My BCM325 Future Cultures DA is going to be looking into the future of camera technology in the next 10 years. I am interested to look at how new technology will assist the modern day photographer. These include bigger sensors, wireless transfer of files via the cloud, and AI inside cameras to assist you.
My DA fits the F.I.S.T principle:
Fast: I have access to information through the internet. I also have access to my camera which I am going to film it on.
Inexpensive: This will not cost me anything.
Simple: I have a plan I am going to follow as outlined in my pitch.
Tiny: This is an easy DA to achieve.
Originally posted here.
With many challenges met and hurdles overcome, a virtual reality (VR) gallery space is still on its way. Working alongside fellow BCM325 student Brooke Eager, we will be creating a student guide to tackle the Unreal software, so in the future, we can hopefully see further VR accessibility across campus. With the Unreal software now available at the MakerSpace, Brooke and I will create a set of instructions on how digital artists can use this software with ease, with my set of works being on display in this exhibition. This project has been a great learning opportunity and implementation of the FEFO (Fail Early, Fail Often) structure, as a clearer direction has now been established after various attempts. I am still hoping to challenge the concepts of the gallery space and their greater contribution to the medium in a virtual sphere and truly hope there will be a virtual gallery to display upon the conclusion of this subject.
Silverstone, R 1992, ‘The medium is the museum: on objects and logics in times and spaces’, in J Durant (eds), Museums and the Public Understanding of Science, Science Museum, London, pp. 34-44.
Stylani, S, Fotis, L, Kostas, K, Petros, P 2009. ‘Virtual museums, a survey and some issues for consideration’,/Journal of Cultural Heritage/, vol. 10, no. 4, pp. 520-528.
Continued on my original concept in my project pitch, my Digital Artefact was originally a series of video blogs on Youtube in which I share some of my predictions about the future of marketing. However, after uploading my first video on Youtube, there were not many engagements.
Therefore, I decided to transition from Youtube to Instagram while maintaining the same concept. One of the reason why I choose Instagram is that, the limit duration of Instagram video is only 1 minute and Instagrammers also prefer shorter videos and content compared to Youtubers (O’neil 2019). I can take this an advantage as I can save a lot of time on the editing process, hence eliminates the difficulty with time management.
Besides, Instagram also have different features that I can use to approach audience, including stories, live videos and ads (Milner & Fennell 2018). Moreover, we are more likely to remember…
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Over the course of the past few weeks I have been working on producing content for my digital artefact. To do so I ask my interviewees to remember their past expectations and allow them to form a new set of expectations for the future. This allows me as the writer and editor of the interviews to use their opinions to create a rough idea about what the future is like.
I hope you enjoy the video, let me know what you think in the comments and give me all the feedback you can!
I don’t have a link to this comment because it is awating moderation and won’t show up normally. Jessica’s Pitch was about the future of online media, through short videos she wants to educate us on the current state of online media, and the overall space of online media in terms of content creation and trends.
My comment set out to ask her how she could veiw her own place in the space of online media and asking how could she mould the future of the online world. As a filmaker/Youtuber I gave a few tips about making her informative videos engaging.
I think my comment was applicable and considerate towards her interests, suggesting another level of perspective into her work (through the lense of the self). Through inviting Jessica to consider how she may edit her videos, I am expressing a desire to see her do well and make…
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The idea behind my BCM325 Digital Artefact was to incorporate the idea of robots and artificial intelligence having the ability to replace humans in jobs such as a ‘social media influencers’. The way I plan to incorporate this idea into my Digital Artefact is by creating an Instagram page with my own created ‘Digital Influencer’, posting relatable and interactive content to engage the audience. Trying to replicate what may take graphic designers and artists days or weeks to create with my skill level and accessibility would be interesting to portray how accessible this project could be for any other everyday person with a laptop or computer, which could therefore determine how far off this prediction is. In the scheme of things, I’m imagining between the short to medium timescale.
See the video below for further details on my Digital Artefact:
The initial goal of my digital artefact was to explore the multitude of strange and abstract channels that make up the majority of the “weird side of Youtube”. This included mainly strange video series that seemed to follow narrative-like structure in their uploads and had an online community built around them. My curiosity stemmed from what these videos had in common and what garnered such a large cult following for each. As I explored a large number of channels, my scope narrowed and I began focusing on a select few instead to focus my attention more on the ‘how’ rather than the ‘what’. How do these four channels I selected, ‘Salad Fingers’, ‘Don’t Hug Me, I’m Scared’, ‘ThatPoppy’ and ‘Siivagunner’ garner a dedicated audience through seemingly meaningless content. They were all unique, but there were definitely links in the structure of these videos that could provide answers. From there I looked into the psychology behind curiosity, and why people would continue to watch videos such as these, since I saw in a lot of the comments left on the videos that people were asking each other questions and posing their own theories on what could possibly be gleamed from the videos. This trend continued in the respective sub-reddits for each of the channels and I could understand from this that the communities are formed around a collective goal of deciphering the creator’s messages. This unified goal brought multiple people together and is what established the fanbases in the first place.
After this discovery, I looked more into the thematic techniques that link all the channels. This is when I substituted one of the channels I was analysing, ‘Siivagunner’, for ‘Filthy Frank’. The reason for this change was my want for a comedic-based absurdist channel to analyse in contrast to the darker toned channels I was working with. ‘Siivagunner’ was an excellent choice as its community was the most involved out of the other channels, but as it is an audio based channel, it would’ve been extremely difficult to link thematic similarities to of the channel to the more visual-based mediums of the others. After this switch it became easier to find the similarities and differences that make these videos stand out online. I divided the research into multiple sections – Narrative structure, Audio, Visuals and Character – as these four categories allowed for a more in depth analysis as I found multiple books detailing the relationship of each respectively to film. I also looked into the works of H.P Lovecraft; a pioneer of the creepy and surreal in fiction. This provided more context on many of the darker themes portrayed in the channels and set the precedent of what I should look for when analysing the creepiness of the videos. Ultimately, my research travelled on multiple tangents that deviated from my original plan of creating a separate case study for each channel then simply comparing them for my final project, and so I merely combined them all into the same video in the hopes that having the examples presented side-by-side during the comparison assisted in forming a more structured argument that links them altogether thoroughly. Despite this alteration in my presentation, I feel satisfied with the results I obtained and hope to incorporate the techniques I discovered through my deconstruction of postmodern surreal fiction and its potential fanbase into my own work in the future.
- Anon, 2017. Cognitive Dissonance. [online] Changingminds.org. Available at: <http://changingminds.org/explanations/theories/cognitive_dissonance.htm> [Accessed 24 Apr. 2017].
- Bloom, H 1995, Classic Science Fiction Writers, Chelsea House Publishers,New York, NY
- Card, SO 2010, Elements of Fiction Writing – Characters & Viewpoint, Writer’s Digest Books, Cincinnati, OH
- Creating Characters: The Complete Guide to Populating Your Fiction, 2014, Writer’s Digest Books, Cincinnati, OH
- com. (2017). [online] Available at: http://www.footnote1.com/why-humans-are-hard-wired-for-curiosity/ [Accessed 24 Apr. 2017].
- Harmon-Jones, E & Mills, J 1999, ‘An introduction to cognitive dissonance theory and an overview of current perspectives on the theory’, Cognitive dissonance: Progress on a pivotal theory in social psychology pp. 3 -21 Washington, DC
- com. (2017). Alternate Reality Games. [online] Available at: http://innovativelearning.com/instructional_technology/alternate-reality-games.html [Accessed 24 Apr. 2017].
- Jack Werner. (2017). Q&A with David Firth, the man behind Salad Fingers etc. [online] Available at: http://kwasbeb.tumblr.com/post/37545436199/qa-with-david-firth-the-man-behind-salad-fingers [Accessed 24 Apr. 2017].
- Pisula, W., 2009. Curiosity and Information Seeking in Animal and Human Behavior. 1st ed. Boca Raton: Universal-Publishers, p.131.
- com. (2017). Doki66 YouTube Stats, Channel Statistics – Socialblade.com. [online] Available at: https://socialblade.com/youtube/user/doki66 [Accessed 24 Apr. 2017].
- com. (2017). siivagunner YouTube Stats, Channel Statistics – Socialblade.com. [online] Available at: https://socialblade.com/youtube/c/siivagunner [Accessed 24 Apr. 2017].
- com. (2017). thatpoppytv YouTube Stats, Channel Statistics – Socialblade.com. [online] Available at: https://socialblade.com/youtube/user/thatpoppytv [Accessed 24 Apr. 2017].
- com. (2017). thisisitcollective YouTube Stats, Channel Statistics – Socialblade.com. [online] Available at: https://socialblade.com/youtube/user/thisisitcollective [Accessed 24 Apr. 2017].
- Whittington, W 2009, Sound Design and Science Fiction, University of Texas Press, Austin, TX
- (2017). David Firth. [online] Available at: https://www.youtube.com/user/Doki66 [Accessed 24 Apr. 2017].
- (2017). Don’t Hug Me .I’m Scared. [online] Available at: https://www.youtube.com/user/thisisitcollective [Accessed 24 Apr. 2017].
- (2017). Poppy. [online] Available at: https://www.youtube.com/user/thatPoppyTV [Accessed 24 Apr. 2017].
- (2017). SiIvaGunner. [online] Available at: https://www.youtube.com/channel/UC9ecwl3FTG66jIKA9JRDtmg [Accessed 24 Apr. 2017].
When it comes to strange and surreal content on Youtube, you may have some questions. Like: what did I just watch? What’s the purpose of these videos? These types of questions are the cornerstone of these channels… Curiosity is the cornerstone of these channels.
If created for the sole purpose of entertainment like a lot of other online content, these videos would often miss their mark. So what do these videos do differently to attract an audience? They present their content in an ambiguous, sometimes shocking way. They prey upon the fact that we, as human beings, crave to make the unknown, known. We get a sense of gratification when we find out something new for ourselves, for the first time. But that feeling is quite hard to come by now that we’ve entered the digital age where information is instantaneously presented to you after a quick google search – there’s no gratification from that. It makes the very idea of discovering something about the unknown even more fascinating. The human brain doesn’t like leaving things unfinished. It doesn’t like having questions unanswered.
Step one for any content creator is to draw an audience – take the aesthetics of Don’t Hug Me I’m Scared into account. The striking colour palette, the use of puppets and a unique title can all be derived from the above image, and this can be enough to provoke a person to watch the clip. Becky Sloan and Joseph Pelling, the creators of the series, wished to parody the look of educational children shows like Sesame Street, or the Muppets in an effort to, in their words, show how “not to teach something”. Their inspiration is something that they conveyed purely through the aesthetic of their series, and this design choice prompts more clicks from people when they realize the title seems somewhat out of place for a kid’s show.
So for these channels, attracting an audience is all about the presentation of the videos. Every one of the channels has a strange title, coupled with content that all maintains a similar visual theme – either extremely bright or extremely cartoonish. These themes are unique enough to generate interest, yet plain enough to not be flagged as surreal right off of the bat and often play off of nostalgia to seem as non-threatening as possible. Siivagunner is an exception to this rule, as he instead creates content based around videogame music and generally only provides the title of the game he is satirizing as a background for his videos. This still provokes people to click his videos, however, as people believe his upload is the original song from a videogame they’ve played in the past – which can be just as effective as mimicking the aesthetics from a children’s show that one watched in the past.
Step 2 is to generate discomfort, or actively antagonize the audience. This is where a lot of the fan theories begin to spring up from and the artist’s main messages shine through. All through step one I was really pushing that the visuals for this type of content is often bright or cartoony – that’s important because a lot of the traction these channels gain is due to how effectively they play upon cognitive dissonance. Cognitive dissonance is the feeling of uncomfortable tension which comes from holding two conflicting thoughts in the mind at the same time. We generally think of children shows or cartoons being bright and lighthearted, so when one of the characters from the bright video we’ve been watching begins to roll a heart in glitter or pierces their own finger with a rusty nail, the disturbing images make us even more uncomfortable than they already would because of how much our preconceived ideas of the theme and the content conflict with each other.
The creators utilize a number of techniques to compound this effect, with sound design being one the most important. The music and sound effects used in a video can amplify discomfort tremendously when used effectively. For instance, the music that accompanies a lot of the Salad Fingers animations is creepy enough on its own. The entire composition gives off an unnatural vibe. Combine this with unsettling sound effects and voice acting and you’ve created a mighty uncomfortable soundscape. You could play an entire episode of Salad Fingers without once looking at the screen and you would still have a feeling of unease, which shows the impact that the sound has. Especially if the audio itself is intentionally unsynced with the visuals or a sound is played while the visual is showing something that doesn’t make that sound in reality – something the That Poppy does frequently. Intentionally disjointing the audio from the visuals can, again, compound this dissonance that the videos illicit.
So there’s a whole plethora of techniques used to make these videos strange, all of which is always used so effectively to create a surreal experience. These techniques are the main reasons why the content is popular among certain circles. If you can make a work in which a viewer assumes they know the direction the video will take then circumvent that expectation and present them with the exact opposite instead, your creation becomes more memorable and will inspire more questions than they started with. This is what gets the video shared around. This is what creates viewership.
Having a viewership leads to Step 3 – interacting with your viewers.
So that Poppy video was awfully blunt with it, but that was a call to action. It gave the audience a simple instruction that they could choose to follow or not follow. That was an example of a channel establishing a link between the content and viewer. It humanizes the character a little more and connects their world, a world that was intentionally disjointed and separate to ours, to the same conceptual space as the real world. This link works to help the viewer understand the contents of the videos a little better, as it sometimes provides opportunities for them to uncover new information to satiate their curiosity, while also providing even more questions.
This is most evident in the case of Siivagunner, who you may have thought seemed a bit out of place in comparison to the other videos I showed earlier. Although only starting out with meme-filled remixes of videogame soundtracks that bait-and-switched his viewers, his community has now become the driving force behind his popularity, with fan theories and interactions constantly being integrated into the channel’s internal lore. His call to action comes in the form of ARGs – Augmented Reality Games – in which he leaves a trail of clues referencing his content and the in-jokes that his fanbase has created all throughout the internet for them to track down and decipher.
He allows them to pursue their own answers to his questions, only to present them with more once they complete the ARG and are presented with the ambiguous ‘congratulations’ image. This is the most extreme case of these abstract channels being fuelled by their fanbase in the pursuit of answers; although Don’t Hug Me I’m Scared got financial backing from fans in 2013 who wanted more episodes to discover what was happening with the main characters. The viewer’s inquisitive attitude towards these channels is only heightened when they become a part of the process through interaction.
So overall, the content of these channels work on a system of giving and taking information. They attract people through a specific visual style, and through their content, generate questions. With each subsequent release they answer some of these questions, but not all, and simultaneously create new ones. This trend continues, and it creates communities and sparks discussions, with multiple people proposing their own theories and striving towards a collective goal. The eerie and surreal concepts help the videos mirror the unknown to provoke the fan’s curiosity and they appeal to our psychological need to discover. Wanting answers is human nature and these videos are excellent at playing off of that.