RESEARCH TOPIC
Incorporating
1. Guy Debord’s argument that capitalism or late capitalism in the present day has become obsessed with images and appearances over truth and real experience,
2. along with Walter Benjamin’s introduction of the notion "aura," the unique and authentic presence that a work of art possesses when it is experienced in its original form and in a specific location, and
3. Hito Steyerl's view on the compressed nature of the digital realm, my project “the Spectacle” delves into the impact of analogue technology specifically on Generation Z.
It aims to investigate the way in which analogue photography/film accentuates the potential for immediate engagement and fosters a tangible, communal experience in the realms of image production, cultural preservation, and the authenticity of experiences.
CONTEXT
"The Society of the Spectacle" analyzes the spectacle as a pervasive social phenomenon in capitalist societies. Guy Debord argues that the dominance of images in modern culture has led to the alienation of individuals from authentic experiences and the commodification of human relationships. He asserts that capitalism uses the power of the spectacle to maintain control over society and perpetuate consumerism. In terms of analogue technology, Debord's ideas prompt reflection on the potential superficiality and distortion inherent in the production and consumption of images.
Walter Benjamin's concept of aura is closely linked to the traditional mode of artistic production, where artworks possess a unique presence and authenticity when experienced in their original form and context. In the age of mechanical reproduction, Benjamin argues that “the aura” diminishes due to the loss of the artwork's originality and uniqueness. This detachment from the original artwork and the proliferation of its copies diminishes the aura associated with the singular, authentic experience of the artwork. However, as analogue photography and film baffles the mass reproduction and dissemination of images when they are only being presented as the original copy, the aura of the original artwork will be preserved.
Hito Steyerl's exploration of the compressed nature of digital media raises questions about how such compression and instan taneity of digital media affect our perception of time, our engagement with images, and our understanding of reality. Analogue technology offers a different relationship to time and space. The slower process of capturing, developing, and presenting images allows for a more contemplative and deliberate approach to the content, by emphasizing the materiality of the medium. She challenges us to reflect on the consequences of this compression, such as the potential loss of historical or contextual information, and the ways in which digital media may shape our understanding of the world.
URGENCY
While the term "mass media" is often used to describe “the spectacle,” Debord’s notion of “the spectacle” takes on various forms than it did before, such as commercials, ads, and clickbait articles. These spectacles devalue reality into a steady supply of commodified fragments and encourage us to focus on superficialities. And with people’s attention span going shorter and shorter, it is definitely a bad tendency.
Similarly, Walter Benjamin suggests that mechanical reproduction, driven by capitalist forces, disrupts the aura and transforms art into a commodity. Artworks, once considered unique and valuable, lose their originality and become objects of mass production and consumption. The capitalist logic of profit and marketability overrides the aura and intrinsic qualities of the artwork. Moreover, since mass media plays a crucial role in this process of mechanical reproduction and commodification, it accelerates the dissemination of reproduced images and artworks. These technologies facilitate the reproduction, distribution, and consumption of cultural products on a mass scale, blurring the boundaries between original and copy. Benjamin also contends that the cult value of art, which was once linked to its aura, is gradually replaced by exhibition value, where artworks are valued for their potential to be displayed, consumed, and exchanged. The emphasis shifts from the aesthetic and contemplative experience of art to its instrumental value within a capitalist economy.
Furthermore, Hito Steyerl critically examines the effects of the compressed nature of digital media on our perception of time and space, as well as the representation and distribution of information. Since digital technologies have drastically accelerated the speed at which information is produced, transmitted, and consumed, she argues that this compression of time has led to a state of constant acceleration and a collapse of temporalities. Traditional linear narratives are disrupted, and the boundaries between past, present, and future become blurred. This compression of time can be seen in phenomena such as social media, where information is shared and consumed in real-time, often without deep reflection or critical engagement. Moreover, Steyerl explores the concept of data compression and its implications for the representation and manipulation of information. Digital files are often compressed to reduce their size and facilitate faster transmission and storage. However, this compression also involves a loss of data and fidelity. Steyerl suggests that this loss of information can have political and social consequences, as it may contribute to the erasure or distortion of certain narratives or perspectives.
Therefore, it is urgent to look into the impact of analogue technology specifically on Generation Z in this digital age and examine how analogue photography/film accentuates the potential for immediate engagement and fosters a tangible, communal experience in the realms of image production, cultural preservation, and the authenticity of experiences. To not be urgent is urgent.
INTENTION
The objective of my project is to underscore the significance of authenticity and engagement in our modern capitalist society, and establish my concern for the erosion of genuine human experiences and the loss of cultural values.
The evolution of digital technologies has brought about enormous benefits in areas such as organization, analysis, and creation. However, people have also missed physical interaction that human beings innately crave. This has led to a resurgence in analogue technologies such as film photography, vinyl records, printed books, etc. E-book sales are on the decline, digital camera prices are dropping drastically, and huge popularity toward vintage game consoles, younger generations starts to pick up film and polaroid cameras, and musicians have always obsessed over the feel and touch of particular instruments, as our digital devices become the common instruments of our age, there’s something to be said for the quality of the tactile experience they can provide.
The younger someone was, the more digitally exposed their generation was, the less they were enamored (in nemurd) by digital technology, and the more they were wary (weri) of its effects. These were mostly those Gen Z buying new turntables, film cameras, and novels in paperback. Analogue technology evokes a sense of nostalgia for a time before digital dominance. Gen Z, despite growing up in the digital age, may feel drawn to the tactile and tangible qualities of analogue devices, associating them with a simpler, more authentic past. Analogue technology often offers a distinct aesthetic appeal. Vintage film cameras, vinyl records, and typewriters have a certain charm that cannot be replicated by their digital counterparts. Many Gen Z individuals appreciate the visual and sensory experience of using analogue devices. In a fast-paced, hyperconnected world, analogue technology can provide a break from the constant stimulation of digital devices. Engaging with analogue tools, such as writing in a journal or listening to vinyl records, can encourage a slower pace, mindfulness, and a more intentional approach to daily life. Unlike digital technology, analogue devices require direct physical interaction. This hands-on engagement with the technology can be seen as more rewarding and fulfilling for some Gen Z individuals, providing a break from the passive consumption often associated with digital devices. Analogue technology is often associated with craftsmanship and uniqueness. Owning and using analogue devices allows individuals to express their individuality and to stand out in a world saturated with mass-produced digital products.
However, it is important to note that while some members of Gen Z may be drawn to analogue technology, it does not represent the preferences of the entire generation as most of the people I interviewed are film photography enthusiast, instagram influencers, youtubers and film shop owners. The popularity of analogue technology among Gen Z is not universal but rather reflects a subset of individuals within the generation who appreciate its unique qualities and attributes.
Discovering the impact of analogue technology specifically on Generation Z is a real-world digital storytelling concern for several reasons:
Shifting Preferences: Generation Z, as digital natives, has grown up in a highly digitized world. Understanding how analogue technology influences their preferences, interests, and engagement with storytelling provides valuable insights into the evolving media landscape.
Nostalgia and Cultural Connections: For a generation that is deeply immersed in digital culture, the exploration of analogue technology can evoke a sense of nostalgia and provide a bridge to the past. This can lead to a deeper appreciation of cultural connections and historical contexts.
Balancing Digital Overload: Generation Z is often criticized for excessive screen time and reliance on digital media. Discovering the impact of analogue technology on this generation may offer alternatives for achieving a healthier balance between digital and analogue experiences.
Fostering Creativity and Intentionality: Analogue technology can encourage a more deliberate and hands-on approach to storytelling. Understanding how it influences creativity and intentionality in content creation can inspire innovative digital storytelling practices.
Authenticity and Identity: The use of analogue technology can contribute to the authenticity of storytelling by embracing imperfections and promoting a sense of uniqueness. This exploration may help Generation Z form a more genuine digital identity in their storytelling efforts.
Environmental Considerations: Generation Z is known for its concern about environmental issues. Discovering the impact of analogue technology on this generation's storytelling practices may shed light on more sustainable and eco-friendly storytelling approaches.
Redefining Engagement: Understanding how analogue technology resonates with Generation Z can redefine what engagement means in the digital storytelling realm. It may provide insights into creating more meaningful and immersive experiences for this audience.
Challenging Digital Norms: Exploring the impact of analogue technology on Generation Z's storytelling practices can challenge the dominance of digital media and encourage critical reflection on the digital culture they have grown up with.
In summary, discovering the impact of analogue technology on Generation Z is a real-world digital storytelling concern because it provides insights into shifting preferences, fosters creativity, balances digital overload, promotes authenticity, addresses environmental concerns, redefines engagement, challenges digital norms, and strengthens cultural connections. Understanding how this generation interacts with analogue technology can inspire more thoughtful and innovative digital storytelling strategies that resonate with contemporary audiences.
TECHNOLOGY
Super 8 film projector, slide film mounts, and slide projector, are all representative of an earlier era when media was primarily physical, tangible, and less mediated.
Mediation and Authenticity: Analogue technology, with its physicality and directness, can be contrasted with the hypermediation of digital media, highlighting the potential for a more immediate and unfiltered engagement.
Spectacle and Illusion: Analogue technology can serve as a metaphorical tool to expose the constructed nature of the spectacle. By physically handling film slides, the project emphasizes the idea that the spectacle can be deconstructed, revealing its underlying mechanisms.
Alienation and Detachment: Analogue technology allows for a tangible and communal experience. By using film and slide projectors, the project creates a shared space where the audience gathers to engage with the material. This physical presence can serve as a counterpoint to the sense of alienation and detachment.
Overall, analogue photography, with its tactile and tangible nature, can serve as a medium for capturing and preserving cultural heritage. By physically witnessing analogue processes and touching analogue materials, participants can evoke a unique sense of authenticity, which ultimately connects to the themes of personal experiences and cultural preservation.
REFERENCES
ACADEMIC:
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Art of Projection: Elsewhere (2009) - Christopher Eamon & Stan Douglas
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Cinema and Spectatorship (1993) - Judith Mayne
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“In Defense of the Poor Image” (2009) - Hito Steyerl
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In Praise of Shadows (1977) - Jun'ichirō Tanizaki
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The Age of Social Democracy. Norway and Sweden in the Twentieth Century (2011) - Francis Sejersted
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The Orientation of Future Cinema: Technology, Aesthetics, Spectacle (2013) - Bruce Isaacs
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Theorizing Film Through Contemporary Art: Expanding Cinema (2020) - Jill Murphy, Laura Rascaroli
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The Revenge of Analog: Real Things and Why They Matter (2016) - David Sax
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The Society of the Spectacle (1967) - Guy Debord
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The Spectacle of the Real: From Hollywood to Reality TV and Beyond Kindle Edition (2005) - Geoff King
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Unplugging Popular Culture Reconsidering Analog Technology, Materiality, and the “Digital Native" (2019) - K. Shannon Howard
CREATIVE:
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"Antigone" (2018) - Tacita Dean
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“Extinction Beckons” (2023) - Mike Nelson
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"The Blind Cinema" (2013-2017) - Britt Hatzius
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"The Clock" (2010) - Christian Marclay
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"The Infinite Screen" (2018) - Doug Aitken
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Circa 1948 (2014) - Stan Douglas
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Against Photography (2017) - Akram Zaatari
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