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Abstract
Festivalization, including light festivals, has been conceived as a neoliberal process that strategically serves the interests of commerce, compounding inequity and producing artistically compromised, homogeneous, and passively consumed spectacles. In this article, though, using the case of the Gertrude Street Projection Festival in Melbourne, Australia, we argue that light projection art can create new ways of perceiving our familiar urban environments that can prompt us to reimagine our surroundings, their histories, and affective experiences. We investigate how the creative use of projected light onto buildings, objects, and walls can offer potent effects: Such installations can deepen a sense of place by drawing attention to usually overlooked aspects of the built environment; reenchant space by defamiliarizing habitually apprehended surroundings; bring other places and histories into local realms; and generate interactivity. We also exemplify how novel sensory and affective transformations can be produced by light in urban settings.
庆典化，包含灯光庆典，被认为是策略性地服务商业利益、恶化不均，以及生产在艺术方面妥协、均质且被动的消费奇观之新自由主义过程。本文则运用澳大利亚墨尔本的格特鲁德街头投影庆典之案例，主张光投影艺术能够对我们所熟悉的城市环境创造崭新的感知方式，并促使我们再想像自身的周遭环境、其历史，以及情绪经验。我们探讨对建筑、物体以及牆面进行投影之创意使用，如何能够产生强而有力的效应：此一置入能够通过吸引关注经常被忽略的建成环境面向来深化地方感；通过去熟悉化惯性理解的周遭环境来进行再魅化；将其他的地方与历史带入地方领域；以及生产互动。我们同时举例说明，城市环境中的灯光，如何能够生产崭新的感官与情绪转变。
La realización de festivales, incluidos aquellos de características ligeras, ha sido concebida como un proceso neoliberal que sirve estratégicamente los intereses del comercio, empeorando la desigualdad y produciendo espectáculos artísticamente comprometidos, homogéneos y de consumo pasivo. Con todo, usando el caso del festival de Proyección de la Calle Getrtrude, en Melbourne, Australia, yo sostengo en este artículo que la proyección de arte ligero puede crear nuevas maneras de percibir nuestros entornos urbanos familiares que nos puedan llevar a reimaginar nuestros alrededores, sus historias y experiencias afectivas. Investigamos el modo como el uso creativo de la luz proyectada sobre edificios, objetos y muros, puede proporcionar efectos potentes: Tales proyecciones pueden hacer más profundo el sentido de lugar atrayendo la atención hacia aspectos del medio ambiente construido usualmente pasados por alto; reencantar el espacio desfamiliarizado con alrededores habitualmente aprehendidos; traer a los reinos locales otros lugares e historias; y generar interactividad. Nosotros también damos ejemplos sobre la manera como se pueden producir con el uso de la luz transformaciones afectivas y sensorialmente novedosas en los escenarios urbanos.
ACKNOWLEDGMENTS
We would like to thank all those involved in the 2017 GSPF, especially Kim Ortenburg, Fiona Hillary, and all the artists who gave so generously of their time. Tim Edensor would like to thank the Geography Depatrment at Melbourne University for providing such a stimulating environment in which to carry out research
Additional information
Notes on contributors
Tim Edensor
TIM EDENSOR is currently a visiting scholar at the School of Geography, Melbourne University, and teaches cultural geography in the Division of Geography and Environmental Management, Manchester Metropolitan University, Manchester M1 5GD, UK. E-mail: [email protected]. He has written books on tourism, national identity and industrial ruins and most recently, From Light to Dark: Daylight, Illumination and Gloom (2017). He is currently exploring urban materiality.
Shanti Sumartojo
SHANTI SUMARTOJO is a Vice Chancellor’s Research Fellow in the School of Media and Communication, RMIT University, Melbourne, VIC 3001, Australia. E-mail: [email protected]. Her research interests include atmospheres and how people make sense of and understand their designed surroundings, as well as the meaning and impact of state-sponsored commemoration.