RyanWatson (RW): Your work over the last 15 or so years, despite a diversity of topics, has seemed to involve three main facets. First is the accumulation of nonfiction and documentary audio and visual stories; second is your use of new and emerging media technologies; and, third is that your work is often exhibited across an array of platforms and spaces. I was curious what you think these accumulations, use of new technologies, and this heterogeneity of types engagement with your work do for its potential political potency? Sharon Daniel (SD): It has been an intentional strategy for me to try to create works that are either flexible or variable enough to address different audiences and reach different kinds of publics. Many of my works have been online projects and they certainly address a particular kind of audience. On the one hand they work well, in terms of distribution, because anyone with access to the internet and a computer can look at them anytime, anywhere. And that means, projects like Public Secrets get taught a lot. Not just in arts related or digital humanities type classes, but also in legal studies classes, social science classes – in various different kinds of academic contexts where they are used as a way of introducing students to issues like mass incarceration or restorative justice, as opposed to the kind of academic context where one might be teaching about the aesthetic, formal, or technologically innovative potential of interactive documentary, for example. And of all that is great and worthwhile, but at the same time, those online projects don’t necessarily reach some of the public’s that I would like to reach. So, creating installations like Undoing Time or being able to pull apart the sections of a project like Public Secrets and put it into a gallery space, as a video installation for instance, is really important to me because this reaches an entirely different audience. As for political potency, I think broadening dissemination, trying to reach a variety of audiences in different spaces, including policy makers and activists, is key. I’ve always been quite interested in having my work, in some way or another, impact policy. I think that’s a really hard nut to crack for people in the arts and I’m not saying that I’ve succeeded in doing that at all. In fact, I’m sure I haven’t, but it is something that I think about when I’m trying to strategize how best to address a certain issue and how to create a kind of a public record or archive around that issue that might have some political potency in the policy arena. RW: Your mention of a public record or archive in the context of accumulations is interesting as it relates to public policy or material impact. Do you think that the

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莎朗·丹尼尔的专访

瑞安·沃森（RW）：尽管主题各异，但过去15年左右的工作似乎涉及三个主要方面。首先是非小说类和纪录性视听故事的积累；其次是您对新兴媒体技术的使用；第三，您的作品经常在各种平台和空间上展出。我很好奇，您认为这些积累，使用新技术以及与工作类型互动的这种异质性为其潜在的政治潜能带来了什么？莎朗·丹尼尔（SD）：对我来说，试图创作具有灵活性或可变性的作品以应对不同的受众并吸引不同类型的公众一直是我的故意策略。我的许多作品都是在线项目，它们肯定会针对特定的受众。一方面，它们在分发方面表现良好，因为任何可以访问Internet和计算机的人都可以随时随地查看它们。这意味着像“公共秘密”这样的项目得到了很多启发。不仅在艺术相关或数字人文类课程中，而且在法学课程，社会科学课程中–在各种不同类型的学术环境中，它们被用作向学生介绍大规模监禁或恢复性司法等问题的方式例如，这种类型的学术环境可以讲授互动纪录片的美学，形式或技术创新潜力。所有这一切都是伟大的，值得的，但同时，那些在线项目并不一定能达到我想要达到的某些公众视野。所以，例如，创建诸如Undoing Time之类的装置，或者能够将诸如Public Secrets之类的项目的各个部分拆开，并将其放入图库空间中（例如，作为视频装置），对我来说确实很重要，因为这会吸引完全不同的受众。关于政治效力，我认为扩大传播，试图在不同领域接触各种受众，包括决策者和激进主义者，是关键。我一直对以某种方式影响我的工作对政策产生兴趣。我认为对于艺术界人士来说，这是一个很难克服的难题，我并不是说我已经成功做到了。实际上，我确定我没有，但是，当我试图制定战略来最好地解决某个问题以及如何围绕该问题创建某种公共记录或档案时，这是我要考虑的事情，这在政策领域可能具有一定的政治影响力。RW：您提到积累时的公共记录或档案很有趣，因为它与公共政策或物质影响有关。你认为