After Seth viewed our initial prototype in class today he suggested that we make the preview for the inner circle more readily available from the outside circle. He also said that the use of text would really enhance the overall project.
We still have a lot of work to do including adding text to the clips as well as a title page with our names and project title at the beginning of the piece.
I think we are all happy with where the project is so far and I am excited to seeing what the end product looks like.
Prototype for my group assignment is now live! You can find it at http://www.themediastudents.net/im1/2014/Danceprototype/
I checked out Hannah’s blog and viewed two of her korsakow films.
Red – My initial reaction to the clip was dramatic and bold. The clips are strong.
Black – The variety of content in each clip is very similar.
Yellow- I really liked the layout of the interface. It gives the user plenty of options and keeps the work moving.
Green – A suggestion could be to reduce the length of each clip to help with the overall flow of the piece
Red – My initial reaction to this film was calming and tranquil
Black – There wasn’t much that I didn’t like about this film but there were some clips that had too much background noise/wind which was distracting at times
Yellow – The variety of the different content kept the film interesting.
Green – Although I liked the white background, it would be interesting to see how the piece looks against a black background to compare.
Does the design of the interface force the users attention to follow certain lines of focus as opposed to others?
- Dependant on how you define your interface
- People who write in this media don’t make new media so they often write strange things
- People who write on new media are talking generalisations and write some crazy things
- Useful to think about the interface as muse-en-scene – a visual space – the visual weight – are all ways you indicate relation and hierarchy within your work.
- When you build an interface you’re building things that medium allows you to do
- The interface is not just a public face but looks inside to the database itself and its how you make visible what the database does
- Why doesn’t the interface let you see a list of keywords – it’s drawing interface from the viewer – a very deliberate decision
- It could show the lives, the number of videos, the length of time – but it doesn’t. these are decisions – what not to show – is just as important as what to show
- Don’t treat your audience as dumb – it’s not google, it’s not a library database – it’s a world you want to invite people to explore on your behalf
- Don’t tell them everything at the start – there would be nothing to explore
- The design is about seduction, reward, an invitation to explore
What are the key considerations when constructing a multilinear work?
- How do I want it to end
- What platform or software best suits the direction i want to go in in terms of expressing the voice
- Is it open or closed – can participants become involved
- What are the different layers and threads – linear, multi linear – how can i from connections
- Having an idea about what i want to create – how am i going to approach the work
- Sketch process doesn’t stop…working out how to produce work
- Think about the design of the screen in a spatial sense
- How you use previews and the design of the viewing window
- Relations between the parts – fundamental to Multi linear work
- What material is being filmed/worked with and why?
- The scale of the bits that go into the project – the smaller and more abstract the material – the easier it is to have more connections to other parts.
- The shape of the work arrives through the making – you don’t draw the relations until you start building – we don’t know which parts are going to be the more important parts.
- Architecture emerges through the making
- You have to learn how to listen to the material
- Risk – related to emergence – there is a moment of risk in making and the viewing because you don’t necessarily know what’s going to happen next – element of joy and danger that is exciting and interesting – work produces unexpected connection – not preset – realistic representation of the world – is about risk and non linear connections
Luers talks about databases in K-Films working on relational knowledge, and as such you can replicate narrative film techniques like flashback and montage. However is this disregarding the K-Film’s intention of exploring non-narrative?
- K-films are not only interested in non narrative structures
- It’s still possible to explore micro narratives in a simple SNU
- It’s important to be clear that montage is not necessarily a narrative technique – it’s more a technique of generating and implying meaning between two images
- Linear film it’s easy to do flashbacks because you have a timeline – Korsakow does not.
- Visual examples – you can embed one image beside another – visually without
- Korsakow – learn how to listen to the media that you’re using
This is what the class had to say about our initial proposal
Red: This idea sounds exciting but It is something I will need to see to full understand
Black: Confusing, no set movements
Yellow: Focused on structure which is a good thing, Reminds me of a mini musical
Green: Too complex and may be too difficult
I found this post by Emily Malone really interesting as it expressed ideas I had previously thought about.
I have a compulsion to write lists. It calms me. I never end up referring back to the lists but just simply the act of organising my thoughts or tasks helps me understand what I have to do.
This week’s reading explores the way audiences interpret fragmented information in the form of storytelling.
Changing media literacy’s means that audiences are able to understand shifts in flows of information and develop strategies to deal with gaps.
Frankham says the narrative is in itself a list also, but it exists in within a framework with which we are more familiar. Relations between elements are more closely established.
She believes that because the list is open to interpretation, there is room for a deeper engagement with the text. Frankham says: “The option of being able to choose how to engage with a work often results in a kind of cognitive consumerism where an artwork is reduced to a set of ideas to be mastered.”