Read Between the Signs – Connection 7

Today, a rainy Saturday, with my headphones broken and a mind recently activated by coffee I sat silently for the duration of my hour long ride on the 86 Tram and began to consume any information readily available. The carriages were riddled with posters containing images, text and symbols to convey the rules and regulations of Melbourne’s Metro. For a form of text whose whole basis lies in clear and concise messages there’s peculiarity in the vast differences between their denotations and connotations (first and second order meanings). Hardly had I noticed before the amount of assumed knowledge we bring to interpret messages such as these.

It is after all a huge leap from the sign of white circle and lines on a blue background to identify a person in a wheelchair, which in turn comes to represent all persons with disabled mobility, and stands as a symbol that there are sufficient mechanics in place (a ramp, a handrail) to allow access for such persons, and further that they shall be given priority access to the service nearby. Even by following the length and structure of the above sentence we see the lengthy, still not exhaustive, process we take as everyday viewers, consumers, audiences, humans, to understand even the simplest of texts. Crucial to the importance of this pictures cohesion is that the same shapes, in another context,  would not be perceived in the same way. Simultaneously, a perfectly sketched portrait of some-one in a wheelchair would not be received identically.

Key to the effectiveness of such informative texts are their strong conventions. Relying heavily on visual aspects to transcend barriers of language and literacy each poster I saw contained only simple or fine text if any, pertaining to the precise technicalities rather than the dominant meaning. The typical poster used gender and age unspecific drawings, simple depictions of other objects were greyscale – this use of objective characterisation limited the play between the authors intentions and the audience response. Other techniques of colour and framing enhanced this unidirectional movement typical of its form. Also crucial to the successful functioning of cautionary, and safety signs are their external conventions, including their placement, and greater salience. We look overhead and near entries and exits for information, an exit sign on the right hand side of a corridor is read differently to one in the centre.

Our ability to interpret and understand these texts is developed over time, from reading, repetition, and recognition, actions all taken predominantly by the subconscious. It was in fact as recent as 1984 that the identifiable “no symbol”, a red circle with a diagonal line on a white background had a publishing standard in the UK. In the last thirty years it has efficiently created a social and cultural code allowing it to be read universally (in the sense limited to its use, rather than a literal sense of universal.) Continuing to observe the way that I receive texts from an audience perspective will greater enhance my understanding of the techniques and approaches in regards to connotations, signs and codes that I can use as a producer to create meaning.

 

The Notice-board of Directors – Connection 3

As a result of quite an inspiring reading assigned to us for our media class I have been putting in the effort simply to notice things. John Mason suggests in his piece “the discipline of noticing” I have repeated to myself upon entering/exiting a doorway that “I am walking through a doorway”. Not only does it make you realise how utterly reliant you have become on doorways in everyday venture but also makes a wonderful conversation starter as you hold up a line at public toilets.

Among other things I have noticed that my analog watch doesn’t have numbers or symbols, it does however have a scale replica of half the earth and accurate lines of longitude and latitude. I have noticed that I most often use the black side of my pen, but the red is my most favoured to click in times of boredom or brain-naps. These are a few things that I have “set myself” to notice which Mason points out is the first step towards noticing as it shows intention, however it is not always reliable.

Over the past few years I have tried to set myself to remember to put my phone on the charge before bed, check the mail everyday and look at the best before date before putting the milk into my tea, all with limited success. Sometimes consequences can vary, from getting in the principals bad books for forgetting to pick up your child to having to rinse out a mug with an unpleasant smell. It goes to show that while we may think we are on top of things, we are most likely on top of 30% of things which we have selectively noticed and absorbed while happily oblivious to the 70% of clothes left on the line before a storm and assignments due by the end of the week.

Mason categorises our interactions into three categories:

Noticing, Marking and Recording.

Noticing, whether consciously or not, is isolating something you sense (see, hear, touch, smell or feel) from other stimulus around it. Being able to at the time establish a clear distinction of what it is and certainly what it isn’t, what makes it different from its surroundings. Things we notice can easily be lost in the background of our thoughts until another interaction encourages its reprisal to the forefront of our mind.

Marking is the next level of interaction which requires more focus, attention and processing. Something we ‘mark’ we can source ourselves to “remark” to somebody in conversation. This action of reproducing the fact that we noticed and mark will make it more memorable and accessible for further reflection later on.

Finally, recording is the third level of interactive noticing. This upper level often relies on immediate relaying of informational to an external source. This could simply mean jotting down a note for later, drawing a small diagram or taking a picture for concrete evidence to access. Recording requires the most motivation as compared to the intention of “setting yourself” it requires you to immediately engage and enact with your markings.

Over the next few days I will continue setting myself trivialities to notice and hopefully that will lead to increased potential for marking and consciously I am applying myself to record, for uni if not anything else. Now if you’ll excuse me am walking through a doorway that leads to my bed.

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The Media Front – Lectorial 2

One hour down in our media lectorial (it’s a word) and we are sent forth from the depths of our dimlit den to prey upon the world. Like Mr. Burns releasing the hounds our teaching staff decided to unleash roughly a hundred admitted clue-less students into the unprepared media ridden world. To lighten the blow we were separated into groups, in an attempt to cover as much area as possible. Our battalion (group 2) was assigned the Queen Victoria Building with the objectives of gaining entry and taking note of every source of media they were armed with.

Without a moment to lose we shuffled out from behind our desks, checked once, twice, three times that we were the right group and staggered out of the RMIT building not sure who was leading the way and who we were waiting for. We took a sharp turn south, narrowly avoiding Colonel Sanders’ signboard and brushing away progressive propaganda posters with hand singles reminiscent of the original Karate Kid. This job was going to be much harder than we thought with socialists and self-promoting sou chefs outflanking us.

Our every move caught on video from the overhead security cameras we stumbled over graffiti and discarded food packaging barely catching a glimpse of the happy green man before he transformed into a flashing red symbol of rejection. The few behind us weren’t so lucky, including the suited man chatting with his handsfree and the schoolgirl identifiable by her blazer emblem. This media was everywhere and it showed no sign of slowing down, from the digitalised welcome sign at Melbourne Central to the relentless advertising on the skating rhinoceros.

It was becoming claustrophobic, printed media everywhere telling me not to smoke, not to litter, not to put my feet up and to keep a keen eye for cyclists in the area. Luckily I was able to find salvation in the street-art of one man, knelt down, brushing the grey pavement with a coloured bundle of horse-hair. Spirits were once again high as we arrived at our destination, stopping to discuss the journey we found we could already have enough inside information to fill one double-sided page of A4 paper divided under subheadings such as “up high” and “in your hand” – perfect because that’s just the inventory we had.

Inside QVB the media were waiting to ambush us, they’d conscripted an army comprised of all mediums. The air-cover was provided by banners and billboards bombarding us with logos and images of attractive youths in clothing. From the left came a wave of interchangeable motorised screens, juice-bar menus that rolled to the frontline special after special after terms and conditions after specials. At the same time bringing up the rear were radio waves of top 40 hits, catchy jingles and news updates.

In order to get through this we attempted to fit in. Tyler took out his camera to “snap some pics” of complimentary magazines, Matt recorded some customer interaction and I attempted a panorama of the media lined arcade but captured a few blurry and disembodied passers by in the process. It was amazing the amount of media we had access to in both public and private domains. This is modern life, a society littered by strategically placed screens and interactive software at your fingertips.

It was a successful mission from which we’ll take away a keen eye for noticing media in everyday life. There is quite a contrast between media in Melbourne and media in my hometown Wagga Wagga. Rural society can still be defined as modern media life with access to books, newspapers and maps but is lacking in comparison multiple streams of stimulus in such a concentrated area, and the QVB is only one of few. I’ll have to remember when visiting back home to set my watch, my phone and my laptop back twenty years.

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Did You Miss Anything? A discussion of hyper and deep attention- Lectorial 1

Rumour has it you didn’t make it to the Media Lectorial today. Maybe you got lost. Maybe you slept in. Maybe your cat died. Maybe you thought daylight savings started. Maybe you’re a dyslexic agnostic insomniac and you stayed up all night wondering if there really is a dog. Anyway, after asking the stupid question “did i miss anything?” Here is your stupid answer.

According to poet Tom Wayman you missed everything and nothing:

Nothing. When we realized you weren’t here
we sat with our hands folded on our desks
in silence, for the full two hours.

Everything. Contained in this classroom
is a microcosm of human experience
assembled for you to query and examine and ponder.

A less sarcastic man would answer quite simply: “we wrote a list of ten things we wanted to achieve from this course and then discussed a paper by N. Katherine Hayles on Hyper and Deep Attention.” You may have no idea what hyper and/or deep attention is, more unfortunately some of you may not know what a paper is. Fortunately though I will discuss the meanings of hyper and deep attention below and include a link to the meaning of paper here courtesy of dictionary.com.

Firstly Hayles proposes that developments in programmed, interactive and mass media are begin to impact on how businesses in developed societies function and how the members of their society communicate, defining their social context. This change in it’s essence can be shown in her study of the correlations between deep attention, hyper attention and their uses for the individual and their community.

Hyper attention is seen as an ability to focus on multiple stimuli, or rather being able to quickly transition from one stimulus to another. It is associated with a desire for interaction and incentive, while also resulting in an intolerance for boredom. Inversely, deep attention steers focus towards one source of information and the ability to immerse oneself in that source, possibly still with multiple lines of thought but all focus on interpretation of one stimulus. Hence, it encourages an eye for detail, unconsciously removes distractions and can detriment multi-tasking.

The transition Hayles identifies as steering away from deep attention towards traits of hyper attention, particularly with the younger demographic. So what effect does this this have on Media?

It would seem that it changes the ways we produce media, we receive it and ultimately how we perceive it. A increased demand from audiences to be stimulated and provided with information in a shorter time frame impacts various sections of the media industry from advertising, to programming to how film and audio are edited. A perfect example of producers responses to this are “Vines” or seven second videos. It’s flexibility to impact through various formats, particularly social media and availability to be created and spread by anyone makes it a successful stimulus in a hyper attentive world.

Now here’s a video insert for no other reason than to stop you getting bored (if you made it this far).

As younger audiences develop this attitude studies have shown that more youths are simultaneously accessing multiple streams of information including hard media. In Hayles’ paper she shares data from the Kaiser Family Foundation that found 30% of children alternate doing homework while accessing external media. This increases the importance of media to constantly provide interesting stimuli, interaction or offer incentives.

As I write this I’m listening to my iPod – a playlist of Childish Gambino, Allday and Seth Sentry – and if a song becomes boring or slows my process on this blog I skip it, simple as that. However, if the song were to be interactive, say like a choose your own adventure and I could choose the verse, chorus or loop that came next I would indulge and involve more with the stimulus. Also if they were to offer incentives, say every time I finished a song to the end my fan rating would go up, while I wouldn’t necessarily be more indulged I would make a habit of seeing a song through to the end, a trait drawn from deep attention.

These weapons of mass production are noticed most in the entertainment and games industries. This desire for multiple streams and types of stimuli means that video games must alternate between and consist of high impact gameplay, stimulating interface and image, intricate and/or interactive storylines and also offer incentives for continued gameplay. Many designers and individual games have managed to adapt efficiently to this style and with success; Steve Johnsons’ research also as part of Hayles paper proposed that video games through their structure of escalating intensity, stimulus and reward encourages gamers to progress, relying on a similar chemical urge to that of gambling.

This understanding of hyper and deep attention will help with my processes of creating and particularly editing material as I’m aware of the relationship and perspective of audiences. As the scope of Hayles’ research incorporated many forms and mediums of media production and consumption it becomes relevant to a various aspects of the industry. However, this analysis is very specific to time, demographic and to a lesser extent place, an investigation of current methods of youth’s interaction with western media.

In conclusion the shift from deep to hyper attention has a correlation with development of media and indeed wider society. However, is this shift the cause for a change in in the media industry? Could it be the vice-versa, that new media, relying on multiple streams of simultaneous stimulus has brought this shift? Are the younger generation the cause, or simply just a cog in the wheel that happens to be spinning in the same direction? I don’t know, so if anyone has anything to suggest/add, please let me know.