everyday im trekkin.

If there is one thing I have learnt about knowledge this semester, it’s that is basically stagnant and useless unless you connect it, join it or at least archive it somewhere so that somebody else can.

I think I have already mentioned Communication Debates and Approaches on this blog, but i’m going to again in the name of connecting ideas. I feel like the readings for this course go hand in hand with so much of the stuff we are looking at in Integrated that it would be counter productive to ignore it…clearly Certeau was hugely influential in cultural and social studies, and the more of his ideas i can apply to my own studies, the better I guess.Tumblr_m0cfjkvcon1qzlicjo1_500_large

Star Trek Rerun, Reread, Rewritten – Fan Writing as Textual Poaching, By Henry Jenkins

In Henry Jenkins essay, “Star Trek Rerun, Reread, and Rewritten: Fan Writing as Textual Poaching, the nature of the fan experience and the function and implications of fandom, particularly fan-writing, is discussed, specifically in regards to Star Trek Jenkins views fans as poachers who abscond with the parts of the text that they find suitable and rework aspects that they find problematic or contrary to the spirit of the text.

“For fans, reading becomes a type of play, responsive only to its own loosely structured rules and generating its own type of pleasure” (Pg471)

  • Michel deCerteau comes up with the idea of ‘poaching’ which basically means reconstructing a text to take away that which one finds meaningful/useful and leave behind problematic aspects.
  • “Far from being writers…readers are travellers, they move across lands belonging to someone else…” (Pg147)
  • deCerteau see’s popular reading as a series of tactics and games played within that text.
  • Reading generates writing, so the boundaires between the consumer and the producer are inherently blurred.
KEY QUOTE: “Far from viewing consumption as imposing meanings upon the public it involves reclaiming textual material, making it ones own, appropriating or reappropriating it. (Pg147)
Kind of reminds me of this quote from Manovitch: “any well-defined part of any finished cultural object can automatically become a building block for new objects” 
  • So, does this mean that fans can essentially ‘own’ texts?
  • What happens to the ‘old’ text when fans produce their own texts with their own cultural meanings/social experience – does it displace the original?
I’ll keep you posted on the answers I find, but for now, may the force be with…you.

 ahhhhh….awkward much?

Dipping a toe in the Bathe.

Before I started reading Image Music Text by Barthes, I decided to seek out some contextual detail on the piece. After reading the de Certeau chapter I remember feeling a bit stumped, but then after reading a bit of contextual detail and some summaries and examples from Adrian, reading it again in a considerably more informed paradigm. In the tutes and the de Certeau lecture I can’t tell you how many times I heard…”Man…why couldn’t he have told us this before I attempted the impossible?”. But I guess thats the whole reason we got the readings, sometimes it’s good not to understand something the first time we encounter it, or only understand fragments, perhaps looking into auxiliary sources and explanations actually provide us with the kind of ability to link and join snippets of understanding Barthes is exploring…

This is from Adrians annotated reading on the IM Blog.

  • Barthes is arguing for a style and form of writing and reading that is an active ‘thinking in the act of’. What I mean by this is writing is not about reporting what you know, it is a making, a discovering. Following ideas, making connections, letting others find and make their own connections. So it has lots of gaps. Of sense, of references, of explanation. These gaps are places where thinking, ours, the text’s and the writer’s, can happen. So rather than just join the dots and treat us as dullards waiting to be told what to think, he is trying to make a writing practice (make a type of writing) that gives us things to think with.
  • And so with Barthes it is not just random musings but something that weaves in and around ideas and propositions from contemporary literature, cinema, philosophy, anthropology, political theory and literary studies. He treats the writing as open propositions and things for you (the reader) to think with, alongside the writing. Here his writing is not a reporting of what he knows, but a discovering which happens in and with and inside of (amongst and together with) the writing. What can we take from this? Two things. What he says about the writerly, a sort of text where we as readers (and you as writers) are actually much more closely intertwined together, sharing the labour or making meaning, has a lot of relevance.

These two points really helped me to get motivated and start the reading because I feel like I at least know how to read it.

Pintresting…

Pinterest Logo.svg

Yesterday I finally decided to see what all the fuss regarding Pinterest was about – it seemed to me like yet another micro blogging, photo sharing site, similar to Tumblr or Flickr.

The site says it aims “connect everyone in the world through the ‘things’ they find interesting.” They do this buy managing theme based image collections which they can add to by uploading media or sourcing online stuff and ‘pinning’ it on their board which can be viewed and added onto specifically themed ‘boards’. Pinterest can be added to Facebook and Blogs for ‘following’.

Wikipedia says – While “pins” can come directly from the user, one of Pinterest’s main features is the ability to see what others have pinned, and in turn, users can “re-pin” such media to their own boards. Pinterest allows users to follow the activity of other Pinterest users. This essentially allows for a more centralized way to browse and bookmark the web using the interests and likes of others. A “Tastemakers” page suggests relevant users to follow. When viewing the site’s homepage, a user sees a “Pin Feed” that shows activity among the boards and pinners that the user follows. 

So, I headed for the website, looking for the ever present ‘create an account’ link – but alas, I was stumped and thought perhaps I was missing something, some kind of elusive piece of architecture that only the most indie hipsters could perceive.

 

The only thing I could find apart from ‘Login’ was ‘Request an Invite – so i clicked on that’ despite feeling like one of the losers trying to get in with the elite, cool kids.

To register for Pinterest, new users must receive an invitation from a friend already registered on Pinterest or request an invitation directly from the Pinterest website.

 

Okay, well I don’t know if any of my friends use Pinterest but today this little, almost surreptitious cult like invite dropped into my inbox:

I’m really intrigued by this extra step you have to take, this anticipation they create by making you feel like your joining some kind of elite club that must deem you worthy to pin stuff up. It’s quite an innovative way to present a site which has potentially millions of users who are interacting and sharing and connecting – it’s neat and quite secretive, its layout is simple yet elegant and it has a code of etiquette - its high tea at the Windsor instead of $1 7/11 dishwater in a paper cup I guess?

Focus on your ability - Hyves.nl

 

Lawbreakers?

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  • It is difficult to read tactics whereas strategy is easy to understand…
After yesterday’s lecture, I started to really think about the notions of strategies and tactics as actions that send out a distinctive message. A strategy is an easy thing to understand, because it has a set of motivations behind it, it aims to reach a certain end. It exists in time and often a place of power.
Tactics are different, they are a making do with what we have at a certain time. They are not monumental and do not hold a grand aim, they simply aim to solve a certain problem or gratify a certain need at a moment in time. A tactic is an ambiguous style of action which exist in the margins of the rules, they are often hard to understand or substantiate with motivation because they are simple acts of making do. We always fear what we don’t understand – The Black Box Response.
So what do we do when we don’t understand why people are doing things? We try to stop them of course, or put up a framework so they can’t move within the margins anymore.
I found these two laws to be extremely interesting:
1. Loitering. 

Police officers may ask a person to stop loitering in a public place (in other words, to leave the place) where they believe on reasonable grounds:

  • that an offence has been, or is about to be, committed by the person or by others in the vicinity (as more usually happens)
  • that a breach of the peace has occurred, is occurring, or is about to occur, in the vicinity of the person or group
  • that there is, or is about to be, an obstruction to pedestrians or traffic caused by the presence of the person or of others in the vicinity
  • that the safety of a person in the vicinity is in danger.
So, a group of teenagers sitting inside Melbourne central for hours chatting and laughing, perhaps buying the occasional 20c cone are no longer making do, but potential criminals? “Obstruction to Pedestrians or Traffic” is extremely ambiguous – I do it all the time, we all get in each other’s way in public places, but we move aside, we make do. Loitering is a clever utilisation of time and space, it plays with power and rules.

A person who, in a public place or within the sight or hearing of any person in a public place, accosts or solicits a person for the purpose of prostitution, or loiters in a public place for that purpose, is guilty of an offencepunishable by a fine of up to $750 [Summary Offences Act 1953 s.25].

2. Prostitution.

A prostitute is a person who offers his or her body for fee or reward.

A person who knowingly lives, wholly or in part, on the earnings of the prostitution of another person is guilty of an offence and liable to a maximum penalty of a fine of $2500 or imprisonment for six months

Summary Offences Act 1953

I think prostitution is an ultimate act of la perruque of traversing a space and doing different things with what we have. Prostitutes not only ‘make do’, but they repurpose space, they play with rules and are defined by the fact that they cannot be defined by their actions.

Society is dismayed by a woman’s motivations for selling her body, and these reasons cannot be perceived from simply seeing the woman, so we are afraid of the act and the person committing it – tactics are employed as an inevitable play against the structures that confine us – they are smart, they skirt power structures.

Time for answers?

This is currently what my project looks like – it also has a click sound, but you can’t hear that. Duh.

Today in class some people asked some questions about to how to assign click sounds and a background image, well here’s what I did:

Background Image:

1. Source image, ensure its a .jpg or .png file and at set at the correct dimensions – EG) Im using the 16×9 3 Below Interface so I set my image to 1280 x 800 pixels.

2. Drag into the viewer where all your other media assets are (like you did your thumbnails pretty much)

3. In the Interface Editor, click the Background Image drop down box and select your file.

Your done – easy as.

Click Sound:

1. Source your sound, make sure it’s in .mp3 or .wav or else it wont work.

2. Drag into the viewer where all your other media assets are.

3. In the Interface Editor, click the Click drop down box and select your file.

Just a note – in the SNU editor, there is an option that allows you to remove the sounds embedded in your original videos.

Now, dont forget to ……and keep on exporting to make sure everything worked!

You may also notice the text underneath the viewer in my project, I did this by dragging the Insert Text Widget into my interface, you move the box around and change it’s shape (it has to be square/rectangular) and position it like a normal text box in word.

Then, simply add text to your individual videos in the SNU editor and they will appear in the place you have put the Insert Text box in your interface.

Just make sure your video is assigned to the interface that your using!

Also found this FAQ on the Korsakow site to be super helpful for uploading final videos, at the moment mine are all super low resolution because I want to be able to export quickly to keep track of the changes i’m making and the effects small tweaks are having.

What is a good compression setting for online video?

Florian: “This very much depends on the connection of your viewer. In short, if they have very slow internet they are out. I use H.264 compression and I am quite happy with it: Compression: Codec: H.264 width: 360 | height: 202 | 25fps | streaming on | audio: AAC, mono, 24,000 kHz. Please play around with these settings. Let me know when you find good settings for Korsakow!” See Tips & Tricks for more details

A lecture to explain a lecture…

This morning’s lecture really helped to clarify some major points from the Michel de Carteau readings, I really liked the examples Adrian used because it helped me to understand the readings in the now, the present, Integrated Media 2012.

First, I want to rehash Adrian’s points about ‘good’ ideas – they should be connected to other ideas, not hidden away or protected from others. The more we connect our ideas the more knowledge can be generated. This is definitely a notion I can easily connect to my own learning. I feel so blessed to have my friendship group at RMIT, because we all share our knowledge so openly, and its rare that we don’t comment on each others work, and this is the way I have learnt as much as I have; by being connected to others and by linking our ideas together, we have each created separate things but with better practices and materials.

Another thing I wanted to investigate a bit more was ‘The Black Box Theory’ – I think, in the frame of media making or practice, it refers to the ‘too hard’ box. Adrian used the example of attempting to understand the de Carteau extract – because it’s new and foreign and hard to understand, we freeze up, were afraid of its form and our own inability to understand it, so we blame the source  EG) de Carteau is clearly a pompous intellectual writing to make himself feel good about creating a sense of inferiority in his audience. We CANNOT approach media making with a black box mentality, or throw things in the ‘too hard’ basket, because it cuts us off from the connections we could make, our work will stagnant, banal and we render ourselves unable to contribute or collaborate .

Wikipedia tells me “…a black box is a device, system or object which can be viewed solely in terms of its input, output and transfer characteristics without any knowledge of its internal workings, that is, its implementation is “opaque” (black). Almost anything might be referred to as a black box: a transistor, an algorithm, or the human mind.”

The opposite of a black box is a system where the inner components or logic are available for inspection, which is sometimes known as a white box, a glass box, or a clear box.”

It’s funny, the picture of the black box kind of sums it up….

I think the best example Adrian used today to unravel the readings was the shopping mall, his example encapsulated all the major points from Carteau’s writings and simplified them into an awesome granule of accumulated knowledge. The shopping centre is a public space, but it is a strategic place, it has a clear purpose, a deliberate design which directs it’s users on a determined path which aims to enable and amplify their act of consumption. As we all know, shopping centres have become a notorious social ‘hang’ for the cool young kids who have nowhere else to go. Now, these bands of baggy pant wearing, fitted cap donning shitheads lingering around Myer and taking up the tables at the food court may just seem like simply ‘annoying kids’, but they are actually engaging in quite a complex social act – they are repurposing the space of a shopping centre and creating their own style of action, which basically means they are tactically ‘making do’, they are operating within the margins of the rules and defining their own space. This is not an act which is strategic, the kids are not attempting to bomb the shopping centre (unless your at Highpoint), they are just bored with nowhere else to go.

Google Image Result for http://i.dailymail.co.uk/i/pix/2011/05/30/article-0-0C56D9C000000578-5_964x649.jpg€lisa

Finally, to sum up the major things I took from today’s lecture – knowledge, the internet, life is about ‘making do’, whether monumental or day to day. I hope the images above make sense…

  • Tactics are what we employ everyday, we make do with what we have, we appropriate, redefine and redirect – thats life, we are inevitably weak in the grand scheme of things, but by being smart and resourceful we create our own spaces and modes of behaviour in discourses which attempt to be totalising, or spaces which attempt to employ strategic methods of influence. Blogging is a good example of an ‘in the moment’ tactical response to the strategies of the internet.
  • Consumption is a tactical form of making – good example was the way we use fashion to construct our identities.
  • Where is the gap between private and public spaces – social media and the internet sees public content coming out of almost every private space- EG) The Home.
ADVICE OF THE WEEKGET OUT OF YOU HEAD AND INTO THE WORLD, THAT’S WHEN IDEAS PUSH BACK AND BECOME REAL!

Tutorial Times.

  • How do we make with what we consume/How do we not make when we don’t consume? Consumption as a mode of practice.
How do we make with food – we make it, there are cultural practices around ‘making do’. Some of us make baked beans, others make fine food. We make and consume, one doesn’t exist without the other. Like Voldemort and Harry?
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Public transport treats us just as passive consumers, it’s service design has actually made it more difficult for us to travel legally and point at consumers for their model not working – they catch and punish us for not adhering to their rules. This is a mode of making. We consume because we are peers in the public transport, but they go against the culture of practice that was established with tram conductors.
  • Why is it relevant today?
Your actions – everytime you buy something it’s a statement, even demand is a mode of making because it shows our interaction with our surroundings. We are no longer passive consumers. We cobble things together via simple tools.
We are not lazy consumers, we make conscious choices because we WANT to. Even just choosing to eat pasta is not naive. We are quite empowered by our use of the media, we understand advertising is trying to sell us something, we have subcultures.
  • “A tactic is an art of the weak”
Informed, deliberate way of being and doing, we are smart and resourceful and bend the rules of strategic systems, we are in a position of inevitable weakness, yet we work with what we have. Tactics are provisional, in the moment, they dont try and change the rules, they happen in the margins of what the rules of allow. We make our own spaces within the margins. We are ‘weak’ because we are surrounded by systems that the define the things around us.
Shopping centre – mix between tactics and strategy, it was the first place where woman were allowed to go unchaperoned and has become a key place in women’s identity. Perhaps this is a tactical response to the rules that oppressed and confined woman.
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We appropriate things from ads like popular culture and advertising because we get them and we understand we are being sold something? Is this true of advertising?
  • How are we ‘making do’ in this course?
Our software is free, we can be tactical in the way we use it. We embed ‘ready in the hand’ technologies, we use what we have and make do filming on iPhones. The guidelines for the sketch videos are loose, we can make what we like, how we like.
  • What is the best/most important question to ask a theory?
What can I do with it? The way we survive in networked environments is by ‘making do’.
On a final note, Michael managed to do the impossible and link all these ideas back to Weinberg’s ideas and got an actual lolly snake for his supreme intelligence -
‘Making do’ is a knowledge. To link this act to the Weinberger readings –  its turning information into knowledge.
One Way Jesus
Korsakow Questions:
How can we make ‘Click Sounds’ – Add a sound to the library
How can we make our thumbnails start playing when we ‘mouse over’ them?
What resolution should we post our final videos in?
H264, put good quality in because Korsakow will compress it again. Small video files at a high quality.  EG) 400 x 200 = 500 kbts per second.
How do we put our video online – Cyberduck.
How can we get help? Korsakow online manual, FAQ’s and each other.
What this list fails to say is that our ideas will evolve as we go and our interface will change as we tweak our skills and find more value in each affordance and how we can most tactically use it.

In-Between.

The concept of gaps and holes and crevices has been totally redefined for me since I started studying at RMIT. The gaps and spaces are the places where the magic happens, where ideas form and things grow and flourish.

I will always remember this Scott McCloud quote – “the gutters play host to much of the magic that is at the very heart of comics…”

In-between is a place of potential.

In-Between from Zoe Annabel on Vimeo.

Outside

Wall PhotosI guess sometimes it’s hard to always be in your own head, sometimes you have to take a step outside, into the open and consider new things. I have recently started trying to meditate as a way of giving myself some space to be outside of my own head.

I find hope in the darkest of days, and focus in the brightest. I do not judge the universe.
Dalai Lama

I really like this quote, it makes me relaxed, like this video I made…

Outside from Zoe Annabel on Vimeo.

Inside.

When I was thinking about this week’s tasks I focused on how I could make three distinctly different videos by brainstorming my initial thoughts about the words and what they immediately conjured for me. Inside for me is a word that can have connotations of confinement, entrapment and being imprisoned. This is something I have become more and more conscious of as I have grown up, I have become so aware of signs that surround us, arrows pointing in certain directions, signs telling us what to do, what to buy etc.

 

Inside from Zoe Annabel on Vimeo.