The box has finally finished being created. It was a lot more fiddly than I’d initially expected, but the final result is stable but lightweight, quite neat looking and most importantly, matches the plans laid out for it and the initial design concept. Below are images of the final work, minus all the elements to be added (the video on the phone, the earphones, the text printed on acetate and the images on foam board.)

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ºº E L E M E N T A L S ºº

I’ve been working on the finalised version of the film aspect of our media artefact. The film will be played on (probably my) iPhone inside of the box. The excerpts I chose from the film display women in varying depictions, similar to the mind map of female characters that we talked about earlier (see previous post). The video also is a kind of calling-card to the audio aspect. They both contain excerpts that show representations of women in a choppy sort of formula.

Here are the excerpts I’ve used, plus the director of each and the year of release  >>>

‘Daisies’ Vera Chytilová 1966
‘Hula’ Victor Fleming, 1927
‘The Virgin Suicides’ Sofia Coppola 1999
‘Melancholia’ Lars Von Trier 2011
‘Blue Is The Warmest Colour’ Abdellatif Kechiche 2013
‘The Seven Year Itch’ Billy Wilder 1955
‘Partition’ Jake Nava + Paul Laufer 2013
‘Can’t Remember to Forget You’ Joseph Kahn 2014
‘Under The Skin’ Jonathan Glazer 2013
‘Catwoman’ Tim Burton 1992
‘American Beauty’ Sam Mendes 1999
‘American Pie 2’ J.B Rogers 2001
‘The French Lieutenant’s Woman’ Karel Reisz 1981

P R O T O T Y P E 17,000

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Mimo, Amy and I did some more prototyping yesterday with different sized magnifying glasses and boxes inside out giant box. However, it would seem that the only way to get a clear and focussed image through projection is to have the projector about two meters away from the way you’re projecting onto. It doesn’t seem like this will be a viable option for our artefact, as we want the ‘installation box’ to be quite small: around the size of a shoebox, not two meters long.

Above are photos of what I created at home after our work at uni yesterday. I bought some perspex and cut it to fit the size of the back wall in a standard size shoe box, and created a frame to hide the phone behind. Detailed below are some sketches of how the next artefact will be created, using this technique.

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About a week ago I came home from uni to create a projector downstairs as research for the one we’ll use inside our installation box. I’ve explained how this can be done via the diagram below:

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I found that by moving the box further away from the wall, and moving the phone closer to the lens inside the box, I was able to get a really large and pretty focussed image. The projection got to be about 1.5 meters wide. We’ll obviously need to re-work the size of the lens and the distance between the lens and the wall because we want our artefact to be about the size of a shoebox, not the size of a basement.

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Notes found on the evolution of our artefact for Project Brief 4 from the start of May…

Initially: an installation in a room with all our elements on the walls.

Then: A box big enough for one human to fit in, that features all our elements on the walls and maybe even the ceiling of the space. It would be completely immersive, and once the sound and the film had played through the room would go quiet and the viewer could leave. Kind of informed from the Girls episode from season one in which the character Marnie has to get inside Booth Jonathan’s screen box of torture. {see inspiration below}

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Now: The idea has been inverted. Will we endeavour to create a rectangular prism that features all our elements of text on the outside walls and one element on the inside also. It will be like a small installation, that is portable. On the top of the box our mission statement will sit; this will explain to the viewer how all the elements connect and that our aim is to display.


A little while ago in class we were asked to go out and do some shooting with the school’s Sony MC50E video cameras. Out into the sun I went with the lovely Nicolette and Bliss, and we filmed three shots of us entering the frame in different formations and with different framing. It took a while to figure out setting the WB, and even figuring out the zoom control as we were used to using SLRs as opposed to video cameras. But in the end we had it down and were able to make noticeable adjustments between each shot. Our favourite was the last shot, in which I shot Bliss and Nicolette walking towards each other and performing the requested handshake and goodbye, but with their heads cut out of the frame. This made for a more unusual take and a unique angle.

Later we used the Zoom recorders to go out and record some sounds around uni. These were a bit trickier to get a handle of since I don’t have a great understanding of audio terms and controls. However, these were the basics we were informed of:

– Signal to noise ratio: the signal is what you want to record, whereas noise is everything else surrounding it.

– Mic gain: is how much noise is let in. Best not to adjust it higher than 0dB, otherwise you’ll get clipping. The best range to stay in is -12 to 16dB.

– Mic pick up shape: a spade sort of shape that exists around the microphone. It’s good to remember this when placing your audio recorder in interviews and such.

Other principles to remember when recording audio are techniques like those you use when you record music; recording in places with soft furnishings that don’t reverb sound, and using cushions, doona covers and rugs to achieve a clearer sound.



At the moment our idea for Project Brief 4 is to create an installation that displays various forms of text that our audience can make meaning from, as this is our central theme that we’ve discovered through our research. The space will include the four pillars of media; video, written text, audio and image. All of these elements will be featured on the walls of the room, the audio being presented via a pair of headphones hanging on one wall, and the video hopefully being projected onto another. The written text may sit on tables or also be on the walls but either way we’d like the audience to be able touch, engage and play around with it. The space may be in an existing room at uni, or in a smallish, human-sized box that we create and can transport to different areas.

Our main concern is that all the forms of text are open-ended and just unspecific enough that the viewers can make their own, individual meaning from them. This means not strongly categorising or labelling them.

The Discipline of Noticing – John Moore

  • Often when we think we are noticing things we’re really judging or evaluating them
  • “A succession of experiences does not add up to an experience of that succession.”
  • Intentionally learning from experience – “reflection”. Isn’t carried out very often *apparently
  • It’s easy to say “I will notice this tomorrow” but it’s never guaranteed. What we need to do is develop “the sensitivity to notice reticular things, and to notice them when it would be useful (and not merely later, in retrospect).”
  • We notice things reflexively more often in our respective professional capacities. Things we’re used to looking for
  • Subconscious reading of body language is something we’re taught to notice through learned social interaction. We learn this before we learn language and so it is  more intrinsic to us
  • Noticing requires distinction; separating something from its surroundings, creating foreground and background. It’s often unconscious, and so it could be said that noticing is very similar to sensing.
  • Sometimes we notice things without realising we have; someone asked me if i’d seen the sign outside our office, and suddenly i saw it in my mind. i had seen it, but didn’t know i had until now.
  • Ordinary-noticing vs. marking; a heightened form of noticing. A third, deeper intensity is referred to as recording, this takes more time however.
  • Chain reaction remembrance; like visual cues