User Triggered Narratives

In consideration of how non-linear and distributed presentation alters the work, one must first consider the demographic of the target audience. In the case of film, audience response can be from a specific demographic; based on age, urban setting, etc. This viewer response can be targeted by ticket sales, television ratings and, to a degree, DVD sales. The audience responds but does not interact with the material. Design problems may arise if the maker, of user triggered narratives, is unfamiliar with the audience and its level of engagement. Victoria Vesna talks of Marcel Duchamp as the pioneer of concept taking precedent over content [I believe she is referring to his urinal installation]. This idea of concept over content becomes increasingly important in user triggered narratives. The design of particular projects becomes more practical, since audience response to an event/concept can be easier to predict, and possibly control, than that of the content of the project. The challenge, for the practitioner, then becomes thinking of ways to design the concept so as to achieve a high level of audience engagement. Participation, or lack of participation changes the nature of the work because the audience becomes part of the work. As an example, a work devoted to promoting world peace that requires the audience to deposit money at the exhibit takes on two different meanings if the money container holds 29 cents as compared to hundreds of dollars. This, of course, pertains to physical space. Virtual space has other considerations: is the audience interacting with another person(s), such as an avatar, or are they interacting in a computer generated environment without the presence of other people? Does the author of the work want his audience to be aware of which of these two mentioned situations exist? One must carefully decide which best suits the needs of each particular project.

~ by epkfilms on June 23, 2008.