Update Work “game_for_creative_freedom/index”

src/_content/work/game_for_creative_freedom/index.md

@@ -1,18 +1,30 @@
 ---
 date: 2023-12-12T13:12:52.792Z
+sort: ""
 title: game for creative freedom
 data:
   - name: Duration
     value: 1hr 30mins 13secs
   - name: Technical Specification
-    value: Filmed using OBS and a microscopic camera
+    value: >-
+      Filmed using OBS and a microscopic camera\
+
+      Documentation of collective experience including transcriptions of conversations, blue margarita's and broken glasses.
   - value: Marko Gutić Mižimakov
     name: Animation
+  - name: Made with
+    value: Toon Fibbe, Nada Gambier, Chloë Janssens, Anna Lugmeier, Marko Gutić
+      Mižimakov, Nathaniel Moore & Martina Petrovic.
 elements:
   - type: text
     content: dummy text
     title: script for game
 ---
-Made with Toon Fibbe, Nada Gambier, Chloë Janssens, Anna Lugmeier, Marko Gutić Mižimakov, Nathaniel Moore & Martina Petrovic.\
-\
-Documentation of collective experience.
+game for 'creative freedom’, was an experimental mode of facilitating conversation, disguised within a game mechanic. The setting was the Cold War. The theme, how art and art workers were knowingly - and often unknowingly - mobilised for capitalist and colonialist gains. How was art used for promotion of these 'values'?
+How were cultural narratives warped to align with the idea of a highly developed and
+progressive global north, while other cultures were positioned as old and 'primitive'?
+
+What was the role of the caricature creative in this time? In coming closer to the positions of cultural workers from that period who were involved with, or excluded by, the Congress for Cultural Freedom - a CIA funded initiative to mobilise culture in a rewriting of collective memory - can we reconsider how we are instrumentalised now? Mashing that moment in history with our present, can we think about how we are informed, knowingly and unknowingly, by these processes? What is still perpetuated in our art scenes today and how have / how can we be divergent from these modes of thinking and working?
+
+Each participant was invited to imagine their own character that exists in both temporalities; Cold War time and present time. We moved between these realms as
+conversation unfolded. Using the premise of the game 'werewolf', artists were trying to find out who the funding body was before they became instrumentalised.