ABSTRACT

This article discusses a selection of interactive and immersive works from the past twenty years in Australia and argues that these have emerged from a specific cultural and geographical perspective in relation to space and place. In the context of settler colonial or migrant Australians, who have fraught and unresolved relationships to place, technologies that intervene with and implicate the audience can further expand documentary's capacity to frame, interpret and challenge these relationships. In this article, we discuss five specific interactive and immersive Australian documentary works. Each of these projects re-frames an encounter with space and place through the methods by which the participant-as-audience is situated in relation to the subject matter and virtual environment. The article explores the controversial asylum-seeker documentary game, Escape From Woomera ([2003]. Australia: EFW Collective); Lynette Wallworth's Collisions which recounts the atomic bomb testing in the desert (2012); Oscar Raby's examination of history, identity and witnessing, Assent (2013); Joan Ross's examination of the colonial relationship to the environment in Did you ask the river? (2019) and Tyson Mowarin's VR of the Ngarluma people of North Western Australia and the threats to their culture and land in the VR work Thalu: Dreamtime is Now (2018).

摘要

本文讨论了过去 20 年澳大利亚精选的互动和沉浸式作品，并认为这些作品是从与空间和地点相关的特定文化和地理角度出现的。在定居者殖民地或移民澳大利亚人的背景下，他们与地方的关系令人担忧且悬而未决，干预和牵连观众的技术可以进一步扩展纪录片构建、解释和挑战这些关系的能力。在这篇文章中，我们讨论了五部具体的互动和身临其境的澳大利亚纪录片作品。这些项目中的每一个都通过作为观众的参与者与主题和虚拟环境相关的方法重新构建了与空间和地点的相遇。Escape From Woomera（[2003]。澳大利亚：EFW Collective）；Lynette Wallworth 的《碰撞》讲述了沙漠中的原子弹试验（2012 年）；奥斯卡·拉比 (Oscar Raby) 对历史、身份和见证的审视，《同意》 (2013)；琼·罗斯在《你问过河流吗？(2019) 和 Tyson Mowarin 在 VR 作品Thalu：Dreamtime is Now (2018)中对澳大利亚西北部 Ngarluma 人的 VR 以及他们的文化和土地所面临的威胁。