Dublin Core
Title
Dina Pritmani's tour of sketchbook/process
Description
I wanted sketchbook to act as a living artifact in the hands of an unsuspecting viewer who had no prior knowledge of the project. As the viewer leafed through its pages, they immersed themselves in the materiality of the object—the grain of the paper, the thickness of the pages, and the personal notes scrawled within. The simple act of turning a page became a dialogue between the viewer and the creator, a tactile connection that evoked the viewer’s own memories and experiences. They commented on the physical presence of the sketchbook: its satisfying weight, the textured feel of the paper, and the intimacy of engaging with something so personal.
In a way, this interaction would highlight the ephemeral nature of this experience—rooted in the here and now, accessible only to those who physically interact with the sketchbook. Once this moment is captured and uploaded online, the narrative changes. The materiality—the weight of the paper, the hidden notes, the ability to flip between pages—is flattened into a digital frame, stripped of its tactile dimension. Now, the same user would interact with the sketchbook differently, as it is mediated by the screen, constrained by its linear playback.
I felt that this transformation echoes the theories of montage, where the act of editing imposes a new rhythm and sequence on the experience. On the Omeka site, the viewer’s agency to linger, jump ahead, or feel the weight of the object is replaced by a constructed, cinematic sequence. Similarly, the concept of mending—where fragments are stitched together to create meaning—applies here as the digital version becomes a patchwork of still images and video, forming a narrative that is fundamentally different from the in-person engagement.
Through this shift, the sketchbook acquires a dual identity: a tangible artifact for those lucky enough to touch it and a digital story reshaped for an unknown audience. This duality underscores the tension between presence and representation, a poignant reminder of what is lost and gained in translation.
In a way, this interaction would highlight the ephemeral nature of this experience—rooted in the here and now, accessible only to those who physically interact with the sketchbook. Once this moment is captured and uploaded online, the narrative changes. The materiality—the weight of the paper, the hidden notes, the ability to flip between pages—is flattened into a digital frame, stripped of its tactile dimension. Now, the same user would interact with the sketchbook differently, as it is mediated by the screen, constrained by its linear playback.
I felt that this transformation echoes the theories of montage, where the act of editing imposes a new rhythm and sequence on the experience. On the Omeka site, the viewer’s agency to linger, jump ahead, or feel the weight of the object is replaced by a constructed, cinematic sequence. Similarly, the concept of mending—where fragments are stitched together to create meaning—applies here as the digital version becomes a patchwork of still images and video, forming a narrative that is fundamentally different from the in-person engagement.
Through this shift, the sketchbook acquires a dual identity: a tangible artifact for those lucky enough to touch it and a digital story reshaped for an unknown audience. This duality underscores the tension between presence and representation, a poignant reminder of what is lost and gained in translation.
Creator
Dina Pritmani
Publisher
Dina Pritmani
Contributor
Dina Pritmani
Hyperlink Item Type Metadata
URL
https://drive.google.com/file/d/1JinO2V9yKL3sxUA_V0a8GBvS5NqaZzYV/view?usp=sharing