Carne y Arena. Agency and Displacement of the Interactor in a Border Crossing VR Documentary Experience
DOI:
https://doi.org/10.13133/2532-6562/17930Keywords:
border, inter-actor, virtual realityAbstract
Upon applying the idea of “border as a method” (Mezzadra and Nielsen, 2013) as an epistemic viewpoint, to the VR project of migrants’ border crossing Carne y Arena, which was created by award winning director Alejandro Iñárritu in 2018, I would like to critically discuss the idea of positioning and of “displacement” of the “interactor” (Gaudenzi, 2019) within this experience. Shifting from subjective to objective displacement within the experience itself, working within the “syncretic space” of VR and on the ambiguity of sensory immersion and dissociation, Carne y Arena activates a series of reflections on “subjectivation and displacement” (Revel, 2013) connected to the positioning of the “inter-actor” and the extent to which the agency offered can actually be fully performed within this hybrid experience, situated on the verge between documentary, interactive storytelling and installation art. What I would like to discuss here is what kind of freedom and power to make decisions is actually allowed to the user and what is the appropriate framework we need to employ in order to discuss it.
References
Aquino A., Varela A., Decosse F., eds., (2013). Desafiando fronteras. Control de la movilidad y experiencias migratorias en el contexto capitalista. Frontera Press / Sur.
Appadurai A. (1996). Modernity at Large: Cultural dimensions of Globalisation, Minneapolis: University of Minnesota Press.
Aston J., Gaudenzi S., Rose M. (2017). I-Docs. The Evolving Practices of Interactive Documentary. London: Wallflower Press.
Bhabha H. K. (1994). The Location of Culture. London: Routledge.
Balibar E. [1994] (2002). «Qu’est-ce qu’une frontière? (What is a border?)». In: Caloz-Schopt C., eds., Asile, Violence, Exclusion en Europe, analyse, prospective (Asylum, Violence, Exclusion in Europe, analysis, prospective). Cahiers de la Section des Sciences de l’education, Université de Genève.
Bishop C. (2005). Installation Art. A Critical History. London: Tate Publishing.
Capps K. (2018). «The Experience is Virtual. The Terror is Real». Available at https://www.citylab.com/life/2018/06/the- experience-is-virtual-the-terror-is-real/561941/.
D’Aloia, Adriano (2018). «Virtualmente presente fisicamente invisibile». Fata Morgana Web, available at https://www.fatamorganaweb.unical.it/index.php/2018/01/08/virtualmente- presente-fisicamente-invisibile-carne-y-arena-alejandro- inarritu/.
Fanon F. (1969). The Wretched of the Earth, Harmondsworth: Penguin.
Iñarritu A. (2018). Milan. Alejandro Inarritu. Carne y Arena, Fondazione Prada, available at http://www.fondazioneprada. org/project/carne-y-arena/?lang=en.
Meneghelli A. (2009). Per un approccio semiotico ai videogiochi tra memoria culturale e memoria corporea. Dissertation thesis, Alma Mater Studiorum Università di Bologna. Dottorato di ricerca in Discipline semiotiche, ciclo 21.
Mezzadra S., Nielson B. (2013). Border as Method, or, the Multiplication of Labor, Durham: Duke University Press.
Mezzadra S. (2016). «MLC 2015 Keynote: What’s at stake in the Mobility of Labour? Borders, Migration, Contemporary Capitalism»- Migration, Mobility & Displacement, 2(1): 30-43.
Reiss J. H. (1999), From Margins to the Center: The Spaces of Installation Art, Cambridge: MIT Press.
Revel J. (2013). «Foucault and His ‘Other’: Subjectivation and Displacement». In: Mezzadra S., Reid J., Samaddar R., eds., The Biopolitics of Development. Reading Michel Foucault in the Postcolonial Present. New York: Springer.
Said E. (2000). «Opponents, Audiences, Constituencies, and Community». In: Reflection on Exile and Other Essays, Cambridge: Harvard University Press.
Stern A. (2008). Embracing the Combinatorial Explosion: A Brief Prescription for Interactive Story R&D, Berlin: Springer Heidelberg.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Ludovica Fales
This work is licensed under a Creative Commons Attribution 4.0 International License.
NOTA DI COPYRIGHT
Proposta di licenza Creative Commons
1. Proposta per riviste Open Access
Gli autori che pubblicano su questa rivista accettano le seguenti condizioni:
Gli autori mantengono i diritti sulla loro opera e cedono alla rivista il diritto di prima pubblicazione dell'opera, contemporaneamente licenziata sotto una Licenza Creative Commons - Attribuzione che permette ad altri di condividere l'opera indicando la paternità intellettuale e la prima pubblicazione su questa rivista.
Gli autori possono aderire ad altri accordi di licenza non esclusiva per la distribuzione della versione dell'opera pubblicata (es. depositarla in un archivio istituzionale o pubblicarla in una monografia), a patto di indicare che la prima pubblicazione è avvenuta su questa rivista.
Gli autori possono diffondere la loro opera online (es. in repository istituzionali o nel loro sito web) prima e durante il processo di submission, poiché può portare a scambi produttivi e aumentare le citazioni dell'opera pubblicata (Vedi The Effect of Open Access).
