Narrative Lists

Zoe with notes on the Ryan and Bogost. Yes, we have been making lists in our sketch tasks, well spotted/realised.. Mardy enjoys Bogost’s discussion of the role of lists in relation to language more broadly. Natalie picks up that K-films could be non narrative works and offers a great outline of Bogost and lists. Jackie too has brief notes on Ryan and Bogost, while Sam wonders about listing as a form of hypertext connection, and while I’m not sure about that the connection to montage (though only some forms of montage) is accurate. Bec has thorough notes

Korsakow, My URL begins with File – Is It Published?

When you are publishing media online, and you view it in your browser to check that it is OK, if the URL begins with file:// (or local:// for that matter) then the thing you are looking at is on your computer. It is not yet published on the inter web thingie. Things published on the web all must have the http or https prefix (HyerText Transfer Protocol). To publish it, if it is a stand alone web page/project (like a Korsakow film) you usually use FTP (File Transfer Protocol) to transfer it to a web server.

Symposium 6 Updates

Mardy on hammer’s ingredients of f%%$$# Hollywood. Bec’s notes, though still confused about narrative (not everything is a story, not everything that has cause and effect is a story, but if you don’t have cause and effect, you don’t have a story). Carl, with notes on intent and senders and receivers and a grab from The Whale Hunt. Torika with notes, the flirting comment made sense apparently.

Not symposium, but Ella appreciates Tiana’s observation that Korsakow is a system for trying new ways to use video. (yep.)

Sharona single points for the questions discussed. Kylie with brief notes. Tiana on stories, closure, telling it well, and more hammers. Edward on hammers, cause and effect, us as centres, while Imogen also notes the subjective voice and the importance of the engagement with an audience as who is explicitly addressed by the essay film.

Korsakow: Exported and Nothing Seems to Work

On OS X flash is now not allowed to run from a local file. That means if you view flash that runs on your computer, rather than via a web server, it won’t run/work. This is a security issue, as it is possible to write flash that runs on your computer that can then get access to things on your computer it shouldn’t. THIS ONLY APPLIES TO FLASH THAT YOU RUN IN A WEB BROWSER FROM YOUR COMPUTER, NOT FILES YOU VIEW ONLINE ON Continue reading

Korsakow: It Crashed When I Went to Save and Everything Is Gone

A common scenario witnessed this week.

Launch Korsakow. “Ok…”, drag some video in.
“Mmmm, Ok, that wasn’t so bad.”
Double click. “SNU editor? Whatever.”
Make some changes, add some keywords, link to an interface, and a thumbnail (“What’s the drama with this?, this is easy”). Repeat.
“Cool. Oh, better save the work.” File, Save.

“Shit.”

It’s all gone. “F$#kn rubbish piece of software.”

If you don’t want this experience then open Korsakow, and SAVE THE PROJECT BEFORE you add media, and you’ll be good. (Subject to good housekeeping.)

If you want to know why, continue reading (you are asking the software to do something impossible).

When you drag or insert media into your Korsakow project you are not putting the video ‘in to’ Korsakow. Korsakow just remembers an address of where your video is and so when you do an export it uses this address to go and find the video, and then transcode it when you export (publish) your film. This address is called an alias, and Korsakow relies on an alias, which is in effect a link to the real file, to find it.

Lots of programs use aliases as a way to have multiple copies of a file without actually having multiple copies of the file (incredibly useful when working with video), and it’s built into the Finder of OS X (File – Make alias, aka Command L). That’s pretty straight forward. Korsakow does this so that it doesn’t have to swallow video, which introduces all sorts of storage and data problems which would make the program slower (since it has to process all that video) and less agile (as keeping the media outside of the program makes it much easier to change the media as you go).

How do aliases work? By addresses and paths. All the files on your computer, much like everything on the Web, has a file path, which is its address. On a modern Mac this begins with / and then is a series of folder names and eventually a file, so a word doc in my user account on my computer might have the path /Users/amiles/Documents/somewriting.docx (That example isn’t strictly accurate but it will do.) This is its address.

Now we saw that Korsakow needs to know and remember the address of where your video is when you add it (which is why you don’t change the names of files, folders, or where they are on your computer after you add them to Korsakow unless you want export hell). I imagine it does this in the simplest way, which is to remember where these media files are in relation to where it is. On computers we call this a relative address. In other words if it knows it is here, and the video files are in a folder called ‘media’ next to it there, then Korsakow only needs to know an address that says ‘media’ to be able to find those videos. Now the program could me made to remember a full path, all way to the top of your computer, but then if you moved your project to another computer all these addresses and paths would break. By remembering where the media is relative to where the program file is makes it easy to move the project to other computers.

These relative addresses on a computer are just like personal directions you give someone in the street. When asked how to get from Carlton to Brunswick you don’t tell someone to first go to the Melbourne General Post Office, you say go up there, turn left, then right, etc – these are directions relative to where you currently are.)

Can you see the problem? If you haven’t yet saved your Korsakow project file (the file that ends in .krw that stores all these aliases) then how can it know where it is? And if it doesn’t know where it is how can it then find a way to where the video is? Now yes, just crashing is basically a bug. But it is happening because you’re asking a program to do something impossible – to think about the relative address to somewhere else without first telling it where it is. The fault here is with us, not it.

Korsakow, Upload Seems Not To Work?

When using FTP to upload your completed K-film to themediastudents.net we have noticed that doing this from RMIT in the lab, using wifi (wireless) might not work. Would seem the IT gods at RMIT have blocked the port that FTP uses on wifi. No idea why. However, on ethernet (the blue lead you plug in), it’s not a problem. So if you are using your computer, our computer, over wifi, only at RMIT and it doesn’t work, do it somewhere else, or plug in the ethernet.

Symposium 07 Questions

Carry over questions from last week:

From Bogost reading:

  1. Apart from reminding us that narrative is made up of ‘everyday stuff,’ what can lists achieve as a literary device?
  2. Why and to what end are we to be freed from the ‘tyranny of representation’?
  3. Bogost writes ‘lists do not just rebuff the connecting parts of language but rebuff the connecting of being itself.’ How do lists do this?
  4. If a list was to be created through a random non-human selection is a narrative still created?

Korsakow

  1. Why has google not brought out Korsakow as it seems like a relevant tool/application for working with online video and ongoing developments with YouTube?
  2. Will multilinear videos become part of mainstream mass media or will they always be a niche part of new media content?
  3. Are k-films hierarchical because you are trying to define something without a structure by applying it to something with a structure?

Rascaroli, Laura. “The Essay Film: Problems, Definitions, Textual Commitments.”

  1. How would you distinguish between an essay and documentary film when both can have exploratory and creative elements?
  2. How can you say a film essay is not a genre when it is categorised by the author as something else?
  3. Films are about interpretation and personal knowledge – does this type of interpretation and personal knowledge transfer readily onto a k-film when making it into a type of essay?
  4. With the emphasis placed on the viewer’s interpretation and the role it plays in defining meaning – is it possible for a piece of work based on classification being free from interpretation, opinion and speculation?

Symposium Outtakes from Number 5

Ella took away Jasmine’s outstanding comment about seeing with alien eyes. It really was a great observation, memory, and idea. Mardy has notes, as does Bec, Sharona. Carl has dot points that do a good job of listing the salient points. Torika worries about art, and, well, why. Good worries to have, but right now I think it’s worth learning how, then doing, and then thinking why. Worrying about the why before you learn to do something risks deciding before knowing. Brenton has a good summary of form and how documentary addresses the world.

Listing

Ali on Kafka, The Trial, and lists. We might also add that Kafka, famously, did not finish novels, most of the works remain just that. Partial. In many ways a great exemplar for the sorts of ideas we want to explore as they are less stories than ways to investigate an idea. Gina notes a class debate on lists, narrative, cause and effect. Tom on Bogost and not connecting through language. Nadine with key points about lists. Accumulation, indefinite relations, disconnection, staccato. And that list is a good description of how to make a Korsakow film.

Life, Stories, Narrative

Edward has good notes about the ‘my life is a narrative’ thread. Koston has good things too. No idea where this up after last week’s discussion of hammers, cause and effect, and stories are machines to narrate stories so if that’s the machine you use, then everything will look like a story. It’s a good post. It is trivial to narrate things after they have happened, but if my life is a story, (and a story is a thing narrated, that has cause and effect understandable within the story world, with sentient agents), could someone let me know how it ends please? The point is that as it is happening it is not a story, but after it’s happened, it is simple to make it a story. They are two different things.