According to Pierre Berthon, social media is defined as “a series of technological innovations in terms of both hardware and software that facilitate inexpensive content creation, interaction, and interoperability by online users” (Berthon, 2012). A statement in which aligns with my own interpretation. Social media acts as a superordinate term which consists of a multitude of platforms that have been designed to satisfy a variance of personal needs. Personal needs such as networking, microblogging, sales of a product and/or service, entertainment and video or photo-sharing content. Current examples of social media platforms include Facebook, Twitter, Instagram, YouTube, LinkedIn and numerous others. The emergence of said social media platforms facilitates the online creation and exchange of user-generated content, allowing consumers to so easily communicate with others about products, services, and brands that are available within the marketplace. Notable findings from The Yellow Social Media report state that 88% per cent of online consumers use social media sites, which is an increase from last year. In addition, many consumers are frequent users with more than one third (34%) accessing social media sites over five times a day and 62% doing so daily. This increase of social media usage is indicative of a long-term trend toward our dependence upon said media platforms and claims of it further becoming a social norm.

These findings have also further substantiated claims of “social media obsessed adolescents” (Tompros & Crudo & Pfeiffer & Boghossian, 2017). According to Gwenn Schurgin O’Keeffe, Kathleen Clarke-Pearson and Council on Communications and Media, using social media is among the most common activities of today’s children and adolescents. Usage and frequency of social media sites tend to decline with age, as within the past five years the number of adolescents using such sites has increased dramatically. However, due to their “limited capacity for self-regulation and susceptibility to peer pressure” (O’Keeffe & Clarke-Pearson, 2011), they are seen as at risk. The Sensis suggests that one in four (25%) individuals have witnessed someone being bullied or harassed on social media, while 14% have experienced such behaviour personally, an increase from preceding years.

Whilst granting many benefits, the growth of social media interactivity has facilitated involvement in social exclusion, harassment, inappropriate content, online privacy issues and outside influences of third-party advertising groups (O’Keeffe & Clarke-Pearson, 2011). Indicating that vulnerable members of society must be protected as social media can be a very powerful tool.

REFERENCES 

Kaplan, A.M. and Haenlein, M. (2010), “Users of the world, unite! The challenges and opportunities of social media”, Business Horizons, Vol. 53 No. 1, pp. 59-68.

Whiting, A. and Williams, D., 2013. Why people use social media: a uses and gratifications approach. Qualitative Market Research: An International Journal.

Berthon, P.R., Pitt, L.F., Plangger, K. and Shapiro, D., 2012. Marketing meets Web 2.0, social media, and creative consumers: Implications for international marketing strategy. Business horizons, 55(3), pp.261-271.

Tompros, L.W., Crudo, R.A., Pfeiffer, A. and Boghossian, R., 2017. The Constitutionality of Criminalizing False Speech Made on Social Networking Sites in a Post-Alvarez, Social Media-Obsessed World. Harv. JL & Tech., 31, p.65.

O’Keeffe, G.S. and Clarke-Pearson, K., 2011. The impact of social media on children, adolescents, and families. Pediatrics, 127(4), pp.800-804.

Post #1

Post #2

Post #3

FINAL FILM – https://drive.google.com/open?id=1IUY_QTST52ADOg41TGDnXqLpTWsziGa0

WEEK #9 BLOG POST – http://www.mediafactory.org.au/georgia-smith/2019/10/23/9/

WEEK #10 BLOG POST – http://www.mediafactory.org.au/georgia-smith/2019/10/23/10/ 

WEEK #11 BLOG POST – http://www.mediafactory.org.au/georgia-smith/2019/10/23/11/

WEEK #12 BLOG POST – http://www.mediafactory.org.au/georgia-smith/2019/10/23/12/

INDIVIDUAL REFLECTION 

This semester I had learnt a great deal about the self-actualising nature of recognising our own embodiment. From both prompted readings and class activities I was urged to examine concepts that I likely never would have otherwise. 

The question in which I found to be most predominant throughout conceptualisation is why does habitual repetition take the reins so quickly and easily, and why perhaps do we as humans so comfortably invite this process upon us. Myself and my group had conducted research in order to better understand this notion, however, like much else there is always more to be studied. Said questions had been somewhat explored both within class discussion and our preliminary work, ultimately we decided to tap into these preceding ideas for our forthcoming piece. We were initially prompted by the notion that our bodies do not exist merely within isolation, yet that they interact and potentially even merge with surroundings. Boundaries of the body-in-practice are somewhat permeable whereby an active body will incorporate bits and pieces of haptic knowledge from their environment in order to form bodily experience. Our existence is grounded in said “bodily experience” (Ellingson, 2012, p.245), where we subsist as a communication between a “body and a thing, person and the world” (Ellingson, 2012, p.245), ultimately as a mere perceptual exchange. In practice, we enact this as a part of our daily life and as these sensations accumulate over time they form a somatic history and evoke a sense of emplacement. Furthermore revealing the extent to which our senses are entangled with our habits and routine.

What we had gathered from assigned readings then prompted us to further research said ideas independently, we particularly had similar questions to Kilpinen, which he had  explored within his article Human Beings As Creatures of Habit. He infers that a habit can never be acquired merely by one instance, yet that the agglomeration of individual actions one by one is what truly constitutes a habit. He argues that a repetitious behaviour was a previous action in which was executed as a stream of contemplated interventions. If an action it is repeated often enough it tends to assume a self-propelling character, this self-propulsion leaves little time for rumination as it operates automatically, thus the custom no longer requires said contemplation. Empirical psychology discovered the phenomenon of conditioning and Kilpinen asserts that this evidence further supports his view about habit as a mechanical compulsion that easily becomes a part of our bodily experience and routine. He suggests that it is due to this that habitual repetition takes the reins so quickly and easily and we as humans so comfortably invite this process upon us in order to seek a sense of emplacement. Kilpinen refers to our behaviours as self-propelling and repetitive in nature, he is one of those who explicitly call the human being a creature of habit. Ultimately, I believe that a better understanding of our bodily experience (why we act as we do) can function as a self-actualising force, these explored ideologies of repetition/ habit are quite closely aligned with more significant concepts of sensuality and our ‘enacted bodies’ that require further exploration in future work.  

In regard to the exhibition, we considered varying ways of which viewers may engage with our work. Yet after careful consideration, we found that perhaps the most promising manner of which we exhibit our piece would take on a much more minimal approach. In saying this, we figured that any extra methods of viewer engagement would be unnecessary. From attending the Melbourne Museum’s exhibition Gut Feelings and my own vast personal experience of exhibition space, I have learnt that there is such a large array of ways one can present their work. I found that all work is exhibited with purpose and in such a way that intends to evoke a certain response from viewers. Exhibition design embodies all forms of audience engagement such as interactivity (both tactile and non tactile), lighting, space, audio visual components, digital technology, graphics, text and typography. We intend to exhibit our work on-screen (with no particular preference of whereabouts in the room it is to be played) and viewers (most notably) will watch the film with earphones. This is an imperative element of the viewing experience as audiences will feel a sense of immersion due to the use of earphones. Earphones tend to ensure that listeners only hear what is intended as they block out any unwanted background noise from the exhibition space. This will also help enhance the feeling of ‘being in a body’ that our piece intends to explore as viewers will better hear and feel engrossed within the carefully constructed soundscape. 

As I have discussed previously, different mediums merely replace one illusion of reality with another, the divergence of these realities can result in differing impressions and emotional resonance with viewers. Thus, when exploring separate mediums I had learnt a great deal about their affordances and in what way said affordances can affect those in which engage with the piece. Film allows for a more comprehensible execution in which other mediums may not able to accomplish in the same manner. It tends to be a more ‘exposing’ medium as it has the potential to show audiences what is occurring in its entirety. In utilising film I am able to quite literally ‘show’ audiences said imagery and utilise other elements (such as sound) as an accompaniment. Conversely, exclusively exhibiting audio most definitely has an alternate effect on audience engagement. Audio allows for viewers to make assumptions as visual cues are removed, this allows for a closer, more immersive engagement with the audio. Context is not provided, therefore, this prompts viewers to make their own personal assessment of what may be occurring. Ultimately, I had found that utilising both modes in harmony seemed to be the most advantageous option. 

In addition, we will also be including a small plaque beside the screen of which our film will be played (or perhaps a small piece of paper) that states the creators names and a brief synopsis/ blurb of the film. This short text is an important accompaniment to our creative work as it will provide viewers with ample context, yet not reveal the entire narrative. In addition, this will also act as a tool to seize the attention of onlookers and evoke interest. 

My understanding of embodiment, embodied knowledge, media and bodies have most definitely transformed as this semester has progressed. All of the required tasks and readings have been very insightful and urged me to consider things that I likely never would have otherwise, which truly demonstrates the benefits of exploration and experimentation. I don’t know if I can quite suggest that there has been a change in my ideas of embodiment and embodied knowledge, as I had no previous awareness of its existence. Furthermore, this is a newly discovered and recently developed concept that I am only now able to grasp. Moreover, these concepts are centered upon the “bodily experience” of our “bodies in practice” (Ellingson, 2012, p.245), which is an act where everyone participates, however, people do not typically consider such things extensively. Embodiment is a valuable ideology to consider as our existence is grounded in said “bodily experience” (Ellingson, 2012, p.245), and attending not only to the body ‘we have’ yet also the body ‘we are’ requires knowledge from the inside, self-awareness. We exist as both a “body-within-mind and mind-within-flesh” (Waskul, Vannini & Wilson, 2009, p.7), whereby our “sensations and sense-making body forth a sensuous self: a performative, reflexive, perceptive, embodied being-in-the-world” (Waskul, Vannini & Wilson, 2009, p.6) a natural process which occurs with little to no thought. I believe that an understanding of embodiment can function as a self-actualising force, so throughout my work I had attempted to heighten this personal concept of self-awareness. Hopefully this will result in viewers furthering their own understanding of embodied knowledge.

At the beginning of the semester I believed this process to be quite simple, however, I promptly learnt that the body we do is “a complex configuration” (Mol & Law, 2004, p.57) where in practice we enact this as a part of our daily activities, we “do our bodies.” (Mol & Law, 2004, p.57). Perhaps our understanding of embodiment is so simple as it is a mere unconscious behaviour that we all practice daily. However, throughout this semester my understanding of the ‘enacted body’ has developed quite a great deal as I continually explored these notions within my work. Particularly, the body of work that I had created centres upon notions of intimacy and closeness, as our bodies do not exist merely within isolation, yet that they interact and potentially even merge with surroundings. This unwavering sense of closeness causes us to “feel among them” (Mol & Law, 2004, p.53) as the boundaries that subsist between the body-in-practice and its environment are in actuality penetrable. Ultimately, this semester I was prompted to look closely into what truly is bodily experience and most notably, how/why may it act in relation to its environment. 

BIBLIOGRAPHY 

Waskul, D D, Vannini, P, & Wilson, J (2009) The Aroma of Recollection: Olfaction, Nostalgia, and the Shaping of the Sensuous Self, The Senses and Society, 4 (1), 5-22.

Ellingson, L. L. (2012). Embodied knowledge. In L. M. Given (Ed.), The SAGE Encyclopedia of Qualitative Research Methods (p. 245).]

Seremetakis, CN (1994) ‘The Memory of the Senses, Part I: Marks of the Transitory’, The Senses Still: Perception and Memory as Material Culture in Modernity Routledge, London: 1-18

Mol, A. and Law, J. (2004) ‘Embodied Action, Enacted Bodies: the Example of Hypoglycaemia’, Body & Society. Sage PublicationsLondon, 10(2–3), pp. 43–62.

Kilpinen, E. (2012) Human beings as creatures of habit.

WEEK #12 BLOG POST 

Which of the editing tips/techniques from this week’s videos is your group making use of in your final media work? What are you hoping this will evoke in an audience member?

How is your group planning to set up the work for exhibition? How will this help enhance the feeling of ‘being in a body’ that your media work is exploring?

I very much enjoyed this week as post-production is in actuality my favourite stage of film production. I had also learnt a great deal, particularly in regard to Peter McKinnon’s video on audio and SFX editing. The largest takeaway from that video would be getting creative with sound effects, whereby I don’t only need to utilise my own audio recordings yet I can also take from external sources (with permission of course). 

We intend to give a significant amount of attention to sound editing as it is a very important mode to this piece. Audio has the potential to be a very evocative tool as you are truly able to immerse yourself within it and we would like to harness this experience for our forthcoming piece. In saying this, we will experiment with altering volumes, selecting some pieces of audio to be heightened, ultimately causing some sounds to be more salient than others. Henceforth, differing sensations can be better noticed due to how they are organised collectively.

For the exhibition, we intend to exhibit the work on-screen (with no particular preference of whereabouts in the room it is to be played) and viewers (most notably) will watch the film with earphones. This is an imperative element of the viewing experience as audiences will feel immersed within the film due to the use of earphones. Earphones tend to ensure that listeners only hear what is intended as they block out any unwanted background noise from the exhibition space. This will also help enhance the feeling of ‘being in a body’ that our piece intends to explore as viewers will better hear and feel engrossed within the carefully constructed soundscape.

WEEK #11 BLOG POST 

How did your group try to use perspective and/or depth of field in both the video footage and sound footage?

What did you discover through this exercise?

How might your group use these discoveries in the work you’re producing for the exhibition?

What are the next steps for your group work following the consults in class on Friday?

Upon the beginning of this exercise I was honestly left a bit confused, this is something that I had not considered before, which is what I enjoy so much about these weekly exercises, that they urge me to think and explore new practices. Needing to consider varying shot sizes with different camera angles in relation to sound depth was quite interesting. In addition, thinking about the distance from the source of the sound, the sound/noise ratio and how these might help evoke the experience of being within the body was found to be quite a beneficial exercise. Focussing on sound in relation to space bettered the viewers understanding of volume/ capacity and the experience of a body move and interact within that. 

Regarding how we may utilise these discoveries for the work we are producing, we intend to focus quite heavily on sound production. In addition, learning of these new techniques will help with how we will focus on sound yet in relation to space/ environment. 

The next step for our group following what we had discussed in our consults is primarily our organisation. We’ve conceptualised, narrowed down an overarching theme, constructed our narrative and now we need to organise a shot list and shooting timetable. We are finding it quite difficult to align our schedules, however, we are trying our very best to make it work. 

WEEK #10 BLOG POST 

What did you discover that texture might evoke in the different media modes? What are the similarities and differences with what texture evokes in video and sound work?

How might your group make use of texture in either video or sound in the media work you are making for assignment 4?

What concepts has your group drawn from the earlier course readings to use or explore in the exhibited work for assignment 4?

What are your group’s next steps for making towards assignment 4?

This week I had particularly learnt that expressing texture in film is a very powerful and evocative technique. I found that we are very sensitive to textures and we are quick to identify textures when they are suggested. Portraying certain textures through surfaces and feelings is a very evocative tool that harnesses a very strong emotional resonance. In saying this, as our minds quite quickly form associations when prompted, I found this fairly easy to enact regardless of medium, however, there were some differences. 

Film tends to be a more ‘exposing’ medium as it has the potential to show audiences what is occurring in its entirety. Thus, textures were fairly easy to portray as I was able to quite literally ‘show’ audiences said textures and utilise other elements (such as sound) as an accompaniment. Moreover, I found that exclusively recording audio to explore texture was also fairly easy, however, had an alternate effect of viewer engagement. Audio allows for people to make assumptions as visual cues are removed, this allows for a closer, more immersive engagement with the audio. Context is not provided, therefore, this prompts viewers to make their own personal assessment of what may be occurring.

Interestingly, what I hadn’t explored was portraying textures with the absence of sound. This exercise has truly shown me the importance of audio, so much so that visual stimulus can be completely removed, however, viewers will still grasp a sense of texture purely from sound. 

What I have learnt from this exploration and what I will likely implement into our forthcoming piece would be how closely intermingled sound and the experience of texture truly is. For our film, audio recording will be a big priority of ours, in addition, perhaps in post-production, we may heighten, layer, place effects on particular sounds to better evoke a sense of texture. 

Referring to earlier course readings in which we intend to draw from for our fourth assignment, we are looking further into the academic work of Waskul, Vannini and Wilson regarding the Aroma of Recollection and also the work of Mol and Law concerning Embodied Action and Enacted Bodies. Most notably, these academics suggest that our existence is grounded in our “bodily experience”, where we subsist as a communication between a body and a “thing”, person and the world, ultimately as a mere perceptual exchange. In practice, we enact this as a part of our daily life and as these sensations accumulate over time they form a somatic history and evoke a sense of emplacement. Furthermore revealing the extent to which our senses are entangled with our habits and routine. At this stage, we are narrowing down potential narratives most related to our said intended themes. 

 

WEEK #9 BLOG POST 

What things need to be considered when working collaboratively (hint: refer to how your group approached the group collaborative contract)?

How did your group consolidate some of the feedback and suggestions from the pitch session?

How has this helped develop your group’s work?

When working collaboratively, I had learnt that when there are more individuals involved within a project, there are more schedules that require alignment, thus a large amount of organisation is required so that all can work cohesively for the conceptualisation, pitch, and ultimately for the shoot. 

We found the collaborate contract to be very helpful in sharing with one another what we had to contribute both creatively and technically. Particularly, what we found to be most important was outlining our objectives which was something that we were already working on, however, taking notes independently then coming together and sharing our ideas was found to be very beneficial. I truly enjoy collaborative work as I am always introduced to new methodology and the collaborative contract highlighted these personal differences. It was also very helpful going through some organisational components such as how we intend to keep in contact with one another, what to do if any issues arise, etc. Yet most importantly, when working collaboratively what needs to be considered is exploring ideas together, rather than independently. In saying this, being open-minded and always willing to listen to others is imperative for harmonious collaborative work. 

In addition, our group learned quite a considerable amount from the pitch session. Most notably, that we should consider embracing the (initially believed to be) boring nature of repetition and due to these comments, we looked further into something that was initially overlooked, exploring a more simplistic approach.

WEEK 7

weekly task – https://drive.google.com/open?id=1Jpmr46xJto_zqSlmaHgoPZ7nNXLbcx_p

What did your group explore using space in frame?

Within this short film we explored a sense of entrapment through the sense of space… rather lack thereof. We wanted to evoke a sense of sadness through the gritty, dark interiors of this space. I filmed keeping this prompt in mind, I wanted to exhibit the space are bleak, unchanging and constricting. In order to achieve this, I employed varying static close up shots of the space and Rebekah within it, in addition, I also positioned her within small portions of the frame in order to make her seem reserved and timid. 

What did you explore using colour in frame?

The selected environment itself lacks in colour, however, within post-production I decided that in order to enhance this pre-existing ‘aesthetic’ I lowered the levels of saturation and exposure. In doing this, I was able to create a more monochromatic appearance which was a nice accompaniment to what we were wanting to achieve conceptually through this piece. 

What ideas/questions did you decide to research?

We wanted to research concepts of how we as individuals interact with the spaces around us within our daily life (through repetitive behaviours) and how this affects our emotionality.

DEVELOPMENT 

How does the light and weather change what we see? As the weather transforms and will evermore continue to do so, we are immersed within it. Us, the landscape and it’s perpetually changing form is hard to tease apart, henceforth, we feel among these changes. Upon closely considering this notion, I had figured that as the weather is a mere “experience of light” and that “as the weather changes, so does the look and feel of the world we inhabit,” our perception of the world can be altered by said natural forces. When wanting to portray this on-screen, I exhibited the very intimate association between the weather (thus light) and its effects on emotionality. In doing this, I depicted a very personal space where I most primarily reside and (through narration) suggest how the amount of light that I allow into this space can truly form the way in which I feel and think.  

The first thing I think about when I wake up is hot coffee, not merely hot coffee, however, also a slice of raisin bread smothered in butter. Most of my mornings I will move through this space, interact with various objects and this exchange will produce differing sounds. The merging of these sounds make up the soundtrack of my mornings. Upon the conception of this piece, I had intended to plunge viewers within the very intimate space and activity of making oneself breakfast. I had chosen to utilise photography as my medium of choice in order to challenge myself creatively. How could I possibly portray a sense of movement through a mere gathering of still images? Furthermore, I wanted to primarily focus upon audio exploration so I had attempted to illustrate this sense of motion via the sounds in which these interactions would produce. A sense of process and progression is clear yet viewers do not see the act, moreover, they understand the sounds and still images, I wanted audiences to be able to visualise the movement and interactions within this space solely from the sounds heard. 

The act of wearing and walking in high heels is performative, a performance in which we feel compelled to play. An illusion of stability and composure we wish to embody as we step, spin and glide, it is a shoe of events. However, unable to move slowly, fluidly or gently, I am utterly hopeless. Within this piece I had attempted to portray an experience in which lacks stability, whereby the mere change of footwear can transform a hard, flat surface into a wavering, faltering and irregular trudge. When wearing high heels we attempt to give our best performance of both figurative and literal balance. I wanted to exhibit this on-screen and planned to do so through the utilisation of steady and repetitious camera work which is quite a contrast from the intimate struggles of unsteadiness experienced while walking in high heels, where we attempt to portray the best possible illusion of our ‘balanced’ selves to onlookers. 

REFLECTION 

This body of work truly centres upon notions of intimacy, closeness and emotionality, I found that upon the conclusion of my previous three pieces there was an unintentional and perhaps more implicit display of said themes. Furthermore, I had decided to tap into these preceding themes and motifs for my forthcoming pieces in which are then to be artfully strung together as a collection. The varying use of iconography and aesthetics such as the darker, sombre utilisation of low-key lighting, frequent panning and dutch tilts used in order to portray the psychological uneasiness and the use of very private spaces such as a bedroom which is not a location that is necessarily rich in composition or visual texture. I wanted to further explore this notion of intimacy as our “sensations and sense-making body forth a sensuous self: a performative, reflexive, perceptive, embodied being-in-the-world” (Waskul, Vannini & Wilson, 2009, p.6), as we exist within this world our active bodies are not merely isolated. I wanted to explore this notion of inherent closeness within my body of work as existing boundaries of the body-in-practice are somewhat permeable, we move through spaces and interact we “partially merge with our surroundings” (Mol & Law, 2004, p.53) whereby we feel among them.

As I had discussed previously different mediums merely replace one illusion of reality with another, the divergence of these realities can result in differing impressions and emotional resonance with viewers. Thus, when exploring separate mediums I had learnt a great deal about their affordances and in what way said affordances can affect those in which engage with the piece. Film (which is predominantly my medium of choice) allows for a more comprehensible execution in which other mediums may not able to accomplish in the same manner. However, what occurs when this sense of moment is removed? Within my fifth portion of the collection, I had chosen to utilise photography in order to experiment with quite an unfamiliar methodology. How could I possibly portray a sense of movement through a mere gathering of still images? Furthermore, I utilised these images in conjunction with varying diegetic sounds (the use of audio is also quite foreign) in order to illustrate this sense of motion via the sounds in which these interactions would produce. I feel as if I was able to successfully portray this sense of progression and motion through still images when accompanied by sound. In addition, when creating media for this body of work I looked to utilising methodology in which I found to work successfully within its predecessor such as experimenting with altering volumes where I purposefully selected some pieces of audio to be heightened, this ultimately caused some sounds to be more salient than others, in doing this, differing sensations can be better noticed due to how they are organised collectively.

Overall, I am very pleased with the outcome of these three works and their contributions to the collection. I feel as if these pieces have been much more successful in conception and execution than its predecessors, which truly demonstrates the benefits of exploration and experimentation. Thus, through the making of these pieces, I have learnt a great deal, I have especially learnt a significant amount from classmates and my tutor, I am so appreciative of all the constructive criticism in which I had received and I definitely have a lot to learn in order to improve my skills as a creator. Most notably, I was prompted to consider not moving the camera frame quite so often as it may be disorientating, this was a feeling that I wanted to evoke from viewers however to an appropriate degree. In retrospect, I can recognise that I was very heavy-handed with this particular stylistic effect whereby it was not needed and in fact quite unpleasurable to engage with. This criticism has allowed me to improve myself as a media creator as it has provided me with insight on something that I had not noticed myself. Furthermore, for these more recent creations, I have employed this visual technique however to a much lower, more appropriate degree which I found to work quite well. What perhaps didn’t work so well was the utilisation of static shots within the sixth portion of the collection. For this weekly task, there were in fact parameters of which limited myself creatively, however, prompted me to try new techniques. Techniques such as the lack of camera moment (which is not a visual effect that I quite often exercise) truly tested my skills as a creator. I feel as panning/ zoom/ tracking shots conjures a lingering curiosity and enticement, however, I needed to evoke such interest yet with the lack of a clear movement/ progression. I gave it my best attempt yet I do not know how successfully I executed this. 

Through producing this collection of work my understanding of the ‘enacted body’ has developed quite a great deal. Upon conception, I looked further into notions of what is a body and what is a body in relation to space, in order to embed these ideas within my work. “The body we do is neither a whole nor fragmented, instead it has a complex configuration” (Mol & Law, 2004, p.57) whereby in practice we enact them as a part of our daily activities, we “do our bodies.” (Mol & Law, 2004, p.57). Attending not only to the body ‘we have’ yet also the body ‘we are’ requires knowledge from the inside, self-awareness. I had attempted to heighten this personal concept of self-awareness through my varying media pieces, ideally resulting in viewers bettering their own understanding of the “body they do” (Mol & Law, 2004, p.57). 

In conclusion, some concepts in which I would like to explore further within group work for future activities would be most notably my preliminary ideas of closeness and intimacy. I believe that it is very important to address these ideas as they are closely aligned with more significant/ bigger concepts of sensuality and our ‘enacted bodies’, as they too very much relate to personal and private experiences.

FINAL COLLECTION : https://drive.google.com/open?id=1k6lnrZNPyM54-G10B50BIdk_OrqGkvnz

LINKS TO BLOG POSTS :

#4

#5

#6

The first thing I think about when I wake up is hot coffee, not merely hot coffee, however, also a slice of raisin bread smothered in butter. Most of my mornings I will move through this space, interact with various objects and this exchange will produce differing sounds. The merging of these sounds make up the soundtrack of my mornings. Upon the conception of this piece, I had intended to plunge viewers within the very intimate space and activity of making oneself breakfast. I had chosen to utilise photography as my medium of choice in order to challenge myself creatively. How could I possibly portray a sense of movement through a mere gathering of still images? Furthermore, I wanted to primarily focus upon audio exploration so I had attempted to illustrate this sense of motion via the sounds in which these interactions would produce. A sense of process and progression is clear yet viewers do not see the act, moreover, they understand the sounds and still images, I wanted audiences to be able to visualise the movement and interactions within this space solely from the sounds heard. 

Some notes about what I discovered about the relationship between sound, physical space, and movement:

• Due to my somewhat limiting medium of choice, I had discovered that a sense of process and progression can be present at the absence of visual movement. Within this piece viewers do not see the action, however, I feel as if they are still able to understand that movement is taking place. I wanted the audience to be able to visualise the interaction and movement within this space solely from the sounds heard and still images. 

Some notes about what worked well and what didn’t work quite so well:

• I thoroughly enjoyed the creation of this piece, I had chosen to utilise photography in order to experiment with quite an unfamiliar methodology. I utilised these images in conjunction with varying diegetic sounds (the use of audio is also quite foreign) in order to illustrate this sense of motion via the sounds in which these interactions would produce. I feel as if I was able to successfully portray this sense of progression and motion through still images when accompanied by sound.
• What perhaps didn’t work so well was the quality of the images, I do not have a very good understanding of camera settings in regard to photography, thus during production, I struggled and was not as efficient as I could have been had I been more knowledgeable in terms of photography. 

 

https://drive.google.com/open?id=1k6lnrZNPyM54-G10B50BIdk_OrqGkvnz