[-empyre-] Interactive Video for the Web - questions about relationships to local scenes

Hello all.

In response to Jim's preliminary list of Interactive Videos on the Web, I propose expanding the list with other lists relevant to this area of experimentation but not necessarily video or web-based. That will be in another posting...

But first I have some questions to ask others who may be also working in the area of web-based interactive video, because I am struggling to understand it as a cultural category, even though the technology makes the category seems straightforward enough.

First, is the web a supplement to your work? That is, is the web meant simply to be a means for staging/distributing interactive video? or is the web an integral part of the work? If so, what makes the web integral?

Are those of us who are plugging away in the area of web-based video interactivity, connected to other groups in our particular geographical location? Is the web-based activity connected to some media "scene" that is local?

What are the social relationships that underpin the ideas of the work? In other words, how does dialog within a group of peers focus and propel the developement of interactive videos? (I am not referring to groups like empyre or other online discussions. I am referring to interactions that are embedded in your everyday meet-space)

I am asking about the context in which the projects are developed because, in my own case, I find that I bring a particular history to my work. This history will be more or less opaque to others - my early experiments in small-guage filmmaking, my activist video work, etc. But all of the various past projects were elaborations of my participation in active conversations with others who were involved in similar experimentations - not at a distance, but up close, maybe next door or across the street, or down the alley,etc.

With interactive video, such as my work with c-span.org videos, I find myself "believing in" the idea that somewhere, at a distance, others are experimenting in similar territory. There is no scene to connect to, such as the "demo scene" of the 1980s and early 90s, where making media was one form of partying (in the same room).


Barbara Lattanzi

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