Elisabetta Modena

Elisabetta Modena is a Ph.D. in History of Art and Entertainment (University of Parma 2010) and a post-doc fellow at the Department of Philosophy “Piero Martinetti” of the University of Milan as part of the ERC Advanced Grant ” An-Iconology. History, Theory and Practices of Environmental Images ”coordinated by Andrea Pinotti.

Her main research topics are contemporary art, museology and museography, Digital Humanities and videogame culture. She was a fellow at CSAC (Centro Studi and Archivio della Comunicazione) of the University of Parma (2017-2018) and lecturer in Screenplay for videogames (2010-2019), Museology of the contemporary (2015-2019) and Phenomenology of ‘ immagine (2017-2019) at the Academy of Fine Arts of Brescia SantaGiulia.

As a curator, she has organized national and international exhibitions in public and private venues (MAXXI, Rome; CSAC, Parma; MSU, Zagreb; Galleria del Premio Suzzara). Together with Marco Scotti, she is the founder and curator of MoRE (www.moremuseum.org), a museum and digital archive dedicated to unrealized contemporary art projects.

The Virtual Truth
Ideological Implications and Witnessing Effect in Immersive Journalism Experiences

(with Giancarlo Grossi)

Since around 2015, international broadcasters have begun to adopt an information strategy that uses new technologies and has been defined as “immersive journalism” (IJ). In particular, IJ refers to various types of 360° videos, VR shots and CGI reconstructions of events made to inform about a specific topic. In addition, VR director Nonny de la Peña has theorised the possibility to involve the user directly inside the event through the apparent removal of any narrative mediation of the reporter. A good example is Scenes outside the Bataclan of the BBC, shot on-site three days after the Parisian terrorist attack in November 2015, which takes the form of a news report.
Video and audio immerse the viewer in a context that makes her feel present. But is this process so unmediated, or does it respond to precise strategies of a ubiquitous mediation, so much present to become invisible? And is it possible the elaboration of complex historical traumas by the sudden immersion in the event detached from any narrative comprehension? In this presentation, we will question the ideological implications of immersivity in its attempt to make the historical truth of conflicts immediately tangible and catchable.