When I watched my partner’s footage there were some unnoticed qualities that stood out; I realised that she picked up on a lot of things I would not have, such as certain areas, furnishings and details of the shopping centre. As I had been so desensitised to the colours, shapes and patterns in my surroundings it was interesting to see the location from an outsiders’ perspective. For example, she noticed the wood grain of a bench and the arrangement of poles in one of the exits, which I would never have paid attention to alone. We also had some shots in common, such as filming floor tiles and the ceiling. These were the most obvious features to notice as they are present throughout both shopping centres and have their own distinct patterns.
We tended to mark and record a lot of our movement (such as going up and down escalators) as well as bright colours (artwork outside and inside of the shopping centres). Additionally, we found that we recorded an almost identical shot in both locations; a pan from a height over the ground below, where people can be seen. As we followed the same recipe it is likely we both wanted to capture the view we had noticed, and in a way that aligned with our technical needs. It is interesting to see that in an unfamiliar location, our patterns of noticing are similar, as we recorded around the same number of detail oriented shots and shots of the space.
I feel that our edit was quite successful in reflecting the process of the exercise, as we used visual and auditory information to convey our experiences in locations unfamiliar to us. By showing individual shots followed by a comparison of the two, we are able to examine the similarities and differences in how we notice. While neither of us had visited each other’s locations before, we had both experienced the atmosphere of a shopping centre before. We also wanted to demonstrate the manner in which we employed Mason’s ordinary-noticing, marking, and recording framework through our edit, as we recorded footage whenever we picked up on something visually or technically interesting.
Through this task I reinforced my understanding that noticing is something that is unique to each individual. People can notice auditory stimuli as well as visual stimuli, as Michael Gallagher states: “If sound enacts power (…), then so must listening”, which emphasises the listener’s role in applying meaning to sound. I also strengthened my understanding of nonfiction media as work that is based in reality; as we attempted to use all of the footage we had shot, it helped us to present an authentic view of two unfamiliar locations. David Shields’ statement in ‘Reality’ that “what’s important is the way the world looks” reinforces this idea of authenticity in nonfiction.
Two questions which evolve for me about noticing and nonfiction through doing this work are:
-How can I notice more things in locations that are familiar to me?
-What can I do to further develop my knowledge of nonfiction media?
After presenting our working footage and receiving feedback in class, we have decided to go ahead with the idea of using a side by side comparison of the two locations. This will be achieved through compiling and editing the footage in Adobe Premiere Pro. Our peers felt that this layout would fit as both of our environments are similar and this will help to see the disparities between how and what we notice. Adele and I also agree, as the format allows us to play with other elements such as cropping and placement of the images within the frame. The main difference we noticed between the two locations was that Greensborough Shoppinng centre is a lot more green with a lot of old fashioned areas, whereas Highpoint has a more modern layout. We aim to emphasise this contrast through displaying similar subject matter we noticed from each location at the same time on screen. Each clip will play for approximately 2.5 seconds individually, then simultaneously for 5 seconds to allow for comparison.
The general atmosphere sound clips we recorded will be played over footage of each shopping centre, then combined to create a hybrid of noise from both locations. We chose to do this as it allows the listener to picture each location as well as notice the differences in their atmospheres. Our approach to sound is also influenced by Michael Gallager in the Week 3 reading, Listening, Meaning and Power. His statement that “meaning is as much something we bring to sound as something sound brings to us” was particularly interesting, as it reinforces the idea that we do not one-sidedly hear audio; we also apply our own meaning to it. We would like to explore this by creating an atmosphere that is familiar and unique. Each sound clip will crossfade into one another to allow for smoother transitions and a general flow to the piece.
During my time at Greensborough Shopping Centre, I actively noticed my surroundings by marking (commenting on what I had noticed as I noticed it) and recording (taking a 5 second video of) the things that stuck out to me as interesting or unique. I noticed especially the abundance of green in the shopping centre itself, with a lot of plant life and wooden furnishings around, and made an effort to emphasise this in the footage I recorded. The atmosphere was particularly busy as it was approaching the the afternoon, with people milling about and the sounds of footsteps and general commotion. I also made sure to record both static and moving shots in landscape format as was outlined in our recipe.
While recording footage I also attempted to alternate between shot sizes, with close up shots of certain details (e.g. the floor tiles) and long shots of the ceiling. I discovered that panning from a vantage point gave the observer an interesting perspective, as there is a lot happening in the frame to notice. I also found that tracking shots where the camera was mobile allows the viewer to notice more things as the camera approaches them. This helped add a layer of diversity and visual interest to the footage which I had wanted to improve upon from the last assessment.
As I was obtaining the sound recording of the general atmosphere, I remembered our class discussions about Mazen Kerbaj’s Starry Night and sound, and Peter Cusack’s description of field recording as ‘sonic journalism’. Cusack explores the idea that “all sound (even unspoken) conveys information about places and events that are different yet complementary to visual images and language”. I would like to reinforce this idea as I am editing audio, and draw attention to the contrasts and similarities of the atmospheres of both shopping centres through sound.
Adele and I have worked together to come up with a recipe for noticing in our respective locations. We decided to focus on technical requirements while filming, as opposed to obtaining specific imagery or shots; in doing so, we feel that we will be able to notice our surroundings in a more authentic, less restricted manner. As a general rule, we intend on recording anything visually striking in our surroundings or that grabs our attention (colours, objects, patterns, movement).
Our recipe for noticing is the following:
– 12 shots each, of 5 seconds in duration (for a total of 24 shots or 1 minute of footage per person)
– A 1:1 ratio of static and dynamic shots (e.g. pans or tracking movement)
– Equipment: Phone camera
– Format: landscape orientation
– 1 sound recording of each location (general atmosphere) about 60 seconds long, captured on phones
– A variety of shots, including close ups and long shots
With this recipe in mind we intend to record footage that reflects our experiences in unfamiliar locations, and compare similarities and differences in the way that we notice. We are thinking of presenting our footage in a way that reinforces this idea, for example, a side by side comparison of certain shots that are similar or complement each other. We were also encouraged to incorporate all of the video and audio that we record rather than remove or alter any footage. This would assist in presenting a holistic version of what we notice and allow for a more authentic version of reality as we perceive it.
We have also decided to present each shot in 5 second snippets, as it is a long enough period of time for the viewer to take in the majority of elements in the frame. By repeating the same shot in conjunction with a shot from the other location immediately after, the viewer is given more time to take in its finer details and compare both of the shots.
For this task, I am collaborating with my partner Adele to create a piece of work that focuses on noticing the unfamiliar. In class we developed two basic variations of a recipe that we will use to assist in our filming and noticing practice. This includes elements such as: shot duration, shot size, camera movement, camera orientation, and the equipment we will be using. This is an important consideration as we want to produce a consistent piece of work, while also reflecting our own individual noticing practices in unfamiliar locations. We are also considering including specific aspects to notice in each other’s locations, which will make it easier to compare and contrast the ways in which we notice them.
The location I chose for Adele to notice was Highpoint Shopping Centre in Maribyrnong, and for me Adele chose Greensborough Shopping Centre. I chose this location for Adele as it is somewhere she is completely unfamiliar with, which will likely produce patterns of noticing different from mine (as someone who frequents the location, and is desensitised to a majority of its features). Adele picked Greensborough Shopping Centre for a similar reason as I have never seen or visited the centre before. As our locations are both very similar, it will be interesting to see the differences in what we notice, or if we will notice similar things.
By completing this work I hope to further develop my ability to actively notice my surroundings through marking and recording them, as discussed in the John Mason reading Forms of Noticing from week 1. I would also like to have a deeper understanding of what motivates my patterns of noticing. By undertaking this task, I would also like to broaden my understanding and approach to non-fiction media, as we are producing work that is reflective of reality.
Through this activity I learnt that our sensitivity to noticing something can be improved, as explored in John Mason’s reading.
By intentionally telling myself I would notice graffiti over the next day I was more likely to pay attention to what I saw in my surroundings. Additionally, recording the graffiti as I noticed it allowed me to use a heightened form of noticing, as it involved physically capturing what I saw through videos.
I found while completing the activity that while the majority of graffiti I found was located on walls or the footpath, I found an abundance of graffiti in unconventional places. The tree that had been vandalised struck me as unusual as it was a piece of nature, unlike a lot of the walls and flat surfaces I had filmed. It made me realise that there is a lot that I don’t notice in my daily life or pass by without a thought.
When filming I attempted to depict my subject in a unique and interesting manner. By using both static and moving shots, I wanted to portray my subject in a unique way that was interesting to watch. I also found it difficult not to focus on framing each shot as I filmed rather than focusing on noticing my surroundings impartially. I think my videos capture to some extent what I set myself to notice- I would have liked to record more videos to capture the diverse nature of the subject, such as graffiti in classrooms or in my neighbourhood. I feel that this would have added another layer of depth to my project work.
I feel that my work also responded to the criteria of nonfiction media as it is based in reality, and has not been altered to look unrealistic. It also does not include any elements of fiction such as imaginary characters or events. I attempted to depict the world as I perceived it, as the David Shield reading emphasises the importance of reality and how it is documented.
Two questions that evolve for me about noticing and nonfiction through doing this work are:
– How can I make my work a diverse depiction of reality, with nonfiction in mind?
– What can I do to further attune my sensitivity to notice?
I understand nonfiction to be a genre that involves any content that is factual or based on reality. Nonfiction media generally presents the truth in an informative manner; consumers of nonfiction media assume that they are being presented an authentic and accurate view. Documentaries, photographs and news reports are seen as popular forms of nonfiction media, which follow these conventions of presenting the truth. In contrast, fiction media deals with information, events, and characters expected to be partly or largely imaginary.
In the week 2 reading ‘Reality’ by David Shields, Shields explores the ideas of fiction and reality. He uses prose to illustrate how we interpret reality, stating: “The story’s not important, what’s important is the way the world looks. That’s what makes you feel stuff”, and, “All the best stories are true”. This implies that the author highly values the world in its authentic, raw form over representations or constructed images.
By noticing reality, we are able to document and create nonfiction media that depicts the world as we perceive it. Nonfiction is important as it allows us to learn more about the people, places and things that surround us, and strengthen our understanding of real world events.
I understand noticing to involve selectively attending to stimuli within an environment, such as sounds, smells and other sensory information. By shifting our attention, we are able to take in something’s overall composition as well as its unique features. This is important as it allows us to become aware of our surroundings and can inform our understanding of the world. Additionally, a developed ability to notice is a valuable skill as a media practicioner as it allows us to perceive the world in new and interesting ways.
The week 2 reading by John Mason outlines several levels of noticing: ordinary noticing, marking and recording. Ordinary noticing is a passive process and involves recalling stimuli after a cue from someone or something. A heightened form of noticing is marking, which does not involve a cue and is an active process- for example, commenting on a sign as you notice it in your environment. The most active form of noticing is recording, which is the act of physically capturing something so that it stays in your memory. Recordings can be returned to, for example a photograph or a note.
Through the readings and in class discussions I was able to differentiate between intentional and unintentional noticing. The former involves a deliberate, conscious effort to notice, whereas the latter occurs on a subconscious level. Another interesting point John Mason makes is that while it is possible to sharpen someone’s sensitivity to notice, the most they can do is attempt to increase their likelihood of noticing. By telling myself that I would notice a particular stimuli, I feel as though this challenged me to pay more attention to my surroundings and increased my likelihood of noticing the subject.