Synopsis:
This was the question that I found myself asking as I happened upon Zany Begg’s (2018) provocative video installation, The Beehive. I had ducked into a pop-up exhibition by the Australian Centre for the Moving Image (AMCI), while sheltering from an inclement storm, when I found an artwork that offered me headphones to listen, a screen to watch and a printed caption which offered me further context for the experience I was about to be immersed in. The Beehive (Begg, 2018) presents the audience, or perhaps ‘reader’ given that Munro (2018) labels the installation as a ‘…narrative by algorithm…’ (para. 7), with a true crime recount of events unfolding around Australian activist, and unsolved murder victim, Juanita Nielsen. The AMCI (2018) describes the artwork as an ‘…experiential documentary…’ (para. 1), due to its most distinguishing attribute; the artwork’s video sequence is driven by a bespoke software algorithm that randomly selects from a large bank of scripted scenes, archived interviews, and curated settings. This results in the viewer actively constructing meaning from one of 1344 possible versions of the story, as the viewer interprets the chance visual symbolism and figurative language presented in their viewing (ACMI, 2018).
Literature Redefined:
When considering the evolving definition of literature, it is vital to remember that quality literature has traditionally been classified as such by the complex themes woven through its narrative structures as well as its potential to engage readers’ imagination, develop their inferential comprehension and reflect the enduring human experience (McDonald, 2023). The Beehive challenges viewers to consider themes including justice, feminism, activism, corruption, gentrification, colonisation and violence through layered and non-linear storylines, various characters, settings and dialogue. With these characteristics in mind, The Beehive, certainly fits within the realm of quality literature. Additionally, as Lamb (2011) redefines reading as the process of constructing meaning from symbols across various media, it could be argued that reading is actually an integral process embedded into The Beehive (Begg, 2018), despite limited printed words.
Value Added to the Narrative through Digital Delivery:
This artwork, and its quality as a piece of digital literature, must be assessed by evaluating what is gained by the reader experiencing Juanita Neilsen’s story through this transmedia format, rather than the traditional print format. Feslier (2018) explains that the ‘… fragmented, non-linear approach prevents the viewer from seeing the whole picture, or fully resolving their own interpretation of events; after all, the case remains open…’ (para. 2) and perhaps it is this deliberately unresolved experience that elicits an emotional unease that may not have been fully possible in a traditionally linear, print text. As suggested by McDonald (2023), the multimodal nature of the artwork works to enhance the readers’ experience and engage the senses. It also allows the reader to accumulate inferential understanding of the time and place the story occurred and the broader socio-political context of Sydney in the 1970’s (Munro, 2018). Another interesting choice of the artist was to cast 12 women of varying nationalities as the protagonist, Juanita Neilsen. Munro (2018) believes this allows the viewer to extend their reflection of the social issues faced by Neilsen, to today’s diverse communities of women. This creative choice, and additional layer of meaning, was only possible due to the multimodal nature of the digital text.
Limitations and Areas for Further Consideration:
While I would consider The Beehive (Begg, 2018) an exemplar of digital storytelling, there are also some limitations to it. Firstly, the story is unlikely to be experienced by anyone who does not enter a contemporary art gallery space and is therefore subject to the matter of equity of access. Citizens in remote areas, older generations, First Nations peoples and those from low-socio economic cohorts are statistically more likely to be considered digitally excluded from various forums and the inclusion of this artwork within a specific cultural space may exacerbate this isolation (Bentley & Naughtin, 2024). Similarly, Alderman (2015) points out that location- based storytelling is generally a limiting characteristic of non-digital literature and while Zany Begg’s (2018) artwork is digital, it is in fact limited by physical location.
Secondly, while it is likely a deliberate choice of Begg’s, the reader has no control in navigating the story at any point- even having to begin the narrative at whatever point in time they enter the exhibition. There is essentially no user functionality beyond choosing to participate. The viewer cannot turn a page or pause the video to engage in the story at their own pace. They cannot choose to explore characters or revisit settings that may intrigue them. This lack of interactivity and control may result in the reader feeling disempowered or disengaged (Lamb, 2011).
Finally, given that there are 1344 versions of The Beehive (Begg, 2018) to view, readers may be unable to share their interpretation with other participants and enhance their understanding through social discourse, for example, to the same extent that two people viewing the same film together or two people reading a book in a book club might do (Huang, 2012). As case in point, Munro (2018) describes the 3 extremely different stories she was presented with, during her own 3 viewings of The Beehive (Begg, 2018).
Evaluative Summary:
Overall, The Beehive (Begg, 2018) is a powerful story, carefully told across multiple modes. While a piece visual art may have previously been considered as a cultural object reflective of its context in its own right, transmedia literature has challenged readers to reimagine an artwork such as Begg’s (2018) The Beehive, to also be classified as quality, contemporary digital literature.
References:
Australian Centre for the Moving Image. (n.d.). Digital storytelling [Video]. http://www.acmi.net.au/dst_about.htm
Australian Centre for the Moving Image. (n.d.). Zanny Begg: The beehive exhibition. https://www.acmi.net.au/whats-on/zanny-begg-beehive/
Begg, Z. (2018). The beehive. [Digital video, stereo sound, variable duration]. Artbank + ACMI Commission. Australia.
Bentley, S. & Naughtin, C. (2024, March). The ‘digital divide’ is already hurting people’s quality of life. Will AI make it better or worse? CSIRO. https://www.csiro.au/en/news/all/articles/2024/march/digital-divide-ai
Feslier, L. (2018, October 3). Zanny Begg’s “The beehive”. ArtAsiaPacific. https://artasiapacific.com/shows/zanny-begg-s-the-beehive
Huang, H. (2012). E-reading and e-discussion: EFL learners’ perceptions of an e-book reading program. Computer Assisted Language Learning, 26(3), 258–281. https://doi.org/10.1080/09588221.2012.656313
Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and leading with technology, 39(3), 12-17. https://scholarworks.iupui.edu/bitstream/handle/1805/8636/39-3.pdf?sequence=1&isAllowed=y
McDonald, L. (2023). A new literature companion for teachers; teaching mentor texts (3rd ed.). Primary English Teachers Association (PEETA).
Munro, K. (2018, September 18). The Beehive, a documentary in 1,344 versions, explores the unsolved murder of Juanita Nielsen. https://theconversation.com/the-beehive-a-documentary-in-1-344-versions-explores-the-unsolved-murder-of-juanita-nielsen-103156