Assignment 3 – Report

I declare that in submitting all work for this assessment I have read, understood and agree to the content and expectations of the assessment declaration – https://www.rmit.edu.au/students/support-and-facilities/student-support/equitable-learning-services

Making Media blog links

 

Week 9 – Instagram photo
Week 9 – Instagram video
Week 10 – Instagram photo
Week 10 – Instagram video
Week 11 – Instagram photo
Week 11 – Instagram video

How do the affordances of Instagram affect the way photos and videos are authored, published and distributed in the network?

Instagram and Its Affect on the Way We Publish Content

James Bowman
s3603919

 

Introduction

Instagram’s influence on the network has become gigantic since its formation in 2010. Looking at how it affects how photos and videos are authored, published and distributed in the network is useful because it helps to understand how Instagram’s affordances have changed our way of engaging with photos and especially changed our expectations and the idea of what a network-suitable photo is. Moreover, looking at how Instagram affects the network can help us to predict where use the network is heading and therefore harness the affordances presented to us.

 

Background

This report aims to investigate and analyse how Instagram can shape and create content based on what it affords users of the app. When discussing the term affordances in this report I refer to it in the context of Donald Norman’s definition: “the perceived and actual properties of the thing” (1998, 9). The “thing” in this case being Instagram.

The investigation intends to not only look at how the affordances of Instagram shapes content on its own application but how it can in turn affect other parts of the network, whether it be other social media applications or otherwise.

The following report is broken down into three categories in order to get a better understanding of some specific examples of how Instagram impacts the network – authoring, publishing and distributing. Using these key terms, I will investigate the prompt and hopefully unpack some specific ideas that have come forward during this task. Because of a lack of time and word count allowance I won’t be able to cover all the ways Instagram affects the network, just some of what I think are the main observations I made from this investigation.

 

Evidence/What?

The best way to understand how a system works is to use it and to then analyse it using your own reflection and engaging in other ideas about it too, this is what I’ve done for this investigation. Around a month ago I made an Instagram account that would publish content only on doors. The purpose of the exercise was not on the content itself but how the application can and does shape the content. I published one photo and one video a week and then wrote a reflection on both. A big part of the investigation was that every photo and video had to be entirely authored and produced in Instagram, including taking the actual photo in the app. In all my casual use of Instagram I had never done this and had either adjusted it or cropped the photo when uploading to the app. Thus, it took me a little while to get used to taking a square photo – see here and here

To get some more context on Instagram I also engaged with various videos and readings such as Lev Manovich’s “Instagram and Contemporary Image” (2016), thus giving my investigation a little more weight and helping to create a more wholistic approach.

 

Evaluation

Authoring:

The obvious, aforementioned constraint of taking an image in Instagram is the dimension restriction. It is similar to turning on the “square mode” on your camera on your iPhone and taking a photo – something I was always told not to do in order take good photos. However, during this process I’ve found that almost always the best Instagram photos (and indeed videos) are framed well and fit within that perfect little square. In the case of my experiment Instagram account, easily my best and most “liked” shots were of more square double doors and were framed much better (see them here and here). I also realised that while it seems a little constraining at first, publishing square photos looks a lot better for your profile ‘grid’, as there is no cropping or distortion of the picture which can happen to differently shaped shots. Grid arrangement is important to creating that classic Instagram aesthetic that Manovich talks in his analysis of “Instagrammism” (2016). Manovich however particularly focuses on what’s in the photo and how it’s edited to create that aesthetic.

In regard to the editing aspect of “designed photos” on Instagram as Manovich (2016, 73) calls them, what I found interesting (it’s something that I’ve always known but only noticed in during this exercise) is the ease of use and prevalence of editing tools for your photo/video during the authoring process. Instagram gives its users so many opportunities to add filters, reduce filters, change the contrast, change the lighting, the list goes on. This I feel enforces the idea that filtering and changing a photo is a normal part of photo sharing, an idea so different to legacy photography. Curiously, those two photos I mentioned earlier (here and here) that performed better both had the “Clarendon” filter. Perhaps this could also be another reason that for their higher ‘like’ count – because their filter better represents that Instagram aesthetic.

Authoring videos I found a more difficult task than the photos. I think this was because of a myriad of reasons including me very rarely uploading videos to Instagram in my own casual use of it and because there is significantly fewer good videographers on Instagram than there are photographers – so I had less inspiration (also how can you make cool videos of doors?). I found this to be the case when we looked at Instagram videographers in week 8 (reflection here). Nonetheless I learnt that for Instagram videos to look really pleasing they require potentially more thought than authoring a pleasing looking photo. Firstly, something I didn’t do or properly realise in creating my videos (week 9, week 10, week 11) that the cover photo must be as pleasing as a photo on its own. This is especially the case if one wants to make their profile grid a nice palette of colour and different subject matter.

The fact that Instagram allows you to keep scrolling past videos that will play either when pressed or automatically means that they must capture your attention immediately. Unlike on Facebook or YouTube and the like, the ease of scrolling on Instagram demands that videos be immediately captivating, or they will not be noticed. I feel as though this in turn affects how videos are published on the network – applying more pressure for a video to retain a familiar aesthetic and for it to be immediately capturing.

 

Publishing:

During this experiment I almost always added a location, and when I didn’t I felt like the photo/video was naked. Instagram again makes it so easy to add a location, captions, hashtags and tags that again there almost becomes a pressure to use these tools in order to follow social protocol. In my own casual use, I sometimes become frustrated when I see a nice landscape or building but no location is added, because I want to be able to get some context around the photo. The same as when people are in photos but not tagged. I as such always used locations as adding some context to my random collection of doors – because a door without a location is just a door; if it’s not immediately striking it is plain boring (look at how plain this video looks without a location and hashtags). I think as such the publishing process of Instagram has influenced users of the network to add context to an image or video, people want to be able to click on things like locations, hashtags and tags and allowing them to do so will elongate the amount of time they spend engaging with the image or video.

 

Distribution:

Having only shared Instagram photos to Facebook before, distributing the videos and photos in this exercise to Tumblr and Twitter led to some interesting observations for me. Mainly, distributing Instagram media on these platforms serves best as a teaser or almost as a form of marketing – the real engagement is always on the Instagram app. With Twitter all you get is a link and your caption and thus giving no visual clue as to what the image/video will be. Tumblr will show your piece but only with the Instagram link and logo very visible. Moreover, you can’t engage with the locations and tags I mentioned before without then being taken into the Instagram app. Interestingly, while you can share Instagram photos on other platforms, you can’t share photos from other platforms onto Instagram. I think this presents the idea that Instagram is the home of images – it’s the place you should go for aesthetically pleasing photos and videos. While Tumblr is a very visual medium, it has a different kind of aesthetic and a lot more emphasis on recycling old media rather than creating new, aesthetically pleasing media and demonstrating that “Instagrammism” that Manovich (2016) speaks of.

 

Conclusion

As Norman states, “we need to analyse the ways in which it encourages particular ways of thinking and working through creative and cultural practices” (1998, 5) when looking at a specific application. This is what I have attempted to do in this investigation.

After this experiment it has led me to believe that Instagram affording so many editing options and publishing options creates the concept that editing, tagging and adding locations is an essential part of creating a picture. As such the software of Instagram leads to users placing as much (if not more) emphasis on the post production of the photo as to what is actually in it. Moreover, the ways in which Instagram collaborates with other platforms enforces the idea that it is the home of photos, especially media of that ‘Instagrammism’ aesthetic. As such this investigation demonstrates just a few of the ways in which Instagram affects the ways photos and videos are authored, published and distributed in the network.

 

References:

  • Norman, D 1998, “The Design of Everyday Things”, Basic Book, New York, US
  • Manovich, L 2016, “Instagram and Contemporary Image”, University of San Diego, US

Assignment 2 – Review

James Bowman
s3603919

I Declare that in submitting all work for this assessment I have read, understand and agree to the content and expectations of the assessment declaration – https://www.rmit.edu.au/students/support-and-facilities/student-support/equitable-learning-services=

Blog Reflections
Week 5: Legacy Photography (practice analysis)
Week 6: Legacy Video (practice analysis)
Week 7: Online Photography (practice analysis)
Week 8: Online Video (practice analysis)

Review

1. Provide your own definition (in your own words) on ‘photography’ in relation to legacy and online media, by referring to the readings, additional research and the practice analyses completed in your blog.

Photography, at it’s most basic level, is using a camera to capture an image of something using a light sensor to then make it permanent. Traditionally this image was stored onto something physical, such as film, and thus speaks to what we now consider legacy photography. Now online media and digital technology means that the vast majority of images are stored digitally, either on their phone or published on apps like Instagram. Legacy photography refers to when the average person did not have access to a camera. Rather, photography was something that only professionals could afford to do. Henri Cartier-Bresson is an example of this. His wealth afforded him the ability to devote the time into producing quality images, and more importantly his wealth allowed him to use and access the then very expensive equipment required to produce photographs. I discussed another example of a legacy photograph by Kevin Carter here. It’s an example of how legacy media was when “photojournalists [were] dispatched to the world’s remote corners that few of us could regularly access”, and “advertisers trying to sell us chunks of that world” (Zylinska 2016, p. 7).

This changed with the invention and utilisation of camera phones and wireless communication. These afforded anyone with a smart phone the ability to be a photographer, and even become “distributors, archivists and curators of the light traces immobilised on photo-sensitive surfaces” (Zylinska 2016, p. 7). This speaks to the idea that modern photography is not just a result of the camera phone, but perhaps more significantly the ability for camera phones to then publish and distribute to apps like Instagram for anyone else around the world to engage with.

2. Provide your own definition (in your own words) on ‘video practice’ in relation to legacy and online media, by referring to the readings, additional research and the practice analyses completed in your blog.

Like in photography, legacy video only allowed those who could afford the equipment needed to produce video, as well as the means (or knowing someone who did) to edit and publish the video, to actually do so. However the invention of portable video equipment (1965)”exploded in many directions simultaneously” (Horsfield 2006, p. 3), and allowed non-professionals to create video for the first time. Some of these legacy practices included video being used as political tools to decentralise communications systems and media outlets, as well as being used by media activists to “document a new type of direct-from-the-scene reportage that was not manipulated” (Horsfield 2006, p. 3), and was therefore seen as an unbiased medium. Another significant legacy video practice that emerged was video art, of which Nam June Paik was the pioneer (I talk about one of his installations here). Previous to the release of camcorders, video was very centralised. However Paik began the trend of using video for personal expression, particularly after new video equipment was released in the early 70s that “allowed more complex visualising effects” (Horsfield 2006, p. 5). However even during this time there was still relatively limited access to the everyday person due to the expensive costs associated the recording, storing and editing of video. This is where online media changed things again. Similarly to what happened with photography, online media allows anyone with a phone camera to record, edit, publish and distribute their video data, without the physical restrictions that were once associated with legacy video. As a result, video is even more decentralised, allowing for even more personal expression and becoming more intertwined with everyday life through apps like Instagram.

3. What differences and similarities did you discover between the way legacy and online photos are authored, published and distributed?

The authoring of legacy photography was very centralised. The equipment costs as well as time that needed to learn about the equipment meant that relatively few people could engage with authoring photos in the legacy era. This limitation meant that the authoring of photos emphasised professional quality, and the scarceness of the medium meant that more significance was attributed to the taking of each photo. Conversely, convenience plays a huge role in the way that online photos are authored.  Palmer states that “sensor size and megapixel count have become secondary to the basic convenience of  the networked mobile device” (2014, p. 246). Therefore quality and professionalism matters less and there is much less significance placed on a single photo. The increased prevalence of photo taking also means that there are more mundane photos taken, but also more intimate (Palmer, 2014). The authoring of online photos may even be influenced apps like Instagram, which may influence the tone or style of photos that people author if they want to publish them on that specific app (think size, filtering, colouring, captioning etc.).

This leads to how the publishing and distribution of legacy and online photos is again, extremely different. Legacy photo predominately paid for  marketed, published and distributed by professional organisations. Again this relates to the coupling of terms like ‘professional’ and ‘quality’ with legacy photography. In comparison, the huge volume of online photos is now just an endless data flow rather than an individual image (Zylinska, 2016).  Online media apps like Instagram can also affect the way photos are authored and published, as they have the affordances of publishing to your followers but constraints on things such as the dimensions of photos being published.

4. What differences and similarities did you discover between the way legacy and online videos are authored, published and distributed?

Like legacy photography, legacy video wasn’t easy to access for the everyday person. Perhaps it was even more so than photography it could be argued, particular in relation to the time, knowledge and equipment required to edit video. While Nam June Paik was able to create video art, he still needed the income of the Rockefeller Foundation to actually fund his projects, something not available to anyone. As such the authoring or legacy video, other than video art, is typically pretty linear and straightforward as editing was not as easy as it is with online videos. Authoring and editing online videos is much easier, whether it be on the phone camera itself or in apps like Instagram. Instagram in particular allows for both artistic expression in video, like Rachel Ryle, who operates within the time constraints (she creates 30 second clips) of video publishing on the app, but it also allows for the publishing of again more intimate and mundane videos due to the ease of use and ability of virtually anyone to author them. Online video “can be networked, shared, downloaded and re-used with ease” (Berry 2018, p.8), which can not be said about legacy video.

Like photos, legacy video was still tied to the idea of professional. Contrastingly, an example of more personal and decentralised online video, is how vloggers author and publish their content. Particular in the formative years of the form, many videobloggers self-identified as amateur (Berry, 2018), directly going against the traditional notion of professionals only producing video as was the case in the legacy era.

References:
– Kuc K, Zylinska J, 2016 Photomediations: A Reader, Open Humanities Press, London, UK.
– Horsfield K, 2006, Busting the Tube: A Brief History of Video Art, Video Data Bank, School of Art Institute of Chicago, Chicago, US.
– Palmer D, 2014, Mobile Media Photography, The Routledge Companion to Mobile Media, London, UK.
– Berry T, 2018, Video Blogging Before YouTube, Institute of Network Cultures, Amsterdam, Netherlands.

 

Assignment 1 – Annotated Bibliographies

 

James Bowman
s3603919
 

I Declare that in submitting all work for this assessment I have read, understand and agree to the content and expectations of the assessment declaration – https://www.rmit.edu.au/students/support-and-facilities/student-support/equitable-learning-services

 Blog Reflections:

Week 1: Blogs

Week 2: Affordances

Week 3: Networks

Week 4: Social Media

 

Annotated Bibliography

Selected Text 1 – Blogs

(word count – 602)

Miles, A 2006, Blogs in Media Education: A Beginning, Screen Education, (43), pp. 66-69

The magazine article explores the various benefits educational blogs can provide when used effectively. The article suggests that these benefits are not just limited to the students but states that educational blogs are just as relevant to teachers. The author also argues that the usefulness of blogs is such that using them as a media teaching tool will provide benefits both educationally but also “for the collateral outcomes that blogging achieves” (69), putting forward the idea that blogs are a meaningful way for both students and teachers to become familiar with the network but also to contribute to it.

The main arguments the author puts forward are to do with the users of educational blogs learning to become part of the broader network, but also to create a ‘rich, communicative environment’ (p. 68) within the class network. The reason for this is because, according to the article, blogs offer different opportunities and tools for students to use as opposed to other writing forms like journaling or writing in a diary. While there are many differences between these forms, the author places particular emphasis on blogs being a “public document” (p. 67), meaning that others can freely read, interact and give feedback to each other’s entries. This can then also evolve into user collaboration. This, according to the author, is what creates the unique community that only blogs provide.

The author’s research and theories are based on personal experience, as is mentioned at the beginning of the article, Miles is an experienced university media teacher and most of his ideas have come from his practical experience in this position using blogs as a teaching method. While there is no statistical research used to support the contention of the article, it can still be considered reliable based on the teaching experience of the author, who has “maintained and educational blog since 2000” (p. 66) but more importantly he has personally been involved in implementing an educational blog program at a university. The author also makes sure to mention that these blogs need to be carefully implemented and curated by the teachers, and the tasks assigned need to well thought through, therefore not overstating the potential of educational blogging.

This article provides a straightforward and for the most part useful rationale behind the overall usefulness of educational blogs in media classes. The author gives an in-depth explanation to what blogs actually are and why they can be used as an important tool to keep up with the ever-evolving network that is the internet. The article also provides practical information for teachers, recounting the step by step way in which the author has implemented the educational blogs in the past.

One potential weakness in this articles’ usefulness is that it is now 12 years old, and the “paradigm shift” (p. 69) of the internet that the author mentions has now again shifted. In particular, social media was nothing like it is today in 2006 when this article was written, and this may in turn impact the usefulness of educational blogs slightly as users will most likely already be part of the network in some form. However, it could then be argued that right now is more important than ever both properly understand the network and to become an active participant in it is imperative. While students these days may have a limited understanding or participation in the network, the benefits of educational blogging outlined in this article are still for the most part relevant as overall it provides a more full, conceptual and practical understanding of the network if implemented in the ways that Miles outlined.

 

Selected Text 2 – Networks

(word count – 550)

Miles, A 2012, ‘Soft Cinematic Hypertext (Other Literacies)’, PhD thesis, RMIT University, Melbourne.

(Section: Network Literacy: The Path to New Knowledge p. 201-208)

This article explores the idea of network literacy and what it means to be a member of the network. The author firstly explains what traditional print literacy is, stating that all the conventions of behaviour, protocols and understanding of the ‘print defined and governed information economy” (p. 201) is what makes someone print literate, rather than just being able to read or write. Using this explanation as a base, the author uses it to suggest that being network literate requires just as much understanding, but in particular requires users to be able to participate as a peer within the network.

The author contends that to be network literate “is to contribute as much as it is to consume”, and that this is what is the biggest difference between print and network literacy. According to the article, print literacy, while requiring some understanding of how to be a peer, does not involve the level of interaction and communication that network literacy demands.

The article also explores the idea of “sharing and naming” (p. 204) by looking at RSS, XML and tagging. His contention is that these are very important tools that foster the interaction between users that network literacy demands; these are the tools that allow users to find, mix, generate and ‘weave’ together all the various parts of information that is available to us on the network.

The author most often uses his examples of print literacy to articulate the differences and similarities to network literacy. In a sense he uses the old to explain the new in this way. While not having much statistical research to back up what he’s saying, the author uses his own experience to justify the relevance of the topic, particularly when talking about what his day-to-day experience is like right now as a media lecturer. The article also relies heavily on illustrating its relevance through personal anecdotes or examples he may experience in his line of work, such as his references to ‘CiteULike’ and so on. Overall the article aims to convince its reader that right now network literacy has become just as, if not more, important than print literacy. As such the author is trying to dispel any preconceived ideas that network literacy might be something that future generations will learn, but instead highlights its relevance to current society.

While being eleven years old now, the article provides a practical understanding of what network literacy actually is, breaking it down to make it easy to understand and even pointing out subconscious parts of print literacy that readers will already know. Despite its age and how the network has evolved since being written, the article maintains its relevance through the network still being reliant on user participation and collaboration. The idea that network literacy requires just as much user contribution as it does consumption of information is useful in understanding how the network functions as a whole. Moreover, the pieces’ suggestion that writing in the network is now done with the awareness that anyone may read it is as relevant as ever. The article also provides useful information on the concept behind tagging, subscribing and archiving and using these functions to collaborate and weave together different parts of the network as understanding these gives a clearer picture as to what the network actually is.

 

Selected Text 3 – Social Media

(Word count – 544)

Siapera, E 2013, Understanding New Media, London, SAGE Publications, pp.1-16.

This chapter of Understanding New Media (Siapera, 2013) attempts to develop the idea of “new media” and look into what that actually means. The author validates their reason for exploring the concept by stating that humanity and media are fully linked, and “understanding media therefore means understanding humanity” (p. 2). The chapter also explains why the author chose the title of the book “Understanding New Media” rather than “Understanding Digital Media” or “Understanding Online Media”, then unpacking each of those terms and explaining why they aren’t suitable titles for such a broad subject, while admitting that the term ‘new media’ still has its flaws. The third part of the chapter is then devoted to exploring the reasons why we should study media and technology, again reiterating that to understand humanity properly, the human relationship with media and technology must also therefore be understand. This part of the chapter however is then broken into summarising and explaining the theories of four different “thinkers”: McLuhan, Kittler, Stiegler and Castells.

Put simply, McLuhan’s theory on the relationship between humanity and media and technology is summarised by the statement: “the medium is the message” (p. 7). It essentially suggests that the importance of media should not be placed on the content but how the content is being broadcast. Kittlers theory, while similar to McLuhans’, places a bigger influence on interpreting how the development of technology is very structured and “reveal the operation of power” (p. 9). Stieglers’ theory differs from both. Rather it suggests that media and humanity are “inextricably bound” (p. 11), and that the evolution of both should be studied without prioritising either one as they “co-determine each other” (p. 9). Castells’ point of view is the most different however, as he theorises that “new technologies are associated with a new form of social network” (p. 14). In this way the author interprets Castells’ theory as one based around the idea of the network.

This chapter overall offers a useful discussion around what new media is and why it’s so important. The research is quite extensive, and most points are validated by other works of thinkers like McLuhan, Kittler, Stiegler and Castells, but also many more. It is a useful introduction to the exploration of new media and would be particularly useful for someone who had little prior knowledge on the topic. The authors’ offering of different counter points on the topic allows the reader to understand the conflict within trying to understand and define new media and the relationship between it and humanity, however only through the lens of her summations. One weakness of this piece may be that some of the concepts are touched on and not fully explained (this is because it’s the opening chapter of a whole book on new media), and as such is most useful as an overview on the broad topic of defining new media and its relationship with humanity rather than an in-depth look at one aspect of new media in particular. However, all in all the piece serves its purpose effectively as it presents a brief explanation as to why new media is bigger than just online media or digital media, but more significantly why new media should be studied to better understand the evolution of society.

Skip to toolbar