Last year's Darklight excellent conference presented papers discussing the role of copyright in the age of the internet and the development of digital communication. This year's hot topic of discussion is digital cinema. Organised by the Media Lab Europe, people are invited to participate in a discussion about cinema:
"The conditions of cinematographic art have changed radically over the past
years.
Since Niepce's invention of light-sensitive gels 200 years ago, Muybridge
and Marey's first chronophotographs, the introduction of colour, sound,
anamorphic lenses, steadicams and dolby stereo, the evolution of filmmaking
has always been tightly coupled with that of its technology. Yet, of all
these innovations, we claim that none is having a more fundamental impact
than the computer - digital technologies and computational devices.
Looking back at a century of cinema, we will try during this discussion to
examine together how, out of the endless number of things that can be done
with moving images, we have come to define as "cinema" an experience mainly
shaped by Hollywood standards; and how today's resurgence of creativity
inspired by computational tools is our chance to break open to radically new
cinematic forms.
After a brief history of the technology of cinema, we will summarize what
impact digital technologies have had on the whole filmmaking process during
the past 10 years. Considering the different media where moving images are
shown (cinema, TV, art museums, clubs, projections for danse and theatre,
internet, mobile devices, etc.), we will start our discussion based on the
interactive installations shown at this edition of the Darklight festival.
Centered around interactive film, this open debate, opposing new media
artists/theorists and traditional film directors/academics, will focus on
the following crucial question which is central to interactive art :
what is the potential of multi-linear, non-deterministic, open narratives
where a viewer can influence the storyline, change point of view, be
involved in the camera work and the editing as s/he's watching the film,
versus static, linear, traditional films ?
When should the artist give the user such freedom, when should s/he not ?
What is the quality of an interactive cinema experience versus a traditional
cinema experience ?
If you would like to participate in the debate, or would like to attend, please contact the Darklight office. Cafe Philo will be held at 5.30pm, on Saturday 21st September at the Darklight venue, Lee's Cash and Carry at No 17, Thomas Street, Dublin.
