What kind of arts sector do we want post-pandemic? Do we go back to business as usual? Or do we build on this period of enforced digital innovation to create a radically inclusive sector, in which everyone is able to engage with publicly-subsidised arts regardless of their accessibility needs, age, gender, ethnicity, income, class, culture, circumstances, and location.
This blog aims to explore these (loaded) questions by bringing together various writings on how different fields of artistic activity (including film, performance, visual art, and XR) have engaged with online culture since COVID-19.
The blog emerges from my current UK Arts and Humanities Research Council (AHRC) research project ‘Digital Access to Arts and Culture Beyond COVID-19’, a collaboration with Arts Council England and The Space that explores the opportunities for online delivery to make art more openly available to all.
I am a media maker and researcher, and Associate Professor in Screen Arts at the University of Bergen.
My work explores and occupies the spaces between nonfiction film, art, and streaming media. My feature-length essay film Rohmer in Paris (2014) has been exhibited at venues including the National Museum of Art (Washington D.C.), Forum des images (Paris), the Barbican Centre and BFI Southbank (London). I am also somewhat of a pioneer in videographic film and media studies. My video essays have appeared in ‘best-of’ lists and screenings, and I have led two AHRC research projects on audiovisual film and media studies (2016-17, 2018-19). My hybrid VR experience / expanded cinema performance A Machine for Viewing (co-crated with Charlie Shackleton and Oscar Raby) was presented at Sundance Film Festival in January 2020 and transformed into a livestream for Melbourne International Film Festival in April 2021.
I am also author of the book Chromatic Cinema (Wiley-Blackwell, 2010), and always everywhere still interested in colour and light.