Editor
"Outsourcing (My Desires to Avatars)" is a machinima and experimental video created by video artist Jamie Janković and writer, poet and director Deborah Findlater. The work is part of an ongoing project addressing the intersectionality of responses to female characters in video games; formally speaking, the work is presented as an audio-visual poem, accompanied by voice over. According to Janković, this work is meant as a response to found footage material of the character Christie from the popular fighting game series "Dead or Alive" (1996 – ongoing). Moreover, the examination of the role of female characters in "Outsourcing (My Desires to Avatars)" is part of a larger project titled "The identity quest series," in which the artist addresses a multiplicity of responses to female video game characters, following engagement in interviews with queer people within the gaming industry and exploring their own views on gender in game design.
(voice)
"Outsourcing (My Desires to Avatars)" is a machinima and experimental video created by video artist Jamie Janković and writer, poet and director Deborah Findlater. The work is part of an ongoing project addressing the intersectionality of responses to female characters in video games; formally speaking, the work is presented as an audio-visual poem, accompanied by voice over. According to Janković, this work is meant as a response to found footage material of the character Christie from the popular fighting game series "Dead or Alive" (1996 – ongoing). Moreover, the examination of the role of female characters in "Outsourcing (My Desires to Avatars)" is part of a larger project titled "The identity quest series," in which the artist addresses a multiplicity of responses to female video game characters, following engagement in interviews with queer people within the gaming industry and exploring their own views on gender in game design.
Writer
"Outsourcing (My Desires to Avatars)" is a machinima and experimental video created by video artist Jamie Janković and writer, poet and director Deborah Findlater. The work is part of an ongoing project addressing the intersectionality of responses to female characters in video games; formally speaking, the work is presented as an audio-visual poem, accompanied by voice over. According to Janković, this work is meant as a response to found footage material of the character Christie from the popular fighting game series "Dead or Alive" (1996 – ongoing). Moreover, the examination of the role of female characters in "Outsourcing (My Desires to Avatars)" is part of a larger project titled "The identity quest series," in which the artist addresses a multiplicity of responses to female video game characters, following engagement in interviews with queer people within the gaming industry and exploring their own views on gender in game design.
Cinematography
A short film exploring the polyphony of collectivity in the desires, motivations and stories that foreground the histories and present(s) of Black British sound. Collective Hum documents a collective in practice through the operation of B.O.S.S using multiple narration, overlapping voices and the sound of group interviews, meetings and events to create a polyphonic score to soundtrack images of the ‘collective bodies, kinaesthetic experience and gestural language’ of sound system culture.
Editor
A short film exploring the polyphony of collectivity in the desires, motivations and stories that foreground the histories and present(s) of Black British sound. Collective Hum documents a collective in practice through the operation of B.O.S.S using multiple narration, overlapping voices and the sound of group interviews, meetings and events to create a polyphonic score to soundtrack images of the ‘collective bodies, kinaesthetic experience and gestural language’ of sound system culture.
Director
Findlater’s moving images relate her embodied experience, showing close-cropped perspectives of her body within the frame—nails being painted, hair braided and her face or body engaged with “curative, restorative touch,” as we hear described by Black Feminist theorist Hortense Spillers on the soundtrack. We view these actions while thinking about the places in which they take place; this work was recorded in the artist’s bedroom. Rituals brings the viewer into an environment of immersive intimacy, exploring the complex interplay between independence and interdependence.
