So the truth is finally out that the 'documentary' I’M STILL HERE featuring Joaquin Phoenix is a fake. Billed as documentary it follows Phoenix’s ‘retirement’ from a successful acting career to try his hand at music, more specifically to become a rapper.
Since its debut the film has attracted scathing reviews, from “insulting” to “sad” to describe its content. However in thinking about what can be described essentially as a mockumentary it is interesting to view it through the framework of simulacra.
Baudrillard discusses his notion of simulacra as nothing being authentic and simply a representation of reality. The argument can certainly be made that all documentaries, although they strive to represent and indeed give the impression of reality, are embedded with artifice due to various elements.
However in the case of I’M STILL HERE it’s a very mixed up, yet interesting example of simulacra. Ultimately, it is a depiction of a fictional reality, hiding behind the guise of a documentary. It’s a film of one man’s apparent self-destruction. But what it actually is, is the representation of a man’s self destruction as imagined by Joaquin Phoenix and Casey Affleck. The ‘signs’ to make it appear authentic are what gave it away as a fake. These signs were the use of unsteady camera angles or the fact that there are too many cameras (here’s Jim Schembri’s take on why it was fake). Clearly it is an unsuccessful attempt at simulacra as people recognised it as a fake.
Saturday, September 18, 2010
Living in the City
After a long day at work I begin the arduous walk along William Street in Woolloomooloo up to Town Hall. I, along with many of my colleagues dread this horrid walk as you are battered by strong winds, created by the straight road lined by large buildings. You battle the traffic as you dare to cross the many roads when the red man attempts to stop you in your tracks for 5mins at each intersection.
This is just one section of the city of Sydney that suffers from this problem, making it an unpleasant experience for motorists, cyclists and pedestrians alike.
In thinking further about the structure of Sydney, it’s amazing to think how the make up really does effect the way we live our lives and how it can effect our emotional state. I will walk along the side streets that run parallel to William Street to avoid it. I will avoid public transport due to the tardiness and overcrowding.
Although we may view all this as a set of unrelated events it may be argued that this is a physical network that we participate in everyday. We travel from A to B via various modes of transport with some form of interaction occurring with fellow commuters. Over the last few years the City of Sydney Council has recognised the importance of this network in the city and have taken steps to make it a more pleasant experience. An extensive network of bike paths are being built to encourage more to hop on their bike, hopefully easing traffic congestion and promoting the less polluting mode of transport. Urban regeneration projects are beautifying public spaces such as parks, and utlilising previously unused spaces.
Hence the city is attempting to not only make the network more efficient, but also more aesthetically pleasing, thus encouraging people to perhaps interact more. In the seminal book Life Between Buildings: Using Public Space (1980) by the Danish architect Jan Gehl he outlines the importance of encouraging social activities in the city. The key to this is the design and architecture of the city. Gehl writes, “One can take occasional walks, perhaps make a detour along the a main street on the way home or pause at an inviting bench near a front door to be among people for a short while” (1980: 19). The point is that these networks and patterns of architecture and transport truly do impact on the way we live our lives in that space and beyond.
The current state of my commute home does not encourage this at all, but who knows, perhaps in future years it will be the case.
Reference
Gehl, J. (1980) Life Between Buildings: Using Public Spaces. Melbourne & NY: Van Nostrand Reinhold.
This is just one section of the city of Sydney that suffers from this problem, making it an unpleasant experience for motorists, cyclists and pedestrians alike.
In thinking further about the structure of Sydney, it’s amazing to think how the make up really does effect the way we live our lives and how it can effect our emotional state. I will walk along the side streets that run parallel to William Street to avoid it. I will avoid public transport due to the tardiness and overcrowding.
Although we may view all this as a set of unrelated events it may be argued that this is a physical network that we participate in everyday. We travel from A to B via various modes of transport with some form of interaction occurring with fellow commuters. Over the last few years the City of Sydney Council has recognised the importance of this network in the city and have taken steps to make it a more pleasant experience. An extensive network of bike paths are being built to encourage more to hop on their bike, hopefully easing traffic congestion and promoting the less polluting mode of transport. Urban regeneration projects are beautifying public spaces such as parks, and utlilising previously unused spaces.
Hence the city is attempting to not only make the network more efficient, but also more aesthetically pleasing, thus encouraging people to perhaps interact more. In the seminal book Life Between Buildings: Using Public Space (1980) by the Danish architect Jan Gehl he outlines the importance of encouraging social activities in the city. The key to this is the design and architecture of the city. Gehl writes, “One can take occasional walks, perhaps make a detour along the a main street on the way home or pause at an inviting bench near a front door to be among people for a short while” (1980: 19). The point is that these networks and patterns of architecture and transport truly do impact on the way we live our lives in that space and beyond.
The current state of my commute home does not encourage this at all, but who knows, perhaps in future years it will be the case.
Reference
Gehl, J. (1980) Life Between Buildings: Using Public Spaces. Melbourne & NY: Van Nostrand Reinhold.
BloggingHeads in the Network
The blogosphere is a vibrant and interesting source to tap into various perspectives on all sorts of topics. In particular there are many political blogs that discuss topics from various points of the political spectrum. Although blogs allow for some form of discussion it is rather limited. One particular example that takes discussion and interaction a step further is Bloggingheads.tv. Bloggingheads is described as a ‘diavlog’, that is dialogue in the similar style of a web blog, but with the participants skyping. The interesting aspect of this particular form of communication is that it melds the culture of academia and debate with the vloging/blogging tools of the internet. It allows for two individuals to discuss/debate a specific topic, and viewers can comment.
At a time when the younger generations are accused of being apolitical this is an interesting tool that suggests otherwise, and has the potential to reach people internationally, it is an opportunity to view and participate online in a community.
In considering this tool in regards to network theory, it does allow for individuals who perhaps could not normally enter into a constructive debate due to location. Essentially Bloggingheads.tv has created an online community of people who may not necessarily hold the same values of political beliefs, however share the value in constructive debate. It is a new public sphere, as envisaged by Jurgen Habermas, online. This point is discussed succinctly by Varnelis and Friedberg in their article Place: Networked Place. They note that “… the public sphere was not so much a physical place as a discursive site in which a literate public could conduct rational and critical debate” (2008: 13).
This notion of the discussion being the focal point rather than the space is an interesting point as it links into the idea that a community is now built through similar interests rather than location. As Keith Hampton suggests, with the introduction of the internet into everyday life similar interests can influence the community a person joins more than their physical location (2004: 218).
Bearing this in mind Bloggingheads has the potential to spark more widespread debate and thought about the topics discussed as it is not in one location but all throughout the world and its network is growing all the time.
References
Hampton, K. (2004) ‘Networked sociability online, off – line’ in Castells, M. The Network Society: a cross – cultural perspective. Cheltenham: Edward Elgar, pp. 217 – 232.
Varnelis, K. & Friedberg, A. (2008) ‘Place: Networked Place’ in Varnelis, K. Networked Publics. Cambridge, Mass: MIT Press, pp. 12 – 28.
At a time when the younger generations are accused of being apolitical this is an interesting tool that suggests otherwise, and has the potential to reach people internationally, it is an opportunity to view and participate online in a community.
In considering this tool in regards to network theory, it does allow for individuals who perhaps could not normally enter into a constructive debate due to location. Essentially Bloggingheads.tv has created an online community of people who may not necessarily hold the same values of political beliefs, however share the value in constructive debate. It is a new public sphere, as envisaged by Jurgen Habermas, online. This point is discussed succinctly by Varnelis and Friedberg in their article Place: Networked Place. They note that “… the public sphere was not so much a physical place as a discursive site in which a literate public could conduct rational and critical debate” (2008: 13).
This notion of the discussion being the focal point rather than the space is an interesting point as it links into the idea that a community is now built through similar interests rather than location. As Keith Hampton suggests, with the introduction of the internet into everyday life similar interests can influence the community a person joins more than their physical location (2004: 218).
Bearing this in mind Bloggingheads has the potential to spark more widespread debate and thought about the topics discussed as it is not in one location but all throughout the world and its network is growing all the time.
References
Hampton, K. (2004) ‘Networked sociability online, off – line’ in Castells, M. The Network Society: a cross – cultural perspective. Cheltenham: Edward Elgar, pp. 217 – 232.
Varnelis, K. & Friedberg, A. (2008) ‘Place: Networked Place’ in Varnelis, K. Networked Publics. Cambridge, Mass: MIT Press, pp. 12 – 28.
Thursday, September 9, 2010
Is 3D cinema the way of the future?
It could be argued that we are currently in a 3D renaissance in film as sessions at cinema complex are full of 3D films. As many of us would be aware, 3D cinema is not a new phenomenon (here’s an interesting youtube clip on the history of the 3D film). Although 3D films have gradually been growing in popularity in the last decade it really seems to have exploded in the last 12 months. The box office takings will attest to the popularity of the 3D films out running their 2D counterparts.
Yet what is the attraction to these films? Is it the novelty, the thrill?
In thinking about this question and hearing the experiences of others what becomes clear is that it is an interactive activity. Cinema has been described as a passive activity on the viewer’s behalf. Walter Benjamin writes of this passivity in his essay The Work of Art in the Age of Mechanical Reproduction, referring to Duhamel he notes that cinema is “…. a spectacle which requires no concentration and presupposes no intelligence (232).
Yet in this new age although 3D cinema is still a relatively passive activity, there appears to be an element of action as the viewer may physically react to an action, for example a child may reach out to grab something that has broken through the screen, or we may brace ourselves. Although we can still have a similar experience with a 2D film, the reaction is more about the emotional intensity of the film. The 3D film allows the viewer to break through the 4th wall and to a small degree be a part of the fictional world. As Andrew Darley writes of 3D, it can “exploit the impression that people and things can leave the screen and enter the personal theatrical space of the audience – usually to the exhilarating effect” (35).
So is this revitalised form of entertainment here to stay?
I would argue that this depends on several points. 3D has gone in and out of fashion, partly due to the expense, however in this climate of big blockbusters and illegal downloading of films filmmakers need to coax patrons back into the theatre to experience a film in a way they could not in their own homes. Perhaps 3D films may fall out of popular favour, however they will probably continue to inhabit the cinema complexes, to continue bringing in an audience as well as offering the audience an experience of almost physically entering another world without leaving their seat.
Despite 3D films consistently falling in and out of favour with the audience several famous and innovative producers and filmmakers believe it is here to stay. Here is an interesting article on 3D featuring James Cameron, Steven Spielberg and Steven Katzenberg. Are 3-D movies ready for their closeup?
References
Benjamin, W. (1935) ‘The Work of Art in the Age of Mechanical Reproduction’ in Benjamin, W. (1992) Illuminations. London: Fontana Press, pp. 211 – 244.
Darley, A. (2000) ‘A Back Story: Realism, Simulation, Interaction’ in Darley, A. Visual Digital Culture: Surface Play and Spectacle in New Media Genres, London and NY: Routledge, pp. 11-36
Yet what is the attraction to these films? Is it the novelty, the thrill?
In thinking about this question and hearing the experiences of others what becomes clear is that it is an interactive activity. Cinema has been described as a passive activity on the viewer’s behalf. Walter Benjamin writes of this passivity in his essay The Work of Art in the Age of Mechanical Reproduction, referring to Duhamel he notes that cinema is “…. a spectacle which requires no concentration and presupposes no intelligence (232).
Yet in this new age although 3D cinema is still a relatively passive activity, there appears to be an element of action as the viewer may physically react to an action, for example a child may reach out to grab something that has broken through the screen, or we may brace ourselves. Although we can still have a similar experience with a 2D film, the reaction is more about the emotional intensity of the film. The 3D film allows the viewer to break through the 4th wall and to a small degree be a part of the fictional world. As Andrew Darley writes of 3D, it can “exploit the impression that people and things can leave the screen and enter the personal theatrical space of the audience – usually to the exhilarating effect” (35).
So is this revitalised form of entertainment here to stay?
I would argue that this depends on several points. 3D has gone in and out of fashion, partly due to the expense, however in this climate of big blockbusters and illegal downloading of films filmmakers need to coax patrons back into the theatre to experience a film in a way they could not in their own homes. Perhaps 3D films may fall out of popular favour, however they will probably continue to inhabit the cinema complexes, to continue bringing in an audience as well as offering the audience an experience of almost physically entering another world without leaving their seat.
Despite 3D films consistently falling in and out of favour with the audience several famous and innovative producers and filmmakers believe it is here to stay. Here is an interesting article on 3D featuring James Cameron, Steven Spielberg and Steven Katzenberg. Are 3-D movies ready for their closeup?
References
Benjamin, W. (1935) ‘The Work of Art in the Age of Mechanical Reproduction’ in Benjamin, W. (1992) Illuminations. London: Fontana Press, pp. 211 – 244.
Darley, A. (2000) ‘A Back Story: Realism, Simulation, Interaction’ in Darley, A. Visual Digital Culture: Surface Play and Spectacle in New Media Genres, London and NY: Routledge, pp. 11-36
Get Up Cascades
As the use of the social networking has become more pervasive in Australian politics it is an interesting time to investigate how social networking is impacting on Australian politics.
Get Up is a great example to investigate as it has become a pervasive voice in Australian politics. Get Up is not – for profit community advocacy organisation that lobbys politicians on issues as well as attempting to keep Government ‘honest’. In the most recent Australian Federal election Get Up have emerged from the shadows online and out into the mainstream effecting real political change in Australian society, now becoming a real force in the political landscape. However how did they do this? Well, in part they have their online social network to thank.
Essentially as a grassroots organisation Get Up have utilised the internet to increase its numbers and profile. Get Up drive quite an aggressive and persistent campaign in which they target potential supporters through a constant wave of emails to get involved via various means, either through signing petitions, attending protests, donating financially or becoming volunteers for Get Up in some capacity.
However this does not fully answer the question as to how Get Up has grown in force, particularly when individuals can be sceptical of political groups. Get Up’s growing popularity could be a combination of elements, the current Federal election, the mood of the people, its particular campaigns, the way they campaign. Duncan Watts discusses this apparent randomness within his framework of cascades and thresholds where certain variables, such as the strength of a network, determine whether an ‘innovation’ will be adopted with vigour, or dissipate with minimal impact. As Watts states, “the seed alone is not enough” (248). It is the network of individuals, which Watts describes as different clusters that influence the spread of an innovation. Bearing this in mind Get Up clearly captured the attention of certain individuals, particularly with the production of creative mock ads that made their way onto Youtube, and eventually filtered into the mainstream media. This example demonstrates the fact that the campaign caught the imagination of supporters and those who were in various ways exposed to it, thus raising Get Up’s profile and potentially this influence.
Here are some clips of Get Up's work....
When viewing this path through Watts theory of cascades, in a sense Get Up got lucky. The current instability of our politics and political parties is a useful analogy for this particular theory – nothing is guaranteed!
Reference
Watts, D (2003) ‘Thresholds, cascades and predictability’ in Six Degrees: the science of a connected age, NY and London: Norton, pp 220 – 252.
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