Author Archives: Nethaniel

Lecture 2: Mark Elliott – Collaboration

This week’s guest lecture was given by Mark Elliott, leader and strategy specialist of Collabforge, a Melbourne based firm specialising in collaboration. As an expert on collaboration, Mark Elliott’s discussion of the topic barely fit in the one – two hour lecture time slot. Overwhelmed by a title wave of information, I recorded Mark Elliott’s ideas regarding the process of collaboration to involve the following:

  • Coordination – individual elements brought into a space that foregrounds patterns (Google search return, Olympic opening ceremony)
  • Coordination makes Cooperation possible
  • Cooperation – Individual contributions to a process that aggregates for gain (voting, recycling, office hierarchy) – requirements for compliance to a process (transactional))
  • Cooperation makes Collaboration possible.
  • i.e. Collaboration requires both Coordination and Cooperation

Some other interesting dot points are:

– Most business’ are transactional and not actually collaborative.

– Dissonance – conscious – you are not getting beyond where the individuals would get individually – doesn’t feel good.

– When you resolve that dissonance into consonance – that’s the moment that feels good – to constructively create stuff together is when collaboration really occurs (micro level).

– So you should notice and feel dissonance and respect it but not dwell on it and instead work to break through it

– In order to expand we have to focus on planning for new members and incorporating them in the contribution – will eventually reach a point where it resembles a dinner party – sub groups having there own conversations.

Collectively creativity – you can’t define the results (otherwise there would be no point) – compare to a team sport – need to have practice games to win the championship – outside perspectives (coaches), practice specific aspects of it, etc.

Points out that to get good at collaborating you need a good group of people and a task to work on and practicing collaboration is a good starting point (lego game) – reflection = was that the best response we had to the collaboration process or was that just a normal response?

Why we collaborate?

1.more fun

2.more possibilities

3.more strategic

“What makes a great brief for us – are the briefs that we have co-created with the client – because they wrote it so they don’t want to see it die”

This lecture made me realise, among an array of other things, the importance of practicing collaboration before attempting to complete a collaborative project. In relation to our group research project we are currently in the process of completing for this class, this practice will be especially important. For some reason, this provokes thought of playing ‘drinking games’ within the group, as not only games but also the consumption of alcohol are both ice-breaking strategies in relation to easing the ability for people to interact and therefore collaborate. Is that okay to think? Or does that just make me an alcoholic?

Week 2: Chris Lederer & Megan Brownlow – A World Of Differences

The reading last week explored the development of certain digital technologies, specifically in regards to discussion of the manner in which technological developments will transform the way consumers interact with media in the future on a global scale. Furthering such discussion this week, however on a centralised scale, Chris Leberer and Megan Brownlow put together an extensive report to explore the impact of technological developments with specific regard to entertainment and media companies. The report analyses the expenditure of entertainment and media companies throughout the globe, across a wide array of categories to identify various intrinsic pieces of information. Two which stood out to me are: that the growth rate of money spent on entertainment and media companies is expanding at a rate much greater than the growth of GDP; as well as the fact that this expenditure increasingly surrounds people under the age of 35. This raises a clear issue that the potential future success of entertainment and media companies is not only extensive in a global realm, but also based quite heavily on the interests of young people. By extension, it becomes clear that as younger generations are far more accepting of new technologies and ways of interacting with media, entertainment and media companies need to focus on keeping up to date with technological developments in order to maintain success.

One particular notion that provoked thought for me was that:

“Much of the E&M industry is growing more global, but cultures and tastes in content remain steadfastly local.”

Where the authors identify a large trend for consumers to hold onto more traditional technology coupled with locally produced content. This made me think about the digitalisation of the DJ. Where, whilst digital DJ machines such as CDJs have become an industry standard since their introduction to the market place 20 years ago, an expansive proportion of DJs prefer the use of an analogue vinyl DJ machine and there still remains a large culture surrounding vinyl DJing.

Summarising my provoked thoughts during the reading of this article, I believe that the success of any media company (or any company for that matter) during the current technological onslaught will be reliant on adaptability to new technologies, coupled with a retention of traditional and local values. Potentially going off a tangent, if you are interested in an example of adaptability throughout technological developments and one specific to DJing, see Carl Cox: http://www.carlcox.com/biography/index.html

Lecture 1: Astrid Scott – ABC R+D

Todays guest lecture was conducted by Astrid Scott, the Experience Strategist and Senior Producer for ABC R+D. She defines experience strategy as the process of designing ways for people to interact with the content based on analysis of HOW people interact and navigate daily life without the content. For example, what devices they use? How they use it? Essentially, she encourages thought process regarding usability. Interestingly, in order to analyse the way in which we will interact with media, we have to be forward thinking. This addresses the notion within Moore’s law: ‘processing power will double every couple of years’, allowing advances in technology to re-define the way we interact with media.

The four most interesting technological developments Astrid Scott referred to were:

  1. Ubiquitous Computing

Refers to a sensory environment so that we are connected to environments (touch screen kitchen)

  1. Big Data and the Quantified Self

Sensory data for personalisation – fitness watches are beginning – pills with cameras and products that respond to body – mood sensors

All of this has privacy issues but regardless, it encourages us to think about how we make a product to suit this technology (a product specific to a particular person – virtual assistants)

  1. Artificial Intelligence and Machine Learning

When you no longer have ownership over the distribution of content, you have to think about how AI tech will encounter your stuff (brand)

  1. More Natural, Human Interfaces

Build interfaces that correspond with your body for new media experiences

Some other interesting dot points include:

The technology will be there – as to whether we used it or not is another question.

Facebook own Oculus Rift and want to create experiences for friends to experience together that are not real.

Every media organisation in Australia is struggling to stay relevant.

Have to think about how the socio-cultural and technological environment of the home is changing.

New technologies Include:

Sensors, Wearables & biofeedback, Smart objects (IoT), Gesture & voice (NUIs), Projections & holograms, AI & virtual assistants, Artificial reality (VR, AR, etc.),

Connected home – the home is digitally connected via smart objects.

My Thoughts:

In regards to Future Homes, I noticed how we are adapting technology to our stereotypical home life. Why not adapt our lives to technology – or maybe that will happen automatically?

Will technology make our lives better or worse?

Part of me thinks it’s ridiculous and detracts from a level of human interaction – but now I’m thinking it just redefines human interactions. For example the elderly could be scared of mobile phones, whereas younger generations are accepting of mobile phones within society. Therefore potentially we have to adapt to technology as we are redefined amongst technology.

Week 1: Klaus Shwab – The Fourth Industrial Revolution

The first industrial revolution allowed mechanised production via water and steam powered systems. The second industrial revolution introduced electrical power to production systems. The third industrial revolution initiated computer-automated systems of production. Now, the fourth industrial revolution fuses both preceding and contemporary physical, digital and biological technologies to create what is referred to as a megatrend. A megatrend is defined as a major shift in environmental, social and economic conditions that will substantially change the way people live.

The fourth industrial revolution marks a dynamic shift in the way production and exchange occurs in a variety of assets of human life. Klaus Schwab identifies a fusion between innovative physical, digital and biological technologies that both substitute human labour intensive tasks and create new possibilities for human economics, coined as the ‘on-demand economy’. One particular aspect of Schwab’s ‘on-demand economy’ that I found particularly interesting was the potential complications caused by such technologies with regard to tax collection and money distribution. An ‘on-demand economy’ creates the possibility of digitally mediated decentralised transactions, which are often associated with black market operations due to the hindered ability for authorities to trace digital payments. However, I relate such discussion to previous research I have undertaken with regard to the immense economical opportunities created by such digital systems. Blockchain software stores information throughout a network made up of personal computers, creating a decentralised, distributed system where: all records are stored; facts can verified by anyone; and security is guaranteed. Moreover, a form of math called cryptography ensures records cannot be counterfeited by anyone. Explanation of the economical benefits of this system far exceed the limitations of this blog post, however put briefly, the future of blockchain technology could enable online management of data to the extent where companies could exist entirely run by algorithms.

As an area of media I am very interested in, the development of blockchain technologies will be discussed in further blog posts so stayed tuned. For now, if this blog post interested you, check out the video below:

The Digital Director – Project Brief 5 Reflection

Sketchy Students Logo 

NAME NETHANIEL ROCHESTER

STUDENT # s3436508

COURSE THE DIGITAL DIRECTOR 


TEACHER MARK POOLE

ASSESSMENT PROJECT BRIEF 5 REFLECTION 

 

HOW IT WENT

Upon reflection of the entire Digital Director studio, I was impressed with the development of the class collaborative project that eventuated to become the Sketchy Students mockumentary miniseries. As a largely student-led project, it was fantastic to see various ideas from throughout the class cohort all come together to formulate the basis for a collaborative project. Furthermore, the creation of different groups allowed the roles of the Sketchy Students campaign to be dispersed throughout the class cohort in a manner that allowed people to work in an area of interest, but more importantly the groups emulated an industry practice. As the leader of the production team I was the director and primary editor for the main body episodic material of the campaign. Personally, this was a great opportunity for me to gain experience in fundamental areas of my interest within media. Overall, the campaign was completed to great success in my opinion, evident in both the quality of the material produced, but also the development of class collaboration. Moreover, the progression of the campaign journeyed through times of seamless, efficient group collaboration, both internally within groups, as well externally amongst groups. However, as a cohort we also experienced times of dispute and disagreement within groups, as well as within the class. I think both collaboration and dispute are a fundamental aspect of professional practices within the media industry and so this diversity of experience was important for our preparation for future employment.

 

WHAT I LEARNT

Explanation of the extent to what I learnt far exceed the limitations of this document, however the most notable was definitely in relation to the ability to manage a group of people. As the leader of the production team I seized the opportunity to manage my team in a manner that would provide the most positive outcome. This involved a balanced process of delegating tasks, motivating team members, setting expectations and leading by example in order to ensure not only the group achieved our goal as a collective, but that each individual achieved their own goal in relation to the project. The ability to manage people within a team to this effect was an important goal for me, as I believe it is a completely transferable skill in relation to future employment opportunities.

In addition to furthering my ability to manage people, I also gained valuable experiences in relation to the role of a director. Being my first experience as a director, I learnt an immense amount about the different processes required to ensure organisation standards, as well as production standards were met. Personally, this was a challenging process that entailed a high degree of trial and error. Lastly, I improved my editing ability greatly, not only by learning more techniques within an editing software I wasn’t entirely familiar with, but also by practicing methods of efficiency.

 

WHAT I WANT TO FIND OUT NEXT

As the Sketchy Students project was my first experience of a collaborative campaign, the process has triggered many personal motivations for my future progression into the media industry. Most notably, one complication I experienced in relation to the campaign, was the logistics of the manner in which a writing team cooperated with a production team. Moreover, due to tight filming constraints in terms of time, along with particular expectations of content set by the class cohort, my production team had to create a logistical process of modifying scripted material to accommodate for time limitations and expectations. Thus, I am interested to learn and also gain experience that would allow me to understand the equivalent process from an industry level perspective. Moreover, I am interested to learn further specifics in relation to how each team within a professional practice would not only collaborate between each other, but also compromise for each other. Lastly, given that the Sketchy Students campaign utilised the possibilities of the online environment to distribute and promote content, I am eager to further explore and experiment with how contemporary technologies can provide a director or other media professional with an opportunity to succeed.

Final Prototype (Week 13)

Final Prototype:

https://vimeo.com/130004883

 

Link to project 4 report g-doc:

https://docs.google.com/a/rmit.edu.au/document/d/1Efx7AptlwkkWSY9Q0veCAb81RzkeAVk0Erxb2CCnIg8/edit?usp=sharing

 

Iteration 1 content & reflection – http://www.mediafactory.org.au/nethaniel-rochester/2015/05/11/monday-11th-may-studio-week-10/

Iteration 2 content & reflection – http://www.mediafactory.org.au/nethaniel-rochester/2015/05/06/project-4-process-week-9/

Iteration 3 content & reflection – http://www.mediafactory.org.au/nethaniel-rochester/2015/05/20/p4/

Iteration 4 content & reflection –  http://www.mediafactory.org.au/nethaniel-rochester/2015/05/20/p4-blog/

Iteration 5 content & reflection – http://www.mediafactory.org.au/nethaniel-rochester/2015/05/20/p4-3/

Iteration 6 content & reflection – http://www.mediafactory.org.au/nethaniel-rochester/2015/05/20/project-4-week-11-rapid-prototyping/

Iteration 7 content & reflection – http://www.mediafactory.org.au/nethaniel-rochester/2015/05/22/friday-22nd-may-studio-week-11/

Portfolio (Week 13)

Online Video Experiments is a class that is part of the Bachelor of Communication (Media)’s new studio model. As opposed to traditional theory-led tutorials, the studio concept and in particular Online Video Experiments, is balanced with practice-led inquiries. This style of learning entailed an approach to media analysis that was completely new to me and I decided to apply myself through the use of the Media Factory blog in order to engage with Online Video Experiments and the concepts presented. These notions are indicated in my first blog entry ‘Practice Based Learning (Week 1)‘. Analysis of the development of my blog can be used to demonstrate how my practice has changed over the course of the semester in Online Video Experiments, as well as highlight what I have learnt in regards to the way I conduct myself as a media professional. Firstly, Online Video Experiments has encouraged me to brainstorm through the use of mind maps and drawings. However, I have learnt not to get too caught up in the brainstorming process. Also, the encouragement to conduct speculative sketching has changed how I approach creative practice. While most prominently, I have learnt the importance of focussing on form over content in relation to analysis of media. Finally, the combination of these literacies has widened my perspective of creative practice toward a more innovative and experimental approach.

Visual Brainstorming

The initial weeks of the Online Video Experiments studio brought for me, an introduction to using both handwritten and digital mind maps as a process of brainstorm. As seen in my blog post ‘Mind Mapping (Week 2)’, we used this technique to break down the concept of ‘online video’ into individual components and associated terms, in order to understand the concept from an array of perspectives. My continued use of visual brainstorming is evident in the way I approached later explorations over the course of the studio (see ‘Project Two Progress (Week 3) Mind Map’), but also influenced the way I began to create lists, diagrams and drawings to visually dissect and explore ideas (see ‘Project 4 Progress (Week 11) Shot List’ and ‘Project 4 Progress (Week 11) Diagram’ and ‘Project 4 Progress (Week 11) Storyboard’). Before Online Video Experiments, in the initial stages of a project I would tend to jump ahead and immediately create material, without firstly grounding my understanding of terms and forming a structure for the exploration. Visual brainstorming is useful because it spawns innovative ideas and associations that may not have surfaced otherwise, but also prevents going off track. Proof of this is evident in the development of my group’s project 3. One particular blog post ‘Project 3 Progress ‘From Case Study to Probe’ (Week 6)’, demonstrates a more recent example of how visual brainstorming has prompted the creation of an otherwise difficult to articulate, innovative path of discovery. Whilst the text in the blog post may be hard to follow, the visual map below clarifies the process. The Online Video Experiments studio has thus taught me the importance of preparation and altered the way I conduct myself as a media professional in the way I approach the initial stages of a project; with a strong inclination toward visual brainstorming.

Improvisation

As much as the brainstorming process is clearly useful, I have also learnt during this studio to avoid fixation on the planning process. It is natural to get caught up by perfectionist planning, continuously improving an idea in theory. When actually its experimentation and practice-led enquires into underdeveloped ideas, that can potentially prompt innovative discoveries and encounters that may completely redirect the pathway of exploration. For example, my blog post ‘Caught Up In The Planning Process (Week 5) w/ the 4 R’s’ , demonstrates how upon reflection of project 2, I noticed my group’s fixation on the quality of initial ideas and as a result we spent “too much time caught up in the brainstorming and planning process” (quote from blog post). During this studio, whilst brainstorming is definitely encouraged, there has been a big emphasis on moving beyond the brainstorming phase quickly to “unpack an idea by making stuff” (Seth Keen – Studio 16/03/2015). Some of my more recent blog posts indicate how my practice has changed from being fixated on brainstorming, to instead “go crazy making stuff… …and see what discovery we can make” (quote from blog post ‘Dictching Live Broadcast (Week 8)’). Moreover, even more recent blog posts exhibit how this technique has been implemented into project 4, so that we could “start making stuff as soon as possible in the hope that visual, rather than conceptual reflection would move the project along” (quote from blog post ‘Monday 11th May Studio (Week 10)’). Furthermore, these notions also form the basis of our rapid prototyping, in which a less prepared approach to experimentation was crucial to our understanding of how ‘skate video’ might function in Snapchat (see blog post ‘Project 4 Progress (Week 11) Rapid Prototyping’). In contrast to projects 1, 2 and 3, noticing the smooth development and relevance of project 4 in regards to the studio prompt, clearly highlights the way this process of unpacking an idea through making, was useful as it kept the process simple and more direct. This contrast between the projects, in combination with the development of my blog demonstrates how my practice has altered toward a balance of brainstorming and improvised experimentation.

Speculative / Innovative Sketching

These improvised experiments were mainly in the form of sketches. As evident in the blog post ‘Sketch vs Prototype (Week 3)’, this studio distinguished the difference between sketches and prototypes, positioning sketches as disposable content at the initial stages of a project. The Online Video Experiments studio encouraged students to conduct speculative sketching, which has altered my approach toward creative practice. Before this studio, in an impatient attempt to make a start, I was inclined to quickly generate and accept one of the first plausible ideas for a project. However, over the course of this studio I have learnt the importance of continuously improving ideas. Within academic and social institutions, a process called satisficing forms the basis of problem solving. Satisficing is referred to by psychologists as “accepting the first plausible solution to a problem” (Eric Booth 2012). This process “completely eliminates the possibility of significant creative accomplishment” (Eric Booth 2012). The blog post ‘Friday 10th April Studio (Week 5) Innovative Sketching’, shows how my understanding of speculative/innovative sketching developed and highlights that “I am excited to go crazy making as many skecthes as possible and just see what happens” (quote from blog post). The way my practice has altered toward notions of speculative sketching can be seen through the development of project 3 throughout blog posts ‘Speculative Sketching ‘Three Things of Interest’ (Week 6)’ and ‘Speculative Sketching ‘One Interest’ (Week 6)’ and ‘Speculative Sketching ‘Probe’ (Week 6)’ and ‘Speculative Sketching ‘Final Probe’ (Week 7)’. Analysis of these blog posts demonstrate how speculative sketching has been used to transform three potential ideas, through a process of constant redevelopment, into a final innovative concept.Therefore, the way I conduct myself as a media practitioner has altered toward a “process of constant improvement and reflection which will produce an innovative idea, something much stronger and more advanced than the first original notion. i.e. take something from online video and push it sideways and play with it” (quote from blog post ‘Monday 13th April Studio (Week 6)’).

Form Over Content

In addition to speculative sketching, I have learnt the importance of focusing on form over content in relation to analysis of media. Throughout the course of this studio, a recurring issue I am confronted with, is becoming blindly fixated on stylistic techniques, as opposed to narrative/non-narrative form. The latter being the primary focus of the studio is therefore integral. The early blog post ‘Project Two Progress + Reworked Concept Statement (Week 4)’, lists 10 initial sketch ideas that deconstruct ‘skate video’ as an example of online video practice. The vast majority of the list focuses on stylistic techniques as opposed to form. I recognised this issue, as evident in the blog post ‘Studio Issue Reflection (Week 4) Using The 4 R’s’, which uses the ‘4 R’s’ method of reflection, attained from this studio, to dissect the issue. Whilst the ‘4 R’s’ process itself is an example of how my practice has changed in regards to reflection over the course of this studio, that blog post also relates my fixation on stylistic techniques to my experience in practical video production. Furthermore, a slightly more recent blog post further demonstrates how this issue was again encountered, but solved to alter my practice toward notions of form. “This shifted the focus of our presentation away from plainly addressing notions of content… …to new sketches that address the form itself, rather than becoming caught up on stylistic techniques that may not contribute toward a narrative/non-narrative” (quote from blog post ‘Friday 27th March Studio (Week 4) Form over Content’). This alteration in how I approach form over content is anchored to my understanding of form, which developed over the course of this studio. This is evident in the blog post ‘The Concept of Form (Week 6)’ in reference to Bordwell and Thompson. Final evidence of how my practice has changed in this way can be seen in a blog post toward the end of the semester, ‘Monday 18th May Studio (Week 11)’. This blog post demonstrates how the exploration of project 4 has finally become anchored to notions of form in relation to Snapchat and our innovative, collaborative service.

Evolving Industry

Finally, the combination of all the aforementioned literacies has widened my perspective of creative practice toward a more innovative and open-minded approach, which has also re-established my confidence in higher education study. In many instances throughout this degree, I have found myself reflecting upon the higher education module in question of whether the theoretical detail is necessary for my intended career as a videographer. For example, a blog post from last year in Networked Media ‘Did someone say jump ship?’, highlights my questioning of the relevance of this course as opposed to something more formula or technical based. However the Online Video Experiments studio regained my focus on theoretical interrogation and experimentation of new media, as opposed to seeking practical skills for current media. This is highlighted by the blog post ‘Friday 17th April Studio (Week 6)’, which shows a ‘light-bulb moment’ occurring as I realise the importance of the higher education process as it “encourages us to create something new and different that is innovative in regards to where online video is heading or evolving” (quote from blog post). Therefore, Online Video Experiments has had a large impact on the way I conduct myself as a media professional as it has realigned my focus toward innovative practices.

Online Video Experiments has been embraced as a new style of learning in this degree as a balance between theory-led and practice-led inquiries. Through analysis of the development of my contributions to the Media Factory blog, it is clearly evident the way Online Video Experiments has altered the way I conduct myself as a media professional. It has become clear that the emphasis on visual brainstorming in Online Video Experiments has improved my preparation in regards to potential projects. Also just as important, I have learnt to avoid fixation on brainstorming and to instead improvise. Moreover, I have discovered the process of speculative sketching and noticed the way it generates innovative ideas. Furthermore, I now value form over content in relation to analysis of media. Finally, the combination of these developments and the Online Video Experiments studio in general, has transformed my creative practice toward notions of innovation.

Friday 28th May Studio (Week 12)

Today’s studio was the creme-de-la-clem of studios, in regards to Online Video Experiments presentations. Today we presented project 4. Whilst our project did not need to be finalised for this presentation (as it would be digitally submitted later), this was our last opportunity to present our work in person to Seth and to the class. Fortunately, Errol and I had done a lot of work on the prototype video itself, bringing it near completion and because our prototype had transitioned through so many drafting stages, we were very confident in presenting our progress. With the help of digital diagrams as visual aid and a near completed prototype video, we were finally able to present our concept to the class in a clear and concise way that could be much more easily understood, primarily thanks to the help of visuals.

Also, the feedback we received was helpful in regards to finalising our work in preparation for submission, as well as the exhibition. Firstly, the functionality of our online video service is grounded upon the use of a moderator to organise content and this can be seen as a weak spot in regards to realistically making the service actually happen. Therefore, it was suggested that the we use the affordances of computers by making this an automated process, i.e. the use of hashtags. Also, given the hybrid video practice we have created is itself the collaborative form of skate video, it is vital we further understand UGC (user generated content) for discussion in our report and it is important that we push the collaborative factor as the integral component. Finally, this is a service we wish to advertise to media companies, meaning our report must include discussion regarding how memberships or financial support will be attained through the online service. As the finale studio for Online Video Experiments, reflecting upon the past 12 weeks I am excited about our progress from project 1 and how our ability to brainstorm ideas and present them concisely has developed. Furthermore, I am looking forward to polishing the prototype video and using it as part of video demo-reel to seek work or experience within the media industry at a later date.

Monday 25th Studio (Week 12)

Today’s studio was a self-directed feedback session in which we could share ideas with the class or show any progress on either the portfolio or project 4 for comments and feedback. Since receiving thorough feedback last Friday which we were going to implement into filming project 4 on Wednesday, we didn’t have a whole to share in regards to project 4. In general, Errol and I felt quite prepared for our presentation on Friday and although the success of Wednesday will determine this more accurately, we had drafted our work to Seth and the class on multiple occasions tot he point that it was clear in our head, enabling the video production stage and presentation writing to occur quickly.

So in regards to today’s feedback session, fortunately I had actually started working on the portfolio over the weekend and used the time during today’s studio to ask Seth questions about that. He helped clarify a few questions I had about the structuring of the portfolio and I will attempt to get a draft in before the final submission next week. On top of that, we planned how we would collate a highlight video of each student’s prototype for the Media Exhibition in week 14. Since producing a class highlight reel is mine and Errol’s contribution to the preparation for the Exhibition, we decided using dropbox would probably be the most viable way of collecting everyone’s material. We would use Seth’s less restricted dropbox account and do a test this week to indicate whether it would work for our purposes.

Friday 22nd May Studio (Week 11)

Errol and I have been anticipating today’s studio because it was a pivotal point for the continuation of our intentions for Project 4. Previous feedback receieved about the progression of our Project was hard to obtain due to our intentions being difficult to explain verbally. It seemed visuals and drafted work was vital for communicating our Project for relevant feedback. Evident from previous blog posts, we had prepared a wide array of rapid prototypes to demonstrate our pathway toward the Prototype, as well as a draft of the Prototype video itself. We presented this material to our teacher during today’s studio for much anticipated feedback about whether we were on track with our progress.

The help of visual examples for our explanation was extremely useful and seemed to communicate our ideas clearly to our teacher. The feedback provided was positive and we were reassured that we were heading on the right track toward a hybrid form of online video practice (‘skate video’ in Snapchat) and that our intentions for creating a collaborative tool could be very interesting.

Suggestions that were made include:

Putting the rapid prototypes in the Prototype video itself to show how they were a useful exploration toward the prototype.

Explain how Snapchat itself works very briefly in order to contextualise the project and make sure it is understandable to a participatory, as well as non-participatory audience. Moreover, people who use and do not use Snapchat.

Use wire diagrams and schematics to illustrate how the online tool would function in regards to a network.

Finally, the narration would have to be very thorough in explaining the motivation for particular notions in terms of relevancy to online video practice and innovation.

From today’s studio, I learnt the importance of providing imagery and drafted examples of projects in order to effectively communicate ideas for feedback.