{"id":42083,"date":"2026-03-17T16:29:11","date_gmt":"2026-03-17T16:29:11","guid":{"rendered":"https:\/\/www.europesays.com\/dk\/42083\/"},"modified":"2026-03-17T16:29:11","modified_gmt":"2026-03-17T16:29:11","slug":"authorship-liquid-content-ai-in-copenhagen-doc-fest-panel-focus","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/dk\/42083\/","title":{"rendered":"Authorship, “Liquid” Content, AI in Copenhagen Doc Fest Panel Focus"},"content":{"rendered":"

\n\tWhat are reality and truth anyway? And what do changing technologies and approaches to the world mean for documentary in the age of mistrust? Those were the topics of debate at the CPH:Conference industry event<\/a> of the\u00a023rd edition<\/a>\u00a0of the\u00a0Copenhagen\u00a0International<\/a>\u00a0Documentary Film Festival (CPH:DOX<\/a>) on Tuesday afternoon.<\/p>\n

\n\tThe session, moderated by Tabitha Jackson, the former Sundance Film Festival chief and new director of the venerable Film Forum non-profit arthouse cinema in New York, touched on audience research, media theory, and the growing impact of synthetic media and AI<\/a> and how truth is \u201cincreasingly fluid, personalized, and context-dependent,\u201d as a preview of the panel highlighted. It also asked: \u201cIf seeing is no longer believing, how do audiences decide what is real? What happens to precision, verification, and public service values in the post-truth world? And how should documentary rethink its relevance, ethics, and craft in an AI-augmented media ecosystem?\u201d<\/p>\n

\n\tThe panelists debating these issues were editor and director Joe Bini, whose editing work has included such Werner Herzog films as Grizzly Man, such Andrea Arnold films as Bird and an episode of Mr. Robot, Sofie Hvitved, the head of media at the Copenhagen Institute for Futures Studies, and independent researcher and strategist Sameer Padania.<\/p>\n

\n\tBini discussed having \u201clived in this half-weird reality\u201d going from film to film, both documentary and fiction, where \u201cthe world of cinema is a large part of my reality.\u201d He explained that, \u201ca lot of what I\u2019ve done is feature-length documentary that\u2019s a very specific form,\u201d sharing: \u201cMy feeling is that it really doesn\u2019t work half the time. There are much better forms of documentary and much better forms of cinema.\u201d He questioned if a categorization like documentary is necessary or even makes sense.<\/p>\n

\n\tBini offered: \u201cAuthorship more and more now is [about] the person taking it in,\u201d rather than the filmmaker or writer.<\/p>\n

\n\tBurden of Other People\u2019s Dreams: Chapter One \u2013 Ganymede, his project featured at CPH:DOX, addresses that. The fest describes it as \u201ca surreal, abstract memoir of Joe Bini\u2019s life as a film editor and storyteller, presented as a live cinema experience for one audience member at a time.\u201d In his artist\u2019s statement on the festival website, he writes: \u201cBurden of Other People\u2019s Dreams: Chapter One \u2013 Ganymede is a story told by an author who refuses to be an author, so they try to convince you that you are the author. Which is ridiculous, since clearly you\u2019re the reader. But then it turns into a film, and suddenly you\u2019re a viewer. Which is even more ridiculous.\u201d<\/p>\n

\n\tDuring Tuesday\u2019s panel discussion, Bini described the experience as \u201ca book film,\u201d explaining: \u201cYou pick up the iPad. You start reading. You don\u2019t know what to expect. That\u2019s a big part of it. I\u2019ve done a lot of live cinema. What I really like about live cinema is that nobody knows what the fuck it is. So my project is very much functions on that level. You\u2019re reading a book for some time. It then becomes a movie. This movie moves in weird places in time, and then it goes back to being something you read.\u201d<\/p>\n

\n\tHvitved also discussed \u201cthe loss of control and authorship\u201d in an age where younger audiences\u2019 \u201cperception of reality\u201d is changing, including the idea that virtual artefacts in the likes of Minecraft and Roblox can be more appealing than material objects.<\/p>\n

\n\tShe asked if we may be moving into a world of \u201cliquid content,\u201d meaning content that is \u201cdynamic, context-aware, and continuously adaptable across platforms, devices, formats and user preferences.\u201d As an example, she mentioned Gary Hustwit\u2019s Brian Eno doc Eno, which is edited by AI in real-time, ensuring different forms, every time it is watched. \u201cWhen will the static become liquid and what does that mean?\u201d Hvitved asked in conclusion.<\/p>\n

\n\tMeanwhile, Padania argued that the relationship with power defines reality. \u201c\u2018We\u2019re in an era where misinformation comes from the top,\u201d he said. \u201cYou\u2019ve got a White House that is putting out generative AI-generated footage,\u201d he said. \u201cReality is what they want to create.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"What are reality and truth anyway? And what do changing technologies and approaches to the world mean for…\n","protected":false},"author":2,"featured_media":42084,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[6],"tags":[248,108,8200,762],"class_list":["post-42083","post","type-post","status-publish","format-standard","has-post-thumbnail","category-copenhagen","tag-ai","tag-copenhagen","tag-cphdox","tag-international"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@dk\/116245467220005945","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/posts\/42083","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/comments?post=42083"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/posts\/42083\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/media\/42084"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/media?parent=42083"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/categories?post=42083"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/tags?post=42083"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}