As a continuation from last week, we revisited digital witnessing by reflecting on the exercises and artworks in relation to the text Digital Narratives and Witnessing: The Ethics of Engaging with Places at a Distance by Nishat Awan. We posed questions such as how does each artwork figure witnessing at a distance? How do we understand these topologies? How does computation play a role in this? For the homework I chose to analyse the works Clouds Over Sidra by Gabo Arora and Chris Milk along with the Dronestagram project by James Bridle.
Firstly, I found Clouds Over Sidra to be quite problematic as it seemed cynical to create a voyeuristic short film (sponsored by Samsung) that serves the sole purpose of being watched by old white businessmen at the United Nations. I feel it figures distance in terms of the stereoscopic lens you gaze through and that virtual reality is a mere gimmick here essential to the selling point of this piece. Like last week’s second exercise I feel that the added technology obscures and limits any sense of nearness I would have had.
Rather ironically, I found Dronestagram to be more emotionally engaging without the need of cheap immersive strategies. Perhaps because it figures witnessing at a literal distance from the bombsites, however I feel closer to this artwork somehow because it sees the bigger picture. Computation is also essential to this project, but I feel the drone technology serves a much larger ethnographic purpose than its initial affordances as a mere tool. The rest of this week was spent hastily preparing everything for our group presentation and artefact assignment.
References
• Nishat Awan (2016) Digital Narratives and Witnessing: The Ethics of Engaging with Places at a Distance, GeoHumanities, 2:2, 311-330, DOI: 10.1080/2373566X.2016.1234940
• https://www.youtube.com/watch?v=mUosdCQsMkM
• https://www.dailydot.com/society/dronestagram-instagram-drone-strike-target-towns/