Everyday Media

An everyday blog about media by everyday blogger Louise Alice Wilson.

Tag: Media 1 (page 3 of 5)

Blog Affordances Afford…

What are the affordances of blogging? Or in other words, what are the specific and unique attributes of blogs? This was the key question brought up at this weeks lecture by Rachel Wilson, and it’s an extremely important question given that the answer contains what motivated the course to encourage blogging in the first place. Before we look at the affordances of blogs, let’s first look at common features of blogs and how these features add to the overall abilities and impacts of blogging.

Common features of blogs:

  • Blog name: personalisation, communication of potential topics and overall vibe.
  • Blog roll: links to outside blogs, creates community connections and directs viewers to specific spaces.
  • Post heading: personalisation, communication of potential topic and vibe.
  • Categories: organisation of ideas, defines key topic areas.
  • Date & time stamp: lends itself to connection between producer and viewer.
  • Archived by date: lends itself to documenting process and progress.
  • Ordered reverse chronologically: up-to-the-minute info, encourages viewers to check the blog regularly.

Affordances of Blogs:

  • Comments & Interlinking: encourages relationships between content producers and content viewers, allows for sharing of information and expansion or diversion of topics.
  • Networking & Connection: a space for peer support, learning & interactivity.
  • Range of voices: professional, personal, informal, scholarly. Promotes personalisation and freedom of expression.
  • Up-to-the-minute info: lends itself to exploring daily topics, current ideas and new inspirations. Encourages faster and greater engagement between producer and viewer.
  • Brief posts: encourages higher post rate and greater engagement with each post.
  • Content Control & Freedom: posts can be as silly and specific or as broad and meaningful as the poster desires. Encourages exploration of non-typical topics, extraordinary ideas and alternative thought.
  • Document progress: record of achievement, literal time capsule of ideas, tastes, thoughts, inspirations and work.
  • Multiliteracy development: complexity of the medium, lends itself to complexity of understanding and engagement.
  • Embedding: link ideas, inspirations, references influences through various mediums such as  images, texts, sounds, videos etc. Encourages audience engagement, greater audience understanding and adds vibrancy and personality to a post.
  • Accessibility: Accessable to anyone with an internet connection, boosts potential impact and overall versatility.

Keeping the affordances of blogs in mind, will ultimately lead to better blogging, as the affordances of blogs are what make blogging dynamic and impactful.

Catch you later, Louise Alice Wilson

Blue

University students are a funny bunch of people. For the most part, they’re a funny mix between adult and child. We’re in that halfway stage between; home & moving out, amateur & professional, easily distracted & focused and exploring what we want and finding out. In ‘BLUE’ I attempted to explore this tentative balance between the considered, focused university student and the sociable, explosive and random inner kid. A link to the video can be found below:

BLUE from Louise Alice Wilson on Vimeo.

Catch you later,

Louise Alice Wilson

 

 

Donnie Darko Explained:

Donnie Darko wasn’t my first taste of textual analysis, but it certainly was one of my favourites. After analysing this film in year 11 media I’ve never got it out of my head, I was contemplating a tattoo at one stage.. who’s kidding, i’m probably still contemplating getting a Donnie Darko tattoo. But the point is.., that textual analysis does not ‘ruin’ films for people, textual analysis can often ‘make’ a film, or for me, add to the already impressive allure of the film.

Donnie Darko in general is about a ‘troubled teenager’ (Donnie) that narrowly escapes death when a jet-engine crashes into his bedroom, by following a giant Bunny rabbit named Frank outside. Frank proceeds to tell Donnie that the world will end in 28 days, which causes Donnie to go on a series of adventures investigating the possibility of Frank’s claims.

This sounds simple enough? weird. But simple enough, right?

Wrong.

For a film that was directed by 26 year old, first time director Richard Kelly the film is incredibly complicated, well at least to the uninitiated viewer. The surprising thing about this though, is that many people who end up watching the film, and not understanding ‘what the film is about’, still say that they love the film? In fact the confusing aspects of Donnie Darko seemed to be Donnie Darko’s greatest strength, making it the biggest film of Richard Kelly’s career and a major cult classic.

But how many ways are there to read Donnie Darko? Well if your an open-minded person, you’d say there’s a million + but if your focus is on summation then i’d say that there are three major ways to read Donnie Darko:

  1. The Time Travel Hypothesis
  2. Schizophrenia
  3. The Looping Tangent Universe

and of the course, the forever tacky

4. It was all a dream

but that explanation sucks, so I’m omitting it.

Note: The explanations of these films will make no sense whatsoever if you haven’t seen the film, though I think without seeing the film it would make for some funny reading, so maybe read it anyway?

Time Travel Hypothesis Explained:

The film Donnie Darko exists in a ‘tangent universe’, where there is a ‘tangent universe’ there is an ‘artefact’, in this case the ‘artefac’t is the jet engine of the airplane that crashes into Donnie’s room at the beginning of the film, that was meant to kill him, but didn’t because Frank woke Donnie up. Throughout the film Donnie acts as a ‘living receiver’, which is the person who is chosen at random who’s mission is to guide the ‘artefact’ out of the ‘tangent universe’. The living receiver is blessed with supernatural powers, thus explaining Donnie’s ability to control elements like water and fire as well as his incredible strength which allows him to axe chop a metal pipe within the film. Even though Donnie is the living receiver, he is not aware of this, he also not immediately aware of his ‘goal’ nor of ideas regarding the tangent universe and artefacts etc. until he accumulates knowledge from various sources such as the philosophy of time travel book, the manipulated dead and the manipulated living. The manipulated dead (Frank and Gretchen) are people who die within the tangent universe that are connected to the living receiver, thus allowing them to guide Donnie with their knowledge of the impending disaster. The manipulated living are people connected to the living receiver that subconsciously help guide the living receiver.

This Donnie essentially goes throughout the film attempting to understand Frank’s claims, understand the concept of time travel and eventually understand what he is being shown by the philosophy of time travel book, the manipulated dead and the manipulated living in order to deal with the impending end of the world in 28 days. By the end of the film Donnie becomes aware of how to guide the ‘artefact’ out of ‘tangent universe’ thus ensuring that the primary universe be reinstated.

Schizophrenia Explained:

Within the film it is implied that Donnie is schizophrenic (Donnie’s medication and visits to psychologist) and thus assumes that the major plot driver of this film, Frank, is simply a hallucination caused by Donnie’s illness. This theory is plausible as all major aspects of the film could be attributable to this, however it was most likely added by Kelly as a red herring to allow first time watchers to still enjoy the confusing film.

The Looping Tangent Universe Explained:

This theory very much follows the philosophy of time travel hypothesis but with one major change: the tangent universe is created every 28 days then it collapses, looping back to October 2nd then starting all over again. This posits the tangent universe as a time loop that can only end when Donnie is successful at returning the jet engine into the primary universe. This suggests that our viewing of Donnie Darko is simply Donnie’s first successful attempt at ending the time loop, however there have been many failed previous attempts. Aspects of the film that point to this hypothesis include Donnie laughing at the beginning of the film, suggesting he is remembering something from the previous tangent universe loop and the fact that characters Mrs Pomeroy, Grandma Death and Dr Thurman all seem to have inside knowledge about what is going on.

To sum up:

These alternate readings of Donnie Darko  are the perfect example of the beauty of textual analysis, within textual analysis you often subconsciously or consciously impress your own ideas onto texts, it’s hard to escape this as thought formation is innate and will ultimately underlie the choices and perceptions you make and have in life. However maybe seeing an element of yourself, or reading into a text in a unique way is not always negative but explains why media can have such a strong emotional impact on viewers. For me, the multiple ways to read the film, as well as the individual way in which I read the film only added to my interest and respect for the film itself, thus I think textual analysis can be a wonderfully personal and beautiful thing.

To finish, here’s one of my favourite scenes from Donnie Darko:

Catch you later, Louise Alice Wilson

The Hitchhikers Guide To The Galaxy

The Hitchhikers Guide To The Galaxy 

Alan McKee’s Guide To Textual Analysis

Alan McKee, an Australian Creative Industries university professor at the University of Technology Sydney  has written a handy beginners guide to textual analysis.

Textual analysis is an attempt to predict what the most likely interpretations of that given text would be, through gathering and analysing information from associated academic research.

Although McKee acknowledges that textual analysis often gets distracted by assumptions about ‘correct’, ‘accurate’ or ‘realistic’ interpretations, he does consider it an important tool to discern viewers interpretations and understandings of media texts, when these assumptions can be avoided.

Without further ado here’s Alan McKee’s guide to textual analysis, or rather a much simplified version of Alan McKee’s guide:

1. Choose your topic of interest.

2. Make your question more specific.

3. List texts relevant to this question from your own experience.

4. Find more texts through academic and popular research.

5. Gather these texts.

6. Watch each example, note how particular textual elements work in each (relationships, character development, story arc involvement).

7. Watch other programs in the same genre to see how they work.

8. Understand the wider semiosphere (world of meaning) as you can, to get a sense as to how these texts fit into the wider context.

9. With all this in mind, return to the texts and attempt likely interpretations of them.

Alan McKee’s guide provides a wonderful simplification of the textual analysis process, which will be extremely helpful throughout this degree. McKee manages to avoid assumptions of viewer ability or level of understanding as a mediating factor for viewer capacity to analyse content, which is wonderfully refreshing as it accepts all viewers as potential analysers.

Catch you later, Louise Alice Wilson

 

References

McKee, Alan (2001). A beginner’s guide to textual analysis. Metro Maga- zine, pp. 138-149.

wwwww.interview

Louise Turley gave a great lecture on “The Art of the Interview: The 5 W’s” so I decided to use it as a template  to guide me before, through and after my interview:

WHO?

1. Do they have something to say?

Yes, they have a lot to say, often too much. So i’ve ended up editing a lot of it out in order to stick to the criteria. I have found though, that I can help direct them in the right direction and keep their answers brief if I guide them on what is most relevant.

2. Are they credible?

Yes, they have years of experience as a musician, a teacher and a lecturer and they’ve also completed an undergraduate and are currently completing their honours on the same topic.

3. Can they deliver on camera?

If i’m supportive, provide the right energy and can prompt them in the right direction, then yes.

4. Are they good ‘talent’?

Yes. Sometimes too good. They play multiple different interests, so there’s almost too much good material.

5. Who is my audience?

My class members and anyone with a general interest in music or short expository films.

 

WHAT?

1. What are you going to ask them?

  • When did you start playing music?
  • Where did your parents meet?
  • What instrument did your dad play?
  • What instruments do you play?
  • What do you love about these instruments?
  • What do you love about playing music?
  • What do you love about music in general?
  • What are your favourite types of music?
  • What types of music do you play?
  • How did you get into Jazz?
  • How did you get into Ethiopian Jazz?
  • Why are you controlling your honours thesis on ethnomusicology?
  • How was your recent tour of Africa?
  • What was the best part about playing with Ethio-Jazz legend Mulatu Astatke?

2. Research – reading, speaking, observing:

I’ve known this person for a long time, so I know a lot about their musical history, experience and interests.

3. Write questions: simple, as short as possible, open ending, check wording (bias).

Check. As seen above.

4. Practise

Check. I wrote out a list of potential questions prior, informed my interview subject of them, then conducted a rough interview. After the first interview I conducted a second interview, that was informed by the positive and negative parts of the first interview. This gave the video short an overall clarity and level of professionalism it may of not otherwise had.

 

WHERE?

1. Location – home? work? other? why? permissions?

At-home recording studio, M.E.S.S Studio, The Horn Ethiopian Cafe & various street locations.

2. Things to think about: light (is there enough), sound (background noise, interruptions), background (what does it say, will it change, artworks).

All four locations have interesting light, the first two are well suited to sound recording, with the latter having a decent amount of background noise, the background in all four locations are dynamic and engaging.

 

WHEN?

When you are interviewing your subject remember:

1. Brief the subject: clothing, questions & answers, repeat your question in their answer.

Non-disruptive t-shirt, and comfortable everyday clothing, that represents the interviewee. Subject briefed on questions and was great at repeating the question in the answer.

2. Maintain eye contact

Check.

3. Listen (use nods and facial expressions not ‘uh-huh’s and mmm’)

Check. I followed this advice explicitly during recording and I’m glad I did because I heard a lot of other people spent a long time editing out mhmm’s and yeah’s.

4. Be flexible/adaptable

Check.

5. Be respectful and show empathy

Check.

6. Stay focused

Check.

7. Be quiet. It’s not about you!

Check. Can hear my breathing in some takes. Creepy. Right? Haha. I didn’t end up using these takes of course..

 

WHY?

1. Why did I interview this person?

Because they are interesting and obscure.

2. Why was the interview good/not good?

Good: I learnt new things and explored someones passion/obsession which was fun.
Bad: Learnt how long it takes to put together even a short piece of video.

3. Why did I ask this question instead of that one?

Generally speaking, because it was more specific and would more likely explore what I wanted covered.

4. Why did they respond in that way?

Generall speaking, because that is there general understanding and experience.

5. What did I learn from this interview?

  • How to be a better interviewer.
  • How to pick out the good from the bad.
  • How to encourage an interviewee to give better, more fleshed out responses.
  • How to construct a narrative from random pieces of footage.
  • How precious light is.

Catch you later, Louise Alice Wilson

RMInTerview

The main reason we do workshop activities is to improve or skill, or to be exposed to new concepts and technology that we may have never encountered before. This was definitely the case for this weeks workshop, I could feel my brain doing things it had never done before. For this weeks workshop we had to do conduct an interview with a fellow student about a particular topic area, ours was: What I like about RMIT city campus. For my interview I was partnered with Jocelyn – http://www.mediafactory.org.au/jocelyn-utting/ – we had a pretty great time together and managed to complete the entire activity.
The first problem we faced was finding a suitable location for the interview. We decided to head to building 80 to find a nice quiet place, to ensure our audio wouldn’t be tainted by other sources of audio. We managed to find a quiet room and began recording pretty quickly. I decided to be the interviewer and Joss decided to be the interviewer, which makes sense as she’s a great talker with a bubbly personality.

Quite quickly we managed to come up with some great questions and some interesting responses. We had some pretty successful recordings for the formal interview, the most successful actually being the first one. The audio for the formal interview can be found below:

For this first interview we placed the microphone close by on a table situated between myself and Joss, we did a test run for the levels, making sure that weren’t clipping then we began recording. We listened back after each take to ensure that the levels were a-okay and that there were no interfering sounds. Overall it was quite easy to achieve good sound quality, as the space was pretty well suited towards it. We then decided to leave the quiet room and interact with the campus to obtain interesting soundscapes for the non-formal interview.

To obtain interesting soundscapes we decided to conduct the interview while heading towards the elevator, to continue the interview while inside and to continue it further once we were out on another level. We thought this was a great way of making the campus, it’s accessibility and great design a physical element of our production. It also gives a great feeling of movement, energy and lax attitude that matches with the vibe of us and other university students. We wanted it to feel like a recording done by uni students for uni students and we think this was achieved. Our most successful recording for the non-formal interview was the second one, but I combined elements from the other recordings to round it out and to use certain lines that I preferred over others. The audio for the non-formal interview can be found below:

For the second interview it was slightly harder to get good clean sound as we were going around and talking. The background audio (i.e. general hum of noise in the background) varies slightly when changing from outside the elevator to inside the elevator, to outside again mainly because of the acoustic differences in the spaces as well as the number of sound sources present. It’s also harder to keep the mic at a similar distance from myself and Joss as we were both walking, thus bobbing around. Overall though I think we managed to get a pretty good recording and I really liked the sound of students and general campus sounds in the background. It helps to underline the premise of the interview as well as clearly distinguish that we are in fact at the RMIT campus.

Catch you later, Louise Alice Wilson

Why I Became An Art Blogger

It’s always interesting to read back on why people do things, especially people who end up making a career or a fortune out of the seemingly benign choices they make. Thelma Schoonmaker, the film editor whom my previous post was about was one of those people; she got into editing after seeing an ad in the New York Times. I’m in no way suggesting I’m going to make a fortune, nor that I’m a Thelma Schoonmaker in the making, but I certainly do make a lot of benign choices.

Art blogging, for me, was one of those benign choices. I made the decision to start an art blog very randomly, so randomly I’m not even sure where the idea came from. At the time I had been studying a bachelor of psychology for about two years and found myself interested in the subject, but underwhelmed with the lack of creative ideas and media I was being exposed to.

I’d always been interested in art and most creative mediums, often recording music or taking photographs on the side. But the pages and pages of white and black scientific journal articles must have got to me, because I found myself yearning for splashes of colour, moving imagery, challenging concepts and undefinable ideas. The next thing I knew I had started an art blog aptly titled: Artistic Expansion and I began spending hours a day searching through the internet for content, often finding my best pieces in the most random places, often not even defined intentionally as ‘art’.

Over the last two years I must have blogged hundreds of multi-coloured, multi-textured and multi-layered images, accumulated over 2000 followers and consumed more art than I ever had in my entire life. I find it interesting not because of it’s success, but because before I started my art blog, I really had no idea how much I did or could love art and once I had made my art blog I  couldn’t imagine how I ever functioned without it.

I guess a lot of things do hide in our subconscious, until they find a way to get to the surface or maybe that’s just my psychology degree talking.

Catch you later, Louise Alice Wilson

Everyday Me

When asked to define ourselves we often use broad brushstrokes. Without thinking we consult our internal list of “things that make me, ME” and find ourselves recalling words like “creative, outgoing, photography, guitar” before we’ve even had a chance to fully process the question. But how much does this internal list define us?

I believed that my internal list was the best representation of myself until I read a quote by Annie Dillard that states: “How we spend our days, is of course, how we spend our lives”. This quote hit me like a punch in the gut, it’s blatant truth so indisputable; how I spent my days, regardless of what I told myself about myself, was ultimately who I was. Or at the very least would be how I had spent my life. This is why, when completing my self portrait, I decided to focus on the everyday.

Within my self portrait I wanted to present the viewer with a familiar yet abstract sense of reality through which we get to see amalgamated glimpses of the everyday acts that define me, rather than a linear narrative or a simple re-telling of ‘a day in the life’. Thus combining to create a picture of: my daily life, through an abstracted version of ‘the everyday’.

To create a sense of ‘the day’ or linear progression of time I segmented my video with four still images of the sky in various stages of daylight (morning, midday, afternoon, evening) that match the lighting seen in each concurrent video segment. The everyday acts that define me were presented in a series of short video segments that include scenes of me catching the tram, recording music and riding my bike. To disrupt the sense of linear narrative the visual segments are bluntly edited together, with nothing linking the sequential shots and a quite abrupt ending. I also attempted to create an overall sense of confounded time and space by overlaying audio from certain video segments onto others. Long, singular focus, handheld shots were also used to enhance the sense of voyeuristic glimpses.

Project Brief 02 – Final Video from Louise Alice Wilson on Vimeo.

Catch you later, Louise Alice Wilson

 

Hear Me Out

Being a musician, i’m pretty stoked toread about sound, I’d happily read through a hundred pages with various diagrams on sound, because I think sound is totally awesome. But since I’m sure that not everyone is as interested in sound as I am, I decided to keep it brief (like as brief as I could). I’ve decided to cover a topic that I think is the most relevant to media students being,

How to record clean sound:

      1.   Use a recording studio:

  • Recoding studios are designed to minimise unwanted noise and reverb.
  • If you can’t then use a space with good acoustics.

  2.   Scope out the acoustics of your space prior to deciding to record there and most certainly prior to      recording:

  • Record a sample piece of audio and listen to it back.
  • Check for background sound like cars, people talking, dogs, humming lights, air conditioners etc.
  • Does this sound remain consistent? Is the space noisier/quieter at different times of day/week/month?

  3.   Check the acoustics of your space:

  • Clap in the space, and listen out for obvious reverberations, distortions and ringing.
  • Record a sample piece of audio and listen to it back.
  • Does the room have highly audio reflective walls and floors? Or is the audio dampened by carpets and ceiling mouldings?
  • How is this effecting the overall audio?

** Clapping often helps to pinpoint sources of distortion: I once left a music stand in my recording studio whilst recording some vocals. I noticed upon listening back that there was high pitched ringing in the background, so I clapped in the space. I immediately heard the clap hit the metal of the music stand then bounce of it and ping around the room. It’s safe to say I no longer use music stands in recording spaces.

4.   Check the room tone of your space:

  • Record a sample piece of audio and listen to it back.
  • Does the room tone suit the visual footage? Does it add to it or is it jarring? Are you recording audio in a large echoic church, but you want an intimate, clean audio track?
  • If it doesn’t work, think about changing locations.

5.   Check for interference in your space:

  • Record a sample piece of audio and listen to it back.
  • Is there interference from electronic devices, mic cables and/or radio signals?
  • Make sure mic leeds aren’t running parallel to electronic cables to minimise distortion.

6.   Use the most suitable microphone:

  • Are you recording audio from a single person talking?                                                 Uni-directional, shotgun or lavaliere
  • Or are multiple people talking at once?                                                                                 Omni-directional or bi-directional
  • Are these people sitting next to each other?                                                                       Uni-directional
  • Or are they opposite each other?                                                                                                   Bi-directional
  • Do you want the room sound to be obvious?                                                                 Omni-directional
  • Or would you prefer it to be clean vocals only?                                                            Shotgun, handheld or lavaliere

7.   Dampen the audio:

  • Use acoustic panelling, vocal booths or vocal shields to dampen and trap the sound coming from the sound source.
  • You can even use blankets, mattresses or plants to dampen audio signals if you lack other options.
  • If your also filming visuals think about where you can position acoustic panelling or vocal shields so they are not in the frame.

8.   Mic Technique:

  • Make sure the sound source, or person talking is as close to the microphone as possible, with singers or people talking sometimes you legitimately need to be close enough to kiss the microphone, to get optimal quality audio.
  • If someone is about to radically increase their volume (yelling, making a point etc.), make sure they know to pull back from the microphone to avoid distortion.
  • This of course differs with microphone type, such as shotguns that usually need to be a feet away, so make sure you know what distance works best with your particular mic.
  • You can also use pop shields to minimise vocal pops and sibilance (’s’ sounds).

9.    Monitor dB levels:

  • Make sure that your decibels are sitting within the optimum range.
  • There are various handheld sound meters that can monitor dB levels or some microphones and cameras have inbuilt sound meters.
  • Always leave a small amount of headroom before distortion, to allow for increases in audio volume.

10.   Continually monitor sound while recording:

  • Use good quality headphones, closed back headphones are advisable so that the sound won’t bleed from your headphones back into the audio you are recording.
  • When shooting you often focus on the subject, automatically filtering out background noise, mic’s can’t do this, they will pick up everything.
  • Constant monitoring is important, so that if another sound source appears on your audio track, it is noticed immediately and you can re-record. Rather then realising that at the editing stage.

Hope this helps! I said I was gonna keep it brief, my version of brief seems to be 777 words? Haha.

Catch you later, Louise Alice Wilson

 

References

Roberts-Breslin, 2003.  ‘Sound’ in Making media : foundations of sound and image production, Focal Press, Amsterdam ; London, pp. 115-144.

4′ 33″

Defining something as ‘art’ is a matter of perception, thus any sound can constitute music and any music can constitute art.

This was the central idea behind John Cage’s 4′ 33″, a three movement piece composed in 1952 and first performed on the 29th August, 1952 by David Tutor as part of a recital of contemporary piano music in New York. At this performance David Tudor sat down at the piano, closed the keyboard over the keys and then preceded to watch his stopwatch. At the end of the first movement he uncovered and then covered the keys, repeating this process for the second and third movements and correspondingly turned pages of blank sheet music, then at 4 minutes and 33 seconds stood up to receive applause.

Ultimately the piece sought to frame the mundane sounds that the audience made and heard within those 4 minutes and 33 seconds. Creating an unexpected musical piece from the interplay of performer, audience member and environment and overall questioning notions of art and non-art and pushing the notion that art is a matter of perception.

Such a piece recalls the earlier work of other conceptual and experimental artists that sought to represent a similar notion or to play with the boundaries of art, audience and artist such as:

Marcel Duchamp’s – Fountain (1917)

Fountain

or the more recent work of Marina Abramović – The Artist is Present (2010)

The Artist Is Present

 

The work of John Cage and other such boundary pushing artists has helped to shape modern; culture, taste and perceptions, exemplified by the statement: what was considered dada in Duchamp’s today, is considered art today.

Catch you later, Louise Alice Wilson

 

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