Threshold welcomes new Digital Democracies Content Producer

As part of our role as lead partner for the two-year Digital Democracies project we recently appointed Marta
Litynska as Content Producer to coordinate a programme of creative opportunities for artists, technologists and more.

So, we thought we’d introduce the latest member of the team to you all in an introductory Q&A…

Hi Marta, can you introduce yourself and talk us through some of the highlights from your creative work to date?

Several years ago, I decided to call time on my career as a film translator turning instead towards a newly realised passion for communications. Since then, I’ve worked at the Adam Mickiewicz Institute, a public institution that promotes Polish culture abroad, where I have specialised in digital arts. In 2019, I promoted Gymnasia, a VR piece, co-produced by the Institute, that premiered at Tribeca Film Festival. Last spring, I created a marketing campaign for an online art residency programme, during which Polish artists were paired up with mentors from Serpentine Galleries, V&A, and MUTEK among others to develop their prototypes. 

I’ve also worked on two editions of the Institute’s annual festival Digital Cultures. It used to be a physical event held in Warsaw, but in 2020 we were forced to move online. This proved to be a fascinating experience, pushing me to look for entirely new ways of engaging our audiences. Thanks to the new format, we managed to gather 10 times the standard number of participants. 

Why did you want to be a part of Digital Democracies?

Digital Democracies stands for everything I believe in when it comes to the digital arts: accessibility, the use of public space, and prototyping. It’s one thing to use technology to an artist’s advantage in the creative process and consider a project ready, however, it is quite another to continuously double-check if it really enhances the viewer’s experience. Luckily, there are increasingly more initiatives that bring high quality art to people of lower socioeconomic backgrounds, and those with mobility, vision, and hearing difficulties. I strongly believe that it is outside a gallery that art can reach its full potential and enrich our lives.  

Tell us a little more about your new role?

I’ve joined the Digital Democracies team as the Content Producer. We’re planning an entire series of events that will bring artistic practice closer to the public. 

Black and white image of a young white woman dressed in black surrounded by plants and woodland

What are you most excited about with this project?

I’m excited about the possibilities that Digital Democracies offer to members of the public, both art practitioners and those who are only beginning their journey. I admire the integrity of the project – we’re doing everything we can for the content to match the idea behind Digital Democracies, not only in the subject matter but also in its format. 

Can you recommend an artist/technologist that you think we should check out?

The Vienna collective Total Refusal (Leonhard Müllner and Robin Klengel), and their Operation Jane Walk, where the post-apocalyptic cityscape of New York in a popular video game serves as an opportunity for an architectural tour around the city. It neatly undermines the need for violence in video games. 

What themes / trends in the sector are currently grabbing your attention?

I’d say gender and race-bias of new technologies, a tendency that will take years to eliminate. Underrepresented groups are omitted during the research stage, hence the inadequacy of technological solutions. 

How can people find out more about Digital Democracies?

In May, we’re launching our website, where we’ll be gradually releasing new elements of the programme. It’s going to be a platform offering a number of knowledge-sharing opportunities. I’d recommend following Threshold Studios’ social media channels to stay up to date. We’ve all been through a lot this past year. I feel it’s time to shake pandemic fatigue, explore and steadily re-energize ourselves with new ideas.