Art Moderne

1997 US

Interactive

Memory, Photography

Maria Soppela

Mediamatic

1998 NL

Interactive

Florian Thalhofer

Mediamatic

1999 NL

Interactive

The Perfect Picture

Theo Bos

Tuesday Multimedia

1998 NL

Interactive

Born With A Broken Tongue

Martin Casey

Dublin Institute of Technology

1999 IRE

Interactive

Anne Frank Huis, Een huis met een verhaal

Anne Frank Stichting

Softmachine BV.

1999 NL

Interactive

Bas Vroege

Photojournalism, Refugees, Global

1996 CA

Family Files

Norman M. Klein - Bleeding Through: Layers of Los Angeles 1920-1986

Macromind Director 4.0

ZKM/Institute for Visual Media, Karlsruhe and Hatje Cantz Publishers

Small World

Walton City

iMAL, Brussel

John Lambrichts

Rosemary Comella, Andreas Kratky

2000 NL ZKM Zentrum für Kunst und Medientechnologien Karlsruhe & The Labyrinth Project

2003 US

Interactive

V2_, Rotterdam

Family, History Town, Childhood

Bas Vroege

Macromedia Director

Military, Urban, History

Bas Vroege

Quicktime

War, History, Archive

Bas Vroege

Macromedia Director, Quicktime

Drug addiction, Brothers, Urban History, Los Angeles, Urban, Daily life, Storytelling

Digital Storytelling Inventory - CD-ROM

Title

Artist/Author/Director

Publisher

Boston: Renewed Vistas

Glorianna Davenport

MIT Interactive Cinema Group

Cultivating Pasadena

Rosemary Comella, Marsha Kinder

The Labyrinth Project

Year

Country Mode

2004 US 2005 US

Collection(s)

Software

Topics

Interactive

Urban, Daily Life, Boston,

Interactive

History, Calinfornia, Urban, Storytelling, Memory, Database

WEB

Title

Artist/Author/Director Production

Bosnia: Uncertain Paths Gilles Peress to Peace

Year

Country

URL

Rating

Software

Topics

The New York Times Electronic Media Company

1996 US

http://www.pixel press.org/bosni a/intro.html

1996 US

http://www.pictu

Flash

War, History, Bosnia, Violence War, History, Kurdistan

War, History, Bosnia

Farewell to Bosnia

Gilles Peress

Picture Projects

akaKURDISTAN

Susan Meiselas

Picture Projects

1997-present

http://www.akak urdistan.com

Flash

360degrees

Alison Cornyn, Sue Johnson e.a.

Picture Projects

2001-2011

http://360degree s.org

Criminality, Justice, Flash / HTML US, Law

2001-2008

http://www.bbc. co.uk/wales/arts /yourvideo/queri es/capturewales .shtml

Real player

2002-2006

http://www.cargi rls.org

Carindustry, Sales, Girls

2002 US

http://www.sonic memorial.org/so nic/public/index. html

9/11, World Trade Centre, Memorial, Terrorism, US, Audio,

2003 NL

http://go-nogo.nl/

2004

http://www.ene my-within.org/

Capture Wales

Various

Car Girls

Jacqueline Hassink

The Sonic Memorial Project

Picture Project and dotsperinch

Go No Go The Enemy Within

Ad van Denderen

BBC Wales

Picture Projects / dotsperinch Paradox

Bjarke Myrthu

Why Mister Why?

Geert van Kesteren

Paradox

2004 NL

http://www.why misterwhy.com

La Cité des Mortes

Jean Christophe Rampal, Marc Fernandez

Upian

2005 FR

http://www.lacite desmortes.net/n av.php

Days with My Father

Philip Toledano

http://www.days withmyfather.co m/

2006-2009

Kingsley's Crossing

Olivier Jobard

Thanatorama

Julian Guintard, Vincent Baillais Upian

Journey to the End of Coal

Mediastorm

Samuel Bollendorf, Abel Le Monde, Ségrétin HonkyTonkFilms

Flash

Personal experience, Community

Migration, Refugees Flash

Memory, War War, Iraq, Soldiers, Army

Flash

Globalization, Latin America, Memorial, Violence Parents, Father, Death

2006

http://mediastor m.com/publicati on/kingsleyscrossing

Flash

Africa, Migration

2007 FR

http://www.than atorama.com

Flash

Death

2008 FR

http://www.honk ytonk.fr/index.p hp/webdoc/

Flash

China, Energy, Mines, Worklife Death Global Warming, Alaska, Community

The Last Days of Shishmaref

Jan Louter, Melle van Essen, Dana Lixenberg Paradox

2008 NL

http://www.thela stdaysofshishm aref.com/

So Blue, So Blue

Ad van Denderen

2008 NL

http://www.sobl uesoblue.nl

Mediterranean, Politics, Economy, Slow Journalism

Mediastorm

2008 USA

http://mediastor m.com/publicati on/intendedconsequences

War, Rwanda, Sexual violence, Women

FR/ Israel/ 2008 Palestine

http://gazasderot.arte.tv/

2008 USA

http://www.thepl aceswelive.com /

2008 DE

http://bombayfc. com/Afghansite UK/Afghanmain UK.html

Intended Consequences Jonathan Torgovnik

Paradox

Gaza/Sderot

Susanna Lotz, Joël Ronez, Alex Szalat

ARTE France, Alma Films/Trabelsi Productions, The Sapir College, Ramattan Studios, Bo Travail, Upian.com

The Places We Live

Jonas Bendiksen

Magnum Photos

The Afghan Diaries

Bombay Flying Club

Through Positive Eyes

Gideon Mendel, David Gere

UCLA Art & Global Health Centre

2009-present

SA, BR, ME, US, IN

http://throughpo sitiveeyes.org

USA

http://interviewp roject.davidlync h.com/www/#/a bout

Interview Project

David Lynch

One in Eight Million

Photographs: Todd Heisler. Produced by Sarah Kramer and Alexis Mainland

New York Times

2009 USA

http://www.nyti mes.com/packa ges/html/nyregi on/1-in-8million/

Iron Curtain Diaries

Matteo Scanni

Peacereporter, On/Off, Prospekt Photography, Becco Gallio

2009

http://www.their oncurtaindiaries .org/intro.html

Absurda

2008-2010

Flash

War, Israel, Palestina, Urban Urban, World, Housing

Flash

War, Army, Afghanistan, Denmark Health, HIV/AIDS, Stigma

Flash

Interview, Roadtrip, US

New York, Daily life, Urban Flash

History, Iron Curtain

WEB

Title

Artist/Author/Director Production

Le corps incarcéré

Seelow Soren

Hungry: Living with Prader-WIlli Syndrome

Maisie Crow

Le Monde

Year

Country

URL

Rating

Software

Topics

2009 FR

http://www.carc eropolis.fr/Lecorpsincarcere#

Prison, France, Health

2009 UK

http://vimeo.co m/5717103

Health, Family

Climate change, Environment, Africa

When the Water Ends

Evan Abramson

Mediastorm

2010 US

http://mediastor m.com/clients/w hen-the-waterends-foryale360

Highrise: Out my Window

Katherina Cizek

National Filmboard of Canada

2010 CA

http://highrise.nf b.ca/

Take Care

Gillian Laub

Mediastorm

2010 US

http://mediastor m.com/training/t ake-care

2010 FR

http://prisonvalle y.arte.tv/?lang= en

Flash

Prison, US, Town

Korsakow

Istanbul, Galata Bridge, Community

Flash

Town, Canada, Community

Prison Valley

David Dufresne, Philippe Brault

ARTE, Upian

Flash

Urban, World, Housing Family, Daily life

Planet Galata

Florian Thalhofer, Berke Bas Korsakow

2010 GE

http://planetgala ta.com/korsako w/en/

Welcome to Pine Point

Paul Shoebridge, Michael Simons

2011 CA

http://interactive .nfb.ca/#/pinepo int

2011 US

http://www.nyti mes.com/intera ctive/world/batta lion.html

War, Afghanistan

2011 USA

http://inmotion. magnumphotos. com/essay/2ndtour-hope-idont-die

US, War, Army

Chernobyl, Nucleair disaster, Health Migration, Road trip, Pan-American Highway

A Year at War

2nd Tour Hope I Don't Die

NY Times

Peter van Agtmael

National Filmboard of Canada

New York Times

Magnum in Motion

La Zone

Guillaume Herbaut, Bruno Masi

Le Monde

2011 FR

http://s1.lemde.f r/webdocs_cont enu/fichiers/la_z one_va/index.ht ml

Vía PanAm

Kadir van Loohuizen

Paradox

2011 NL

http://www.viap anam.org/viapa nam/opening

Jewish Homegrown History

Rosemary Comella

The Labyrinth Project

Défense d’Afficher

Sidonie Garnier, François Le Gall & Jeanne Thibord

France Televisions, , La Maison du Directeur, Camera Talk Productions

Snow Fall

John Branch

New York Times

ARTE, Upian, Agence Miquel Dewever-Plana, VU, Télérama, Rue 89, France Info, taz.de Alma, A Tale of Violence Isabelle Fougère

http://flash.jewis hhomegrownhis tory.com

Flash

Jewish, Immigration, History, Identity

2012 FR

http://www.franc etv.fr/defense-dafficher/en#/intr oduction

Flash

Urban, Street art, Community

2012 US

https://www.nyti mes.com/projec ts/2012/snowfall/

HTML5

Avalange, Sports, Natural disaster

2012 FR

http://alma.arte.t v/

Flash

Violence, Mexico

2011-present

Het FAS-project

Allard de Witte (fotografie) Joost Bos (journalist)

Stichting Het Witte Bos 2012-present

Bear 71

Leanne Alisson and Jeremy Mendes

National Filmboard of Canada

World of Matter

Mabe Bethonico, Ursula Biemann, Uwe H. Martin, Helge Mooshammer & Peter Mörtenböck, Emily E. Scott, Paulo Tavares, Lonnie van Brummelen & Siebren de Haan

Firestorm

Jon Henley

http://www.faspr oject.nl

Health, Children, FAS

2012 CA

http://bear71.nfb .ca/#/bear71

Nature, Wild life, National Park, Human activity

http://www.worl dofmatter.net/

Ecology, Natural resources, World

2013-present

The Guardian

USA

AUS

2013 UK

http://www.guar dian.co.uk/world /interactive/201 3/may/26/firesto rm-bushfiredunalleyholmes-family

HTML5

Natural disaster, Australia

WEB

Title

Witnessing Gezi

Hers to Lose

Swan Song

Staff Riding Silent Night: The Kandahar Massacre A Short History of the Highrise

NSA Files: Decoded

Fort McMoney

Artist/Author/Director Production

Emin Özmen

Brent McDonald, Stephen Maing

Rick Gershon, Caitlyn Greene

Agence LeJournal

New York Times

Mediastorm

Marco Casino

Lela Ahmadzai

2470media

Katherina Cizek

National Filmboard of Canada / New York Times

Ewen Magaskill, Gabriel Dance The Guardian US

David Dufresne

National Filmboard of Canada / Arte / Toxa

Year

Country

URL

Rating

Software

Topics

2013 TU

http://www.worl dpressphoto.org /multimediagallery/2014/wit nessinggezi?gallery=11 66641

Turkey, Taksim square, Protest

2013 US

http://www.nyti mes.com/video/ nyregion/10000 0002461740/her s-tolose.html?playli stId=100000002 138838

Politics, Campaign, New York

2013 US

http://mediastor m.com/clients/s wan-song-forneighborhoodcenters

Dementia, Hospital, Health

2013

http://www.worl dpressphoto.org /multimediagallery/2014/sta ffriding?gallery=1 166641

South Africa, Train surfing

2013 GE

http://www.2470 media.com/proj ects.79.en.html ?tfs[video]=267

Afghanistan, US, War

2013 CA/US

http://www.nyti mes.com/projec ts/2013/highrise/

2013 US

http://www.theg uardian.com/wo rld/interactive/2 013/nov/01/sno wden-nsa-filessurveillancerevelationsdecoded

US, NSA,

2013 CA

http://www.fortm cmoney.com/#/f ortmcmoney

HTML5

Community, Economy, Environment, North America

2013 US

http://www.hollo wdocumentary.c om

HTML5

US, Community, Rural

HTML5

Urban, World, Housing

Hollow

Elaine McMillion Sheldon

17000 Islands

Thomas Østbye Thomas Østbye, Edwin PlymSerafin

2013 Norway

http://17000isla ndsinteractive.c om/

Indonesia, Nationalism, Politics

The Sochi Project

Rob Hornstra, Arnold Van Bruggen

2013 NL

http://www.thes ochiproject.org/

Russia, Urban, Politics, Olympics

2013 USA

http://www.kenn edyandoswald.c om

Politics, USA, Death

2013 BE

http://www.hidd enwounds.be

Soldiers, Health, PTSD

2014 NL

http://www.atlas ofpentecostalis m.net

Religion, Pentecostalism, Global, Database,

2014 NL

http://ihearyou. me/

Afghanistan, Elections, Religion, Education, Gender, Daily Life

www.loveradiorwanda.org

Africa, Rwanda, Genocide

2014 NL

http://lagos.sub marinechannel. com/

Africa, Urban

Requisite Media

National Geographic

Killing Kennedy Hidden Wounds

Thomas Kaan

Atlas of Pentecostalism

Richard Vijgen, Bregtje Ter Haak

Prospektor

Paradox and Free Press Unlimited

HTML5

I Hear You

The Cause Collective

Love Radio

Eefje Blankevoort, Anoek Steketee

Lagos Wide and Close

Rem Koolhaas, Bregje van der Haak

COME/IN/DOC

MIT DocLab

2014 USA

http://comeindo c.com

Interactive documentary, Theory

Refugee Republic

Jan Rothuizen, Martijn van Tol, Dirk Jan Visser Submarine

2014 NL

http://refugeere public.submarin echannel.com

Refugee camp, Daily Life, Iraq, Syria

2014 NL

http://www.npog eschiedenis.nl/ wo1/longread/? story=home

WW I, History

14-18 Nederlandse Oorlogsverhalen

Lyangelo Vasquez

2014-ongoing Submarine, VPRO

VPRO

WEB

Title Hungy Horse: Legends of the Everyday

Artist/Author/Director Production Pieter ten Hoopen

MediaStorm

Year

Country 2014 USA

URL http://mediastor m.com/publicati on/hungry-horse

Rating

Software

Topics USA, Daily Life, Drugs, Poverty, Landscape

Installation

Title We Make Memories

Artist/Author/Director Year Abbe Don

Country 1989 USA

Collection(s)

Technology

Topics

Family, Hypercard on laserdisc, Photography, two monitors Memory War, History, Archive, Database

An Anecdoted Archive from the George Legrady Cold War

1994 CA

The Clearing

George Legrady

1994 CA

Interactive installation, dimensions variable

Sound of Silence

Alfredo Jaar

1995 US

Single screen projection Sudan, Africa, in box Photojournalism

Bosnia, Media, Language, History, Database

Lovers Leap

Miroslaw Rogala

1995 US

Projection

Chicago, Streetphotography, Interactivity

Slippery Traces: The Postcard Trail

George Legrady

1995 CA

Projection, interaction stad, wall text

Visual culture, Database, 20th century

Rehearsal of Memory

Graham Harwood & Ashwood Arts

1995 UK

Mental health, Projection single screen Hospital

Traces

George Legrady

1997 CA

Two screen projection, incl. ambient sound and Information age, text cultural differences

Collected Visions

Lorie Novak

2000 US

2 screen projection, soundscape

Memory, Photography

Stress

Bruce Mau Design Inc.

2000 CA

Multiple screen projection, sound

Visual culture, Information, Stress

Greenhouse

Xavier Ribas

2000 NL

Single screen, monitor

Greenhouse, Landscape, Housing

>Play

Carel van Hees

2001 NL

20 screen projection, soundtrack

Urban, Youth, Streetlife

2002 NL

Cibachrome plexiglass, dibond, wood. + Text messages

Fang (Beach) + I will to hung the flag ... God

Gerald van der Kaap

Solid Sea 01: The Gost Ship

Multiplicity e.a.

2002 IT

Projections, Monitors

Mediterranean sea, Immigration, Identitiy, Nature

The Lament of the Images

Alfredo Jaar

2002 US

3 Screen projection

Rwanda, War

The Danube Exodus: The Rippling Currents of the River

Péter Forgács and The Labyrinth Project

2002 US

Multiple screen projection, soundtrack, Ethnic minorities, Touchscreen monitor Migration, History

Sliding

Ralph Kämena

2003 NL

Projection in box

Urban, media experience News, Documentary photography, personal images

REVERB

Lorie Novak

2004 US

Single screen projection, audio fragments

Healing Sport

Tim Hetherington

2004 UK

Single screen projection Africa, Sports,

Go No Go (photographs) together with Britanya (film)

Photography by Ad van Denderen, film by Marjoleine Boonstra

2004 NL

Projections, Monitors, Computers

Migration, Refugees

Darfur Bleeds

Tim Hetherington

2006 UK

Single Screen projection, voice-over

Sudan, Civil War France, Paris, Student protests

The Wars

Oscar van Alphen

2008 NL

Single screen projection, prints

Places We Live In

Jonas Bendiksen

2008 USA

16 screen projection, Still images, Soundscape

Urban, World, Housing

Dikke Huizen, Dunne Huizen

Ralph Kämena, Jan Konings

2008 NL

Interactive

The Netherlands, Architecture

The Last Days of Shishmaref

Jan Louter (Film), Dana Lixenberg (photography)

2008 NL

Photographs, film

Global Warming, Alaska, Community

Spectator

Theo Niekus

2009 NL

Single screen projection, 5 monitors

Amsterdam, City life, People

Sleeping Soldiers

Tim Hetherington

2009 UK

3 screen projection, sound

War, Soldiers, Army, Afghanistan

Installation

Title

Artist/Author/Director Year

Diary

Tim Hetherington

2010 UK

War, Soldiers, Single screen projection Army, Afghanistan

Blanco

Stefano Deluigi

2010 FR

Single screen projection Blindness, Health

5000 Feet is the Best

Omar Fast

2011 ISR

Violence, Drone, Single screen projection Trauma, US

La Zone

Guillaume Herbaut

2011 FR

Photographs, video, soundscape

Chernobyl, Nucleair disaster

Street

James Nares

2011 US

Single screen projection, soundtrack

Streetlife, New York

Poppy Trails of Afghan Heroin

Robert Knoth, Antoinette de Jong

2012 NL

Multiple screen projection, sound

Afghanistan, Globalisation, Heroin

Clouds

James George

2012 US

Single screen projection Code, Storytelling

2013 IRE

6 screen projection, soundscape

2013 NL

Azerbaijan, Two screen projection, Geopolitics, Daily audio life Archive, Dutch East Indies, Colonialism, Memory,Migration

The Enclave Oil & Paradise

Richard Mosse Ad Nuis

Country

Collection(s)

Technology

Topics

Congo, Africa, Conflict, War, Violence

Looming Fire

Péter Forgács

2013 NL

15 screen projection, audio

Vía PanAm

Kadir van Lohuizen

2013 NL

5 screen projection, audio

Migration, Road trip, Pan-American Highway

Digital Diaspora Family Reunio Thomas Allen Haris

2014 US

Single screen

Community,

2014 UK

7 screen projection,

Capital, Economy, Global

Playtime

Isaac Julien

App

Title

Artist/Author/Director

Production

Year 2009ongoin g

The Road Trip Project

Emeka Okereke (founder) e.a.

Invisible Borders

Report: Rape in Congo, peace violated

Zoé Lamazou et Sarah Leduc

FRANCE 24

Money & Speed: Inside the Black Marije Meerman, Joris Maltha, Daniel Gross Box

Country

Mode

Rating Software

Topics

Interactive

iOS 6.0

Africa, Road trip

2010 FR

Interactive

iOS 3.2

Congo, Africa, Violence, Report

VPRO

2011 NL

Interactive

iOS 3.2

Finance, Economy, Flash crash

Paradox

2011 NL

Interactive

iOS 4.0

Migration, Road trip, Pan-American Highway

2011

Interactive

iOS 3.2

Prison camps, Siberia

iOS 3.2

Urban, Landscape, Daily Life

Vía PanAm

Kadir van Lohuizen

Zona

Carl de Keyzer

Radiation Tokyo

Suguru Takeuchi

108UNITED Co., Ltd.

2011

Sierra Zapoteca

Jorge Lépez Vela

Colección Cristal de Luz

2012 ME

Linear

iOS 4.2

Mexico, Nature, Daily life

CCell

Taiji Matsue

Goglia Books Inc.

2012 US

Interactive

iOS 3.2

Urban, Landscape

Quest For Land

John Vink

2012 US

Interactive

iOS 4.0

Cambodia, Eviction, Land grabbing

Alma, A Tale of Violence

Miquel Dewever-Plana, Isabelle Fougère

ARTE, Upian, Agence VU, Télérama, Rue 89, France Info, taz.de

2012 FR

Interactive

iOS 4.0

Violence, Mexico

Figures & Fictions: Contemporary South African Photography

Various

MACK, V&A Museum

2012 UK

Interactive

iOS 3.2

South Africa, Photography, Politics, Identity

Photojournalisms

Ed Kashi

2012 US

Interactive

iOS 4.3

Photojournalism, Diary

Great Photographers: William Klein

Contrasto

2012 IT

Interactive

Photography, Oeuvre, Lessons

Great Photographers: Giacomelli

Contrasto

2012 IT

Interactive

Photography, Oeuvre, Lessons

Why Mister Why?

Geert van Kesteren

Paradox

2013 NL

Interactive

iOS 5.1

War, Iraq, Soldiers, Army

Burtynsky: Oil

Edward Burtynsky

Melcher Media

2013 CA

Interactive

iOS 6.0

Oil, Nature, Landscape, Global

Circa 1948

Stan Douglas

National Filmboard of Canada

2014 CA

Interactive

iOS 8.0

History, Urban, Economy, Vancouver

Title

Artist/Author/Director

Production

Hunger in Los Angeles Nonny de la Peña

Year

Country

Platform

Topics

2012 US

Prototype head mounted display Hunger, Poverty, Los developed at MxR Lab at USC ICT Angeles, VR

Assent

Oscar Raby

2013 AUS

Oculus Rift

Chile, Army, Violence, History, Conflict, Politics, VR

Project Syria

Nonny de la Peña

Emblematic Group

2014 US

Custom build

Syria, War, Refugees, VR

Herder

Félix Lajeunesse / Paul Raphaël

Felix & Paul Studios

2014 CA

Zero Point

Danfung Dennis

Condition One

2014 US

Oculus Rift

VR, Documentary, Developing, Media

2015 US

iOS/Android

Iran, Revolution, History, Game, VR

1979 Revolution: Black Navid Khonsari / Vassiliki Khonsar iNK Stories Friday

Mongolia, Nomads, Daily life, Nature, VR

Evolution of Verse

Chris Milk

VRSE

2015 US

iOS/Android - VRSE app

Photo realistic 3D, Journey, VR

Clouds over Sidra

Chris Milk

VRSE

2015 US

iOS/Android - VRSE app

Jordan, Syria, Refugees, Conflict, War, Daily Life, VR

VRSE

2015 US

iOS/Android - VRSE app

News broadcast, Protest, Violence, Police, New York, VR

VICE news VR: Millons Chris Milk and Spike Jonze March

Indeling Digital Storytelling

PLATFORM Title

Artists

akaKurdistan

Susan Meiselas

Alma A Tale of Violence

Miquel Dewever-Plana, Isabelle Fougère Web/App

An Annecdoted Archive of the George Legrady Cold War

RATING

Lineaire vertelling Archief Web **

Game

***

CD-ROM

***

Antirom

CD-ROM

***

Atlas of Pentecostalism

Richard Vijgen, Bregtje Ter Haak

Web

***

Bear 71

Leanne Alisson and Jeremy Mendes

Web

Blanco

Stefano Deluigi

Web

Car Girls

Jacqueline Hassink

Web

Circa 1948

Stan Douglas

App

Days with My Father

Philip Toledano

Web

Do Not Track

Brett Gaylor

Web

Family Files

Maria Soppela

CD-ROM

Fort McMoney

David Dufresne

Web

Greenhouse

Xavier Ribas

Web

***

Hollow

Elaine McMillion Sheldon

Web

***

Web

***

Hungy Horse: Legends of the Pieter ten Hoopen Everyday

***

3 2

***

3 ***

***

2 ***

I Hear You

The Cause Collective

Web

I Photograph to Remember

Pedro Meyer

CD-ROM

***

Intended Consequences

Jonathan Torgovnik

Web

***

4 2

Journey to the End of Coal

Samuel Bollendorf, Abel Ségrétin Web

Killing Kennedy

National Geographic

Web

***

Money and Speed

Marije Meerman, Joris Maltha, Daniel Gross

App

***

Planet Galata

Florian Thalhofer, Berke Bas Web

***

Playtime

Isaac Julien

***

Installation

Robert Knoth, Antoinette Installation Poppy Trails of Afghan Heroin de Jong

3 2

***

Portrait One

Luc Courchesne

Prison Valley

David Dufresne, Philippe Brault Web

Refugee Republic

Jan Rothuizen, Martijn van Tol, Dirk Jan Visser Web

***

REVERB

Lorie Novak

Installation

***

Sleeping Soldiers

Tim Hetherington

Installation

***

Sliding

Ralph Kämena

Installation

Small World

Florian Thalhofer

CD-ROM

Snow Fall

John Branch

Web

Solid Sea 01: The Gost Ship

Multiplicity e.a.

Installation

***

Stress

Bruce Mau Design Inc.

Installation

***

CD-ROM/Installatie

***

4 ***

***

Thanatorama

Julian Guintard, Vincent Baillais Web

The Clearing

George Legrady

Installation

***

The File Room

Antonio Muntadas

Installation

***

The Deaths in Newport

Lewis Baltz

CD-ROM

The Enclave

Richard Mosse

Installation

The Enemy Within

Bjarke Myrthu

Web

***

Installation

***

The Last Days of Shishmaref Jan Louter