Television Segment – Timmy’s Summer Bites

Timmy’s Summer Bites is a television segment that was devised by myself and a three other RMIT students. As per the course criteria, our group was required to mirror a conventional television program as well as base our show around the theme summer. In doing so, we created ‘Timmy’s Summer Bites’, imaging our chosen host program ‘Coxy’s Big Break‘.



Timmy’s Summer Bites is a television segment that captures the public appeal and popularity of food trucks in Melbourne’s inner suburbs, particularly over summer. Featuring ‘Johnny’, the owner of the thriving food van called ‘Dude Food Man’, the show explores the allure of operating a business out of a mobile van. With an up-beat, summer vibe, the show’s host, Timmy, speaks with the locals to find out what is so attractive about food vans in what has become a trendy event amidst Melbourne’s food culture.


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Timmy’s Summer Bites





Radio Documentary – ‘Share-house Woes’

Myself and two other RMIT media students, Kimberley Lai and Bryan Loh created a radio documentary over the summer of 2013 titled ‘Share-house Woes’.



The radio documentary, ‘Share House Woes’ explores the hardship student’s and young adults encounter when looking for housing particularly over the summer period in anticipation for University to commence. The documentary draws on the recent epidemic in Melbourne with young adults – predominantly late teens and early 20’s facing homelessness. Three youth’s share their experiences – from squatting and setting up a water supply to living out of milk crates and working three jobs whilst being without a home. Through the characters, the documentary draws on issues surrounding youth homelessness including competitiveness in the current rental market, unaffordable housing for young adults, being low income earners as well as having a limited rental portfolio.












Image sourced from



Participatory Online Documentary – Big City Little Plant

For the final leg of my Integrated Media Specialisation, a group of students and myself constructed an event in order to produce an interactive online documentary. After conducting research for our event idea, we developed the concept for ‘Big City, Little Plant’ (BCLP). We were inspired by a guerrilla organisation called ‘aMoments. The group is known globally for instigating feel-good discoveries that take place in public spaces. Our group decided to run a similarly themed, feel-good event that would also occur in communal spaces.


aMoments at Liverpool Street Station, London


The aim of the BCLP was to promote green-living to publics who live or work in urban spaces or gentrified areas, as various studies have shown that having green-life in your office or home can increase personal creativity and productivity. Importantly, the team considered how we could critically engage an audience through use of social media by holding an event that aimed to encourage members of the public to introduce green-life into their work and living spaces. We aimed for the event to entice members of the public to share their experience as a part of their everyday online activity. With these factors in mind, our team created around 100 small pot plants with succulents that were produced from recycled materials that contained labelled instructions on how to get involved. The pot plants were placed in predetermined locations in and around Melbourne’s CBD for passer-by’s to discover and engage with the initiative online.


BCLP crafted pot plants














Our team established the BCLP brand for the pot plants to enable our key messages to reach our targeted audiences and ultimately to entice spectators to engage with the project online. We used Social Networking Sites (SNS) in combination with researched locations in order to gain ongoing participation from our audience. Additionally, we wanted to explore and bridge the gap between independent pot plant discoveries and online engagement. We envisioned that the discovery of a marked pot plant found in an independent, pubic space would provoke an element of curiosity within an individual and they would proceed to engage with BCLP online.


BCLP brand














Our group was focused on producing an interactive documentary that would be sparked from our event and implemented strategies to foster this. As the Project Manager, I identified potential themes within BCLP that might be of interest to our target audiences and utilized these elements to encourage continual participation. I found that the main elements within our project were; green-living, urban spaces, sustainability and crafting. By identifying the underlying themes, our group was able to develop them as well as integrate them into our branding, online content and the overall direction of our project. This also assisted our group in conceptualising BCLP’s website and to consider how we could stimulate participation through the themes.


After the event played through and online engagement wound down, our team actualised the website. The website was based around the core themes within our project and also documented the overall participation and conclusions we gained from hosting the event.


For the meantime, here are few of our favourite pot plants that were placed in some lucky keeper’s homes and work spaces.

BCLP found












Student Fictional Film – Coffee & π

As a part of RMIT’s Film TV 1 specialization, a group of students and myself produced a short, fictional film. The course criteria required our team to complete all of the filming in one day. This proved to be a challenging task, however it encouraged our team to be highly organized and focused on the day of shooting.


Here is our story idea for the romantic comedy titled ‘Coffee and π’, written by Evan Paris:

Adrian, a socially awkward mathematician, is a regular at a local cafe. Adrian, quite literally, sees the world through numbers, and can produce calculations for life itself. But when a girl enters the equation, human error becomes a major problem, and the theories he creates cannot work.


The finished film, ‘Coffee and π’ was shown at RMIT’s end of semester screening.

The crew on shoot day

The crew – shoot day

Exploratory Documentary – Mosaic: The Series EP1

Mustafa Izzy, Max Conroy and myself have been working on the production of a collection of short exploratory documentaries. Primarily the short pieces profile individuals within the community, focusing on what assists immigrants assimilating to life in Australia, and some of the hardships or potential joys that they might face. As a part of our Film TV 2 specialisation, our committed team formed ‘MKM Productions’ and began the process of sourcing, interviewing, filming and editing our intended documentaries.


Within both the course and time constraints, MKM Productions filmed two pieces as well as produced one completed short film. Our team will resume editing of our second documentary, ‘EP2’, and has also made arrangements to film our next short piece in early 2015. Additionally, over the last semester of 2014, MKM Productions kept a dedicated blog that entails some of our research, production processes and exploratory concepts.


MKM’s first completed film titled ‘Mosaic: The Series EP1’ profiles an aspiring Melbourne based musician, 18-year-old Angelo from Kukuma, Kenya.


Korsakow – Short Film & Critical Statement

Myself and a team of students that are undertaking Integrated Media 1 have produced a short Korsakow film, I’Object.

K film

K-film, I’Object

The film focuses on Bordwell’s concept – “It is possible to organise an entire film around colours, shapes, sizes and movements within the images”.
(Bordwell, Thompson. 2013, p11)


Here is our critical statement for our film, which is our final major essay for the specialisation subject. The piece is written by Simon Topin with contributions from myself, Ed Goldsmith and Daina Anderson.





The Korsakow project entitled ‘I, Object’, attempts to take non-linear, non-narrative based theories to their logical conclusions. To this end, we deliberately avoided trying to tell any kind of story and used six household objects; chairs, mugs, fascinators, textas, clothes and lamps, presenting each object in ten different colours across the spectrum; red, yellow, pink, green, purple, orange, blue, white, black and grey. The film is a list within a list, where everything is neatly categorised and understood. Everything is only what it seems and the disparity between the objects and the rigid order of the colour system attempts to subvert any emergent narrative or subtext within the work. This attempt at authorial invisibility speaks of “infinite possibilities in combining and making connections across a networked field of elements”, (Frankham. 2013, p138) where the seeming randomness of the objects in the list, and their adherence to a colour code means that they are in themselves meaningless – literally any object of an appropriate colour could be substituted to replace them.
Like the medieval perception of time, ‘I, Object’, runs on an infinite loop. By embracing the list form totally, the film aims to reduce itself to “sequential notations of temporal events with no meta-historical, narrative prefiguration. So, we get a glimpse of a way of processing cultural experience that does not need stories”. (Ernst. 2003, p42) However, in a 20th century obsessed with stories and comprised of individual, marketing assisted narratives, this glimpse must remain fleeting.


“Associational formal systems suggest ideas and expressive qualities by grouping images that may not have any immediate logical connection. But the very fact that the images and sounds are juxtaposed prods us to look for some connection – as association that binds them together”. (Bordwell and Thompson. 2008, p363)


The tension of list vs narrative is expressed, again literally, through the choice of soundtrack. The industrial and largely atonal electronic soundscape is intentionally aggressive and challenging, contrasting the domesticity of the objects in the film.
The grinding progression of the music accompanied by the infinite loop and eventual ‘living death’ that takes hold of the film prompts the viewer to try and forget themselves, to become one with the never-ending progression of objects, to be absorbed self-consciously into an “institutional matrix represented in time”. (Frankham. 2013, p139)




The pattern moves through a sequential progression of colours. Starting as a solid block, six different objects sit next to the previously selected object of their triggering colour.


A gradual decay in the lifespan of the individual films comprising ‘I, Object’, alters the Korsakow viewing space until the form becomes repeating and static. By observing this, it would be easy to infer metaphors about the de-humanising narratives of consumer capitalism, planned obsolescence and the commodification of spaces, but this was not an intention of the film. Closer to the mark, the film is a kind of parody, expressing doubts about what Bogost calls, “the jarring staccato of real being”, (Bogost. 2012) that assumes “real being”, whatever it is, has no organising principle and therefore narrative. In other words, we dispute that any notion of story is itself a false and ‘human’ construction. Were humans to suddenly evaporate from the planet, cause and effect would still occur, whether we are there to observe it or not, so to this end, this film is a self-conscious attempt at falsehood, acknowledging the inevitable attempts of the viewer to create meaning, while disavowing any interpretation that goes beyond the colours of the banal objects. This is highlighted through the close up shots that “isolate the objects from their everyday context in such a way that their abstract qualities come forward”. (Bordwell and Thompson. 2013, p12)




There is a limited amount to be said about the Korsakow interface that hasn’t been somehow addressed in the ‘Pattern’ and ‘Content’ sections. An initial test suggested that users are encouraged to follow each separate object through its ten different colour iterations. Thematically, this is encouraging and supports Frankham’s claim that, relationships are formed through “conceptual alignment, emotional impact, visual similarities and territories of gesture”. (Frankham. 2013, p138)
We selected the decay rate of the videos based on what we judged to be their aesthetic value. Pens and fascinators, being the most interesting, are infinite, lamps have two lives and mugs, chairs and clothes have one life each. This will create a degree of controlled randomisation in the way that the interface is expressed. Unless the viewer follows exact paths, the interface layouts will be inconsistent – in line with our intentions. One potential drawback of the film is its replay value, and may not prompt the participant to explore the work to its end, yet this in itself may not be a problem, as the film can be started or finished at essentially any point.




Our film is very high concept and deliberately conforms to the machine-logic of modern media studies. That is, the logic of fetishized transhumanism that eschews narrative and expects that in a computerised age, humans must by necessity now resemble machines internally – as silicon based Monads – impersonal, democratised nodes of existence. ‘I, Object’ attempts to convey the aggravating nihilism of this approach, while simultaneously acknowledging the beauty in pure aesthetics.


However, ‘I, Object’, remains aware of the impossibility of removing completely either the viewer or the author from the equation, and expresses this through the juxtaposition of harsh electronic noise and boring household items. ‘I, Object’s’ passive rigidity goes against both notions of randomness and narrative, (a story in itself?) yet retains the potential to tell whatever story the viewer desires. Our cataloguing of images “help to describe part of external reality”, (Bogust. 2012, p42) although what reality this is exactly, remains unspecified.


Ultimately, in spite of our attempts to subvert narrative and meaning, “if the film’s formal organisation has been created with care, the similarities and differences will not be random. There will be some underlying principle that runs through the film”. (Bordwell and Thompson. 2013, p12)


1100 Words




Bogost, Ian. (2012) ‘Alien Phenomenology, or What It’s Like to Be a Thing’. Minneapolis: University Press of Minnesota. Print.

Bordwell, David, and Kristin Thompson.(2013)‘Film Art: An Introduction’. New York, N.Y.: McGraw-Hill.

Ernst, Wolfgang ;Méchoulan, Éric (Editor) ; Cisneros, James (Guesteditor) ; Garneau, Michèle (Guesteditor) (2003) ‘Telling versus Counting? A Media-Archaelogical Point of View’, Intermédialités, pp.31-44

Frankham, Bettina Louise. (2013) ‘Complexity, Flux and Webs of Connection. A Poetic Approach to Documentary : Discomfort of Form, Rhetorical Strategies and Aesthetic Experience’. PhD Dissertation, University of Technology Sydney.



Korsakow – Sketch Film

I have authored my very first K-film, formally known as Korsakow, which has been adapted from Korsakoff’s Syndrome (early on-set dementia from excessive alcohol abuse and the consequential malnutrition). I’ve never really known the exact reason behind the naming of the software, although I’m inclined to think it has something to do with the usability of the program… But mostly because of the limited viewing time within each frame.

The footage has been taken over the last six weeks and contains elements of personal documentary whilst being within the constraints of the outlined weekly filming tasks.  You can have a play with it here.