Space, Place and Narrative in the Postdigital Encounter Panel

2-3.30, Parallel Session 3 – Cinema 3

Chair: Judith Aston (UWE)

The panel will address interfaces between visual art, film fiction and digital technology. We consider the postdigital as an era where computer technology is truly imbricated with the physical world and we are beginning to see how storytelling and the access to story are affected by postdigital culture. How can the mediation between digital environments and physical spaces be negotiated?

We been exploring the relationship between screen fictions and the environments in which they are situated, and as members of this panel we would like to speak about the experience from very different points of view. All of us have worked together and have found methods of collaboration on several projects including Echo and Narcissus a multi-screen gallery drama, The Lighthouse Keeper’s Wife (various explorations in art, animation and installation concerning embodiment).

Echo and Narsissus

To see Echo and Narcissus (extract) please visit

Title: ‘Remediation or Makeover – How to Find a New Media Form?’
Coral Houtman (Newport) – Coral.Houtman(at)

Jon Dovey has used the term “attention society” to convey the proliferation of media trying to get our attention. Echo and Narcissus is just one attempt to use the post-digital encounter in order to defamiliarise film drama and to bring it into an “attention space”. I will use Bolter and Grusin’s concept of “remediation” (2000) to explore how Echo and Narcissus developed for multi-platform distribution and exhibition, as an online screen media drama and as a work for gallery installation. During the process of production and post-production, there have been many opportunities to explore the poetics of multi-screen‘Narrative and Space. An Animator’s Perspective on the Gallery’ immersive gallery drama and split screen drama, and discusses the new and remediated possibilities for these forms.

Title: ‘Narrative and Space. An Animator’s Perspective on the Gallery’
Leonie Sharrock (Newport) – Leonie.Sharrock(at)

As collaborator on Echo and Narcissus and as storyboard artist I planned on a flat piece of paper a visualisation which would eventually be on five screens in 360-degrees. In a similar way, as a painter, animator, and storyteller, I am interested in interrogating the different visual and spatial strategies used to create narrative in a three dirmensional or virtual space. Using my own multimedia work in progress The Lighthouse Keeper’s Wife as example, I would like to discuss the symbiotic relationship necessary between the analogue and digital worlds.

False Perspective Room (Leonie Sharrock) – as you stare at the false perspective room, the phone rings … You hear an SOS morse code signal – following the instructions on the wall, you either dial 100 or 999 – to change the view through the window. This animated view, the size of a mobile phone screen, is either of a swinging rope (2D drawn), a lightning storm (photographic, 2D drawn, digitally composited), or the relentless tide of ripples in (CGi) animation.>

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