Ron Burnett, author of Culture of Vision: Images, Media, and the Imaginary (1995) and How Images Think (2005), is the President of Emily Carr University of Art and Design, and former Director of the Graduate Program in Communications at McGill University. He’s authored over 150 published articles and book chapters and was named Educator of the Wyar by the Canadian New Media Association in 2005. In 2010, the French government honored him with an Order of France: Chevalier of the Ordre des Arts et des Lettres.
“Interactivity then cannot be predicated on or predicted by the design of the game or any medium. The challenge . . . is not to make too many assumptions about the behaviors of players or viewers” (310).
Here Burnett unpacks the history of the “‘fabrication’ of audiences” (312) and proposes that photography and film factor heavily in this movement. In comparing photography and cinema, Burnett outlines several reasons media art processes and the art itself offer much to planning.
Re documentation, Jean Luc Godard often complained about photography and cinema’s close relationship and deep differences. Photography resists time, documenting single moments. Harking back to Groys, photography conveys the aesthetic, whereas cinema, poetics and the possibility for a life narrative. While the former communicates a lot of information, it cannot stand for the whole of a film.
“Projection allows audiences to visualize the effects of frames in motion” (319).
That immersive experience–and this is key–depends not just on the technological apparatuses “but also on the capacity of the user to fill in the gaps between what is there and what cannot be there” (331). Local knowledge and context matter.