Anne Haaning, Uit The Arctivc University of Norway, Faculty of Fine Arts
Half Hidden will explore the nature of humanity in a post digital world. Through making
digital animations and animate objects I will pursue a contemporary mythical approach to
the employment, performance and meaning of technology. By linking myth and
technology, I will explore profound motivations behind our commitment to the digital and
its deceptive nature.
I will study Inuit myth and rituals and particularly Inuit mythical objects, which I will
compare to objects of technology, ranging from those of the pre-industrial age (eg.
navigational tools) to those of today (eg. computers and gadgets) and their colonialist,
capitalist repercussions. The research is not intended to serve nostalgia for a pre-modern
era that western intelligence and logic are unable to fathom, but as a way of
understanding the digital not just from a contemporary western perspective, but through
an epic lens.
The research will be tied to Greenland, its Danish colonial history and its precious natural
resources (integral to the manufacturing and powering of electronics) that become
accessible as the inland ice recedes to the beat of escalating consumerism and capitalist
accumulation of wealth. From here I will gather the threads between my main research
themes: Digital Ontology, Inuit Myth and Colonialism.
I will respond to this research via two strands. Firstly, through a sculptural approach that
deals with animation of the inanimate and juxtaposes the supernatural characteristics of
technology and myth. Secondly, making digital animations using the body to generate
them by reconfiguring a commercial animation tool to accommodate a kind of digital
The research will stand out by addressing the digital as a site for global colonial
exploitation and by considering it against the backdrop of mythical beliefs that span a
large part of human history as opposed to focusing on the period since the advent of the
digital in the 20th century. On a practical level it will be unique by reinventing the use of a
commercial digital animation tool (motion capture) to accommodate cultural, social and