About Forensics of Imagination
… an artistic research practice
What is it to understand one’s own unknowns, the limitations and potentialities of knowledge? In the practice of an artistic field such as cinema a lot remains tacit. I’m working to create a theoretical framework and a language in which to understand how my own practice is operationalised, how it exists and constitutes itself in a particular way, thinking through making through thinking.What is the relationship between incredible and un-credible? Who determines the veracity of information? What constitutes the integrity of the image, of a character, of the betrayal of a relationship between the spectator and the filmmaker and his protagonist?
My background is in broadcast journalism which constitutes itself more as crafts than arts. In my experience the news industry in particular is self-righteously opinionated about truth and fact and claims dominion over ‘reality’. That doesn’t leave much space for exploring outlandish ideas by someone like Jacques Ranciere: “A fiction is not the invention of an imaginary world. Instead it is the construction of a framework within which subjects, things, and situations can be perceived as coexisting in a common world and events can be identified and linked in a way that makes sense. Fiction is at work whenever a sense of reality must be produced.” (from Modern Times, 2017)
To me becoming critically aware of that construction of fiction holds an emancipatory potential. In this sense imagination is a form of protest.
Forensics of Imagination
I call my theoretical framework Forensics of Imagination. It’s an explorative practice, a research method for the understanding and interpretation of phenomena, encounters, and objects—and their probable and potential connections. It actively seeks to subvert master and dominant narratives by considering any trace a meaningful evidence of something. Forensics of Imagination aims to interrogate the production of meaning and truth.
In Danish there is no adequate translation for crime scene. Instead we have gerningssted (‘site of deed’) or åsted (‘on site’, referring to any site on which something has happened, is happening or will happen – ‘the site in question’).
The å- is interestingly arcane and antiquated: originally spelled aa the only other word I know with this use of it is aasyn which translates to ‘face’ or ‘countenance’ (mostly used in the Bible) or ‘the act of looking’.
The words aasted and aasyn share the notion that something important remains hidden from us. It’s a defamiliarising gaze, potentially an impossible one: the aasyn of the world, nature or god—that sees beyond the real. By evoking this awareness, the mundane may come to seem foreign and strange, its hidden imaginative content be awoken.
Deep Gaps is a project that places itself solidly in the domain of Forensics of Imagination. The story begins with the unsolved assassination of Swedish Prime Minister Olof Palme in 1986. One main suspect, Victor Gunnarsson, was later murdered himself under mysterious circumstances. The man convicted was perhaps innocent. The complex is comprehensive and convoluted. It spans three decades, at least two continents and a large cast. Seen from the perspective of a journalist or anyone interested in great stories it’s a treasure trove. I’m not immune to that. But there are other reasons that mean more to me.
A collection of conspicuous coincidences, reflections, mirages emerge. They don’t necessarily hold a concrete significance seen from a police investigation point of view but speak to me nonetheless:
This sort of reflective oddities begin manifesting themselves in the ongoing research process itself.
Forensics of Imagination in this context holds both the formal, legal and procedural meaning of forensics in which objective traces can be assessed—and pursued by imagination—and a specifically subjective mode in which imagery—traces of imagination—can be pursued forensically.
Deep Gaps (working title) Drama documentary series in development.
Creators: Peter Hammer & Søs Hoffman.
Producers: Dorthe Riis Lauridsen & Anders Toft Andersen.
Executive producer: Piv Bernth.
Production company: Apple Tree Productions
“Redistributing the narrative field by telling another version of a crucial myth is a major process in crafting new meanings. One version never replaces another, but the whole field is rearranged in interrelation among all the versions in tension with each other.”
— Donna Harraway