Symposium 12

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  1. If you could sum up everything you feel we should have learnt this semester in one sentence, would what it be?
  2. Why is it important to learn about interactive media, especially Korsakow?
  3. Is Integrated Media 1 more like a film making course than network media?
  4. What can we take from our study in/of Korsakow that is practical with other media stuff?
  5. What is the future of Korsakow?
  6. Do we think that the concepts from IM will eventually take over the traditional media or it is always going to be experimental?
  7. Is it not so much that things don’t have structure and more that we don’t know how to approach “the unstructured”?

Reflective Chart items

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This is one of the reflective scale lists produced in the classes. The reflective scales are part of the documentation package for the final film.

  1. shoot video
  2. edit video
  3. transcode video to H.264
  4. organise files and assets
  5. make thumbnails
  6. put them into Korsakow
  7. adding keywords and SNU editing
  8. interface design
  9. exporting/previewing/sketching
  10. reading
  11. finding references
  12. drafting/planning
  13. writing
  14. editing
  15. compiling a bibliography

Symposium 11 Questions

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  • Does the design of the interface force the users attention to follow certain lines of focus as opposed to others?
  • What are the key considerations when constructing a multilinear work?
  • 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?
  • Can you explain what temporal relations and micro and macro views mean in relation to K-Films?
  • Is having an end SNU a good idea to make he film have a conclusion, or should the viewer be able to interpret the film any way they like?
  • If a shot’s meaning can be changed why create lives when and if the film maker specifically linked the clips together?
  • Should sound be used differently in a Korsakow project than in a linear film?
  • Should the K-film essay focus more on why we did it or how we did it?
  • Can Korsakow’s interface look better?

The Bonus On Offer

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This is a check list of what you need to get the bonus’ on offer for the final project:

PROJECT DOCUMENTATION BONUS CHECKLIST
All of these must be included, on paper, to receive the documentation bonus.

  • minutes of weekly meetings have been included
  • minutes include who there, dot points about key things discussed, and list of actions: what to be done, and who is doing them
  • the individual graphs of your strengths and weaknesses for Korsakow is included
  • the project Gantt chart is included

PROTOTYPE PRESENTATION BONUS

  • presentation of a prototype for feedback
  • second presentation of work in progress for feedback which has changed in response to the feedback received at the first presentation

Uploading your Final K-Film

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Remember for your first, individual, K-films you used a FTP program to upload them to themediastudents.net web server? For the final projects you do the same thing, but the location is slightly different. When you log in to the server using FTP please go to the im1 folder, and inside that open the projects folder (not the 2014 folder you used for your individual projects). This is where your projects go.

  • create a folder for your project
  • the folder name should be lower case, contain no spaces, or punctuation
  • inside this folder place the index.html and data folder for your Korsakow project
  • if you put it here the url to your work will be http://themediastudents.net/im1/projects/thefoldername

Reading 10

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The reading is:

Dovey, Jon, and Mandy Rose. “We’re Happy and We Know It: Documentary, Data, Montage.” Studies in Documentary Film 6.2 (2012): 159–173. You’ll find copies of at the University of West England eprint repository.

This essay is from the same journal issue as the very first reading from Aston and Gaudenzi. This journal appeared in 2012 and is one of the very first collections dealing specifically with interactive documentary. Dovey has done research in hypertext, games, cinema, video, and interactive documentary. Rose is a former film maker/producer who know works between academic projects around interactive documentary while also being a production consultant/producer of interactive documentaries in the United Kingdom.

Copyright and Your Projects

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The final work needs to only use material that you the have rights to use. This is because the work will be published online (and no, the fact it is for education doesn’t mean you get an out, that only applies if the work is not published). If you want to use music then you need to make sure you’re allowed to. Creative commons licences are usually the simplest way to do this. Creative commons does not equal free to use though. All it means is that the rights are declared in advance, without needing to ask, unlike traditional copyright. It is perfectly possible to have creative commons licenced work that excludes any reuse. (A very good intro is this YouTube clip, and here is an outline of the different licences.

Symposium 10 Questions

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A bedraggled, illness ridden week. We have carry over questions:

  • How can we emphasise moments of contemplation through making our korsakow films?
  • How as filmmakers do we decide on the right amount of “glue” (cohesion) if we are unsure of our user’s media literacy?
  • In her discussion of associational form, Frankham states that these films cause relationships between emotional elements rather than logical elements. If we were to implement this in our K-Films, would it require more planning, focussing on content or keywords to portray a specific emotion?

And we also have:

  • How important is the theme in a k-film? Is there a risk of losing the cohesion of the film if the theme is not strong enough, or if the theme is too strong, hammering it into the audience too much?
  • Does the absence of narrative and conclusion make something unsatisfying to the viewer? Is it something that we search for and in the absence of create ourselves?
  • The reading claims that a collage cannot resolve. Can a Korsakow film have a resolution, or is it only able to explore its content?
  • Shield claims that all mantages imply a meaning through the juxtaposition of shots. Is the meaning lost when a viewer chooses how they create the montage with a Korsakow film?
  • How do I keep a viewer engaged without creating a sense that my K-Film is building towards something (a climactic moment, an ending)?
  • Shields describes most films and novels as being predictable, tired, contrived and purposeless. Yet he believes that literature is a form of thinking and wisdom-seeking. How are K-Films so lively and purposeful?

Reading 09

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Apologies for the lag. This is the reading to be done for the coming week (week 10). It is online only, and is Will Luer’s chapter in the Database Narrative Archive anthology. (This anthology has just been put on the reading list for a new interactive documentary course at MIT.) The chapter is readily available online, and is called “Plotting the Database“.

Luers, Will. “Plotting the Database.” Database | Narrative | Archive: Seven Interactive Essays on Digital Nonlinear Storytelling. Ed. Matt Soar and Monika Gagnon. N. p., 2013. Web.

Impact of Social Sciences – Clicking on the real: telling stories and engaging audiences through interactive documentaries.

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Kate Nash, who’s work we read earlier in the semester, has a post at her new university (she was a keynote at this year’s i-Docs conference, one of the major international events dedicated to interactive documentary for makers and thinkers).

Impact of Social Sciences – Clicking on the real: telling stories and engaging audiences through interactive documentaries..