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New media has had a significant effect on the way society interprets information and the power of an individual. Throughout this semester, I have come to understand thoroughly how all the concepts such as remixing, digital art, and visual and musical cultures come together to create a format that is always changing to adapt to the interests of an increasingly digital society.   In Andre Warren’s project, traps for snacks, he uses several techniques and characteristics of new media we discussed over the semester along with his own personal creativity to create his own song and video.
Using his musical and artistic skills along with what he learned during the semester, he created his own beats as a well as a video to go along with it.   His project consisted of several types of media integrated into one as a whole, which is shown by Manovich. He explains, “Media elements, be they images, sounds, shapes, or behaviors, are represented by collections of discrete samples (pixels, polygons, voxels, characters, scripts”). These are assembled into larger-scale objects but continue to maintain their separate identities.” (Manovich chapter 1) This proves that as much as new media has had this combination effect, they still have managed to keep their own traits to that make them unique such as in his project. Even though the video story and demonstration compliment the sound. It is somewhat clear that the intended original content in which he put the most work towards is the audio and song.  Modularity has become a technique in modern web content that is used today and in terms of the World Wide Web as a whole as a form of organization.  It had never been a major concept within art itself until the new capabilities came around. Using modularity, it allows for a new form of media be expressed with a variety of techniques.

While using all of his original work, he was able to show that he could reliably mix audio and video into its own genre as a what I would call a story. He expressed his everyday life expression through his music and gave us a sense of interpretation through the video that shown over his musical creation. Dueze explains the changes in current day media when he says. “media has become pervasive and ubiquitous, forming the building blocks for our constant remix of the categories of everyday life (the public and the private, the local and the global, the individual and the collective), they become invisible – in the sense that, as Friedrich Kittler suggests, we become blind to that which shapes our lives the most.” (Dueze)  The realization that we come to is how much music video has affected our visual and musical culture. Many people turn to music as a basis for an explanation of obstacles they go through in daily life and it helps offset stress as well.  It is an all seriousness, music has been become a soothing sensation that directly influences our lives.

Originality comes to question often in modern art but Andre has taken his own form of music and mixed with his own video to create a mixture of personal originality. Whether he got his ideas from music he had heard or videos he had seen before, he still had his own original idea to mix the two together and use them to entertain simultaneously.  Breitz mentions, “the idea is to shift the focus away from those people who are usually perceived as creators so as to give some space, some room, to those people who absorb cultural products— whether it’s music or movies or whatever the case may be. And to think a little bit about what happens once music or a movie has been distributed: how it may get absorbed into the lives into the very being of the people.(Breitz From Lessig)” It is important to recognize the people whom mix things together into an alternative genre because this also is a modern form of art whether it be digital or analog. The strong emphasis on the possibilities of remixing as shown in Andre’s presentation are endless and the skillset that he has shown through his project show his learning of the process throughout the semester and on his own through experimentation.


Wrapping up the semester, there were so many talented projects that took advantage of what was interpreted from readings and the material that we learned from lecture. Media, as it is today, is always changing and renewing itself through new techniques and characteristics. Through Traps for Snacks, Andre put the idea of new media to use in his own creative way which inspired me to try making music in the way he did.

1. Manovich, Lev. The Language of New Media. Cambridge, MA: MIT, 2002. Print.

2. Dueze, Mark. “Media, Culture, and Society.” Media Life (2011): n. pag. Print.

3. Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid Economy. New York: Penguin, 2008. Print.


Critique of Balloons n’ Such by Zach Cheatham and Kyle Nacke

            For this assignment, I am critiquing the flash game made by Zach and Kyle.  This game essentially has an avatar hurling through the air and trying to collect balloons as he falls towards the ground.  Essentially, this game falls into the category of new media defined by interactivity and has its meaning defined by such.  By that I mean this particular artifact allows other people to freely participate and influence what exactly happens within it by controlling the avatar’s movement.  Zach and Kyle’s game can be characterized by Baym’s Interactivity concept, Bolter’s remediation concept, and Lister’s Virtual realities mediation.

Baym argues that a technology’s ability to allow users to “manipulate the machine via its interface” is its interactivity (Baym pg.7).  In the game itself, you use a keyboard to essentially guide the avatar on a path that would yield the most balloons or points.  Through this simple facet of the game, it is an interactive technology.  Also, if Zach and Kyle decided to add a leaderboard to the game to track scores of players around the world, they would allow the game to become synchronous with the community of Newgrounds (or whatever platform they want to upload their game to) and therefore have the people of the site compete against each other for the best score.  I believe that any game with the ability to connect users together with a feature such as this have a greatly increased replay value, as not only are they trying to best their own scores, but the scores of those around the world with access to the internet and to the site.

Bolter examines games in a different fashion, and believes that a game is essentially an “interactive film” in which the watcher or user can dictate the narrative or the “stylistic realization” of the narrative by controlling the main character’s actions (Bolter pg.47).  We can see this in action through the user’s ability to move the character around as they please, and dictate which balloons the character will and will not get.  Also, this allows the user to choose not to get any points at all just by avoiding balloons, or if they could simply crash the main character into as many birds as possible if they wished.  Although this isn’t the main intention of the game, the fact remains that the user is essentially dictating the reality experienced by the character in the game.  This could also branch out into the argument that by controlling a character’s venture through a game whose environment is surrounded by artificial intelligence, we are essentially taking over this character’s body and living vicariously in a simulated world.  Though making a game that had artificial intelligence of that type would require an exhausting amount of work by two authors, and I know from experience that coding a game even as simple as this one can be tedious at best when dealing with features such as collision detection or movement across the x and y axis.

Lister’s idea of computer mediated communication, or CMC, represents Zach and Kyle’s game as well considering the computer is mediating the user’s communication to the game (Lister pg.12).  In order for a user to play the game, they must be able to interact with it via a keyboard or mouse to allow for a successful playthrough.  Also, a game’s controls can determine if a game will be a hit or miss.  I understand that Zach and Kyle had some trouble with getting the controls to respond without the key’s locking up, or the movement being stuck and rendering the keyboard unresponsive, which illustrates the necessity of good CMC.  I know of the torture of trying to get everything working perfectly by translating a thought into code, and having the code respond in the way that we never intended or didn’t expect.  For example, I could press the left arrow key to have the character move to the left, though, if done incorrectly, the character could actually move off-screen and the user can no longer see what they are doing.  Subtleties in programming such as this are tedious and irritating, so I sympathize with the creator’s thought of worrying over usability over style or graphics.

Balloons n’ Such by Zach and Kyle was a successful game in the sense that the game was able to be played by users successfully with little to no errors in the realization of action.  Video games are on the rise in today’s society and small-scale games such as these are definitely popular with the new app-culture that is taking the world by storm.  I know that if they continued their progress in both developing their control of the game and adding features such as music and sound that this project could be successful to the point that it could be sold as an app for many devices.  This new media has unbridled potential, and I’m sure that if these two individuals continue to improve and work on it, they will develop something that they will remember for years to come.

Zach and Kyle’s Game:





Alex Choi

3rd Analytic Paper

Throughout the entire semester, we learned about new media with different terms of the concepts, theories. For my third analytic paper, I decided to critique Taylor Browning’s clock that tell you the time by illuminating words in random jumble of letters ( because I liked his project work and also it satisfies to be a new media.

Since it has an unique way to show the time by words unlikely other clocks with Arabic numbers. I thought this could be an example of remediations. A remediation is replacement of older medium to new medium about a product by another method (Bolter & Grusin). I think this is a good way to replace the method of conventional clocks’ method. I like unique productions and I liked how this clock looked like. Also, its design had a modern and simple look so that’s looked really cool to me.

Also, this clock seems to satisfy Lister’s New Media: a critical introduction. Lister defined the concepts for characteristics of new media as “new media are digital, interactive, hypertexual, virtual, networked, and simulated” (Lister, Dovey, Giddings , Grant & Kelly, 2009). Since this clock is digital, interactive, virtual, networked, and simulated, it is definitely one of the new media. Even though it is not conventional digital clock, it is another digital clock because the way it figures out what time it is from his coding and the way it indicates the time by illuminating words in random jumble of letters are all digital. I think it qualifies to be a digital art and the way it indicates the time verbally without Arabic numbers is interactive with users.

Since he made it by coding with HTML and CSS, he can easily spread it out online. I think there’s how he can get feedbacks from its users easily. Baym said communication on internet is interactive because unlike television, online technology allows you to talk back to your audience. (Baym)  If he spreads out his product online, people will comment after they take a look at his work.


Baym. Seven key concepts. Personal Connections in Digital Age.

Bolter, J., & Grusin, R. Remediation understanding new media. Cambridge, Massachusetts: MIT Press.

Lister, M., Dovey, J., Giddings , S., Grant , I., & Kelly, K. (2009 ). New media: a critical introduction. (2nd ed., p. 13). New York: Routledge.

In critiquing Mark Rodriguez’s final project, a prototype for radio-frequency identification (RFID) tag based music gig posters, I want to consider his work in a historical context. Despite the expansion of the music industry’s digital presence, handbills remain an effective way to grab a potential patron’s attention. Thus printing and posting gig posters has long been a both part of the promotional activities of a music venue and a hallmark of our visual culture (what dorm room or first apartment is complete without one of those iconic announcements of musical taste?) What is compelling about Mark’s project as a new media artifact is the way his concept remediates an analog experience and marketing tradition, as well as incorporates concert posters into convergence culture.

First, let’s break down Mark’s project. There are two main components to his concept: one, a poster which has embedded in it a RFID tag, and second, the website to which people who interact with the RFID tag are directed. Mark suggests that the tags can be attached to the back of the venue poster so that people passing by can swipe the tag with their mobile devices, an act that pulls up the website where the user can then gather more information, like videos of past performances, about upcoming acts, or even purchase a ticket to the event.

The synchronous nature of Mark’s project is one way to understand its position as a new media artifact. Synchronous communication occurs in real-time, and is found in “face-to-face conversations, phone calls and instant messages” and as a “temporal structure” acts as a key concept for identifying new media (Baym 7). The interactive way in which Mark prolongs the effectiveness of a concert poster’s data, through the synchronous communication of information about bands and events, reconstructs the temporality of band posters. If the access to a band or event is not immediately available, a user is forced to search out that information, say on the Internet, after seeing the poster. Mark imagines a system where users have access to that information as they see the poster. This idea shifts band posters from being asynchronous to synchronous tools for marketing, and this temporal aspect is essential for interpreting Mark’s project as a new media artifact.

Another feature of new media in Mark’s project is its remediation. Embedding RFID tags in concert posters reimagines a textual experience of posters as a static medium into an interactive one. Whereas before posters acted as purely visual objects, Mark’s project introduces sound, video and commodity as features.  Remediation, then, occurs in Mark’s artifact through “the representation of one medium in another” (Bolter and Grusin 45), as in the representation of the interactive audio-visual media of the website in the visual medium of the poster.

Further, the multiplicity of media in Mark’s project, the fact that not only can a user read about the band or see pictures on the poster, but they can also watch videos and buy tickets to the event, refashions the experience of looking at a gig poster entirely. This aggressive form of remediation is an example of hypermediacy (Bolter and Grusin 46), and also demonstrates how Mark’s project could be considered a part of convergence culture. Convergence can be understood as content that is distributed across multiple media (Meikel and Young 35).  This concept is capitalized on by many media industries, especially for its marketing potential (Meikel and Young 40). Diversifying the channels by which to reach people is a savvy business practice for maintaining reach in a multimedia marketplace. Mark’s project addresses the future of music venue promotions by diversifying the experience of marketing content that works in a very present sense.

I appreciate the depth of thought Mark’s project required, and in turn, how thought-provoking his work was for me. Not only did his prototype introduce me to new possibilities in technology and marketing, it made me reconsider how I view gig posters as an “old” media. I’m convinced that his idea has wings, and look forward to being able to interact with print media in this new fashion.

Works Cited

Baym, Nancy. Personal Connections in the Digital Age. 1st ed. Polity, 2010.

Bolter, Jay David, and Richard Grusin. Remediation: Understanding new media. Cambridge, Mass.: MIT Press, 2000.

Meikel, Graham, and Sherman Young. Media Convergence: Networked Digital Media in Everyday Life. Palgrave Macmillan, 2012.

Third Analytic paper

“The term ‘new media’ emerged to capture a sense that quite rapidly from the late 1980s on, the world of media and communications began to look quite different and this difference was not restricted to any one sector or element of that world” (Lister) this quote jumped out at me after seeing Dustin Wishmeyer’s project. His project is what I think of when I read “new media” he took a social networking website of Facebook, mixed it together with the sounds from The Social Network movie, and added text on top of the photos from Facebook. All together it made a story of a guy who created Napster (played by Justin Timberlake), talking to a college girl from Stanford after a one night stand on Facebook. They go into a discussion and in the end it shows up with a friend request from her and he denies it. But before denying it a quote from Mark Zuckerberg shows up that says “You don’t get to 500 million friends without making a few enemies.” This quote captures the whole essence of Facebook, making friends, and the whole part of social networking.

The author of “Remediation” Bolter describes remediation as “the representation of one medium in another” (Bolter). Dustin’s project greatly defines this; he took a motion picture out of its place, than took site background and pictures from the site and put the sounds from the movie onto the pictures. On top of that he used Photoshop and After Effects to add text to the pictures and creation of the movie. So with his project he took three different elements out of their medium and combined them to a whole new one.

One of the readings we read was Lessig’s remixing article and in it he says “Unlike text, where the quotes follow in a single line… remixed media may quote sounds over images, or video over text, or text over sounds. The quotes thus get mixed together. The mix produces the new creative work – the “remix.”” Just from the lines above you can tell after watching Dustin’s video that he captures every aspect of what remixing is. He has sounds over images, video over text, and text over sounds. Just from Lessig’s definition I can tell that Dustin did a great job in remixing his video to create a remix from the original. His remix still captures the same image that each original is trying to instill but in his video he ties them all together and by doing that is instilling each of those images in a person’s head but instead of three different ones it is just one combined message. He did a very good job in making the final message clear to all viewers of his video in that last image by quoting Mark Zuckerberg.

Dustin used Photoshop and After Effects to make his project and he did a great job editing with them. He seems to have figured out all the essential tools and skills he needed to make this. It is very detailed in the sense of how each word was placed and the timing of the next word that shows up after the one before it. By using After Effects it smoothed the texts movement out a lot. There are only a few comments I have to improve it a little. One would be just to line up the text a little bit better with the voice in the background talking. Also maybe a few slide transitions between the choppy skips but otherwise I was very impressed with his project overall and would encourage him to continue making these video’s as his first one is quite good.


Justin Young

Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid Economy. Bloomsbury, 2008. Print.

Bolter, J. D., & Grusin, R. (2000) Remediation: understanding new media. Cambridge, MA: The MIT Press.

Lister, M. (2009). New Media: a critical introduction. New York, NY: Routledge.

Critique of ‘Voice Tales’ by Nikki Pinney

I can only speak for myself, though I am sure others that have taken this class or any class which studies new media can agree that before I could only judge new media artifacts by their face value. After this semester, I now find myself able to critique and accurately apply judgment based on the concepts of new media which we have studied in I310 this semester, as well as applied to our own projects. This paper will speak of one such project, not my own, but of my peer. I will be critiquing her work within three topics- media histories, genealogies, and archaeologies, remediation, and digital art.

I will begin this critique as I would with any other project, be it a design project, a drawing, or a sculpture, by recognizing the formal qualities of the piece and the craft or how it was constructed. Nikki made a video using Adobe Premiere Elements, iMovie, and Photoshop. The video has good image quality and the sequencing is paced well. It is apparent that she likely developed storyboards and put some thought into how she was going to tell the story of each of her voicemails. The video is comprehensive; it does not make the viewer struggle to “get it.” I would like to know more from her about why she filmed both live action and stop motion animation; does that have significance to each story?

I want to continue this analysis by pointing out and referring to each of the three voicemails represented through the video as ‘stories,’ each one being unique and visualized in different ways. That being said, I wish to begin my critique of the video based on the first topic, media histories, genealogies, and archaeologies. When I first watched the video, I was forced to confront my own feelings about voicemail. I personally hate it, I don’t think it is necessary and I think is it outdated and should be replaced with voice-to-text. With this perspective, I saw this video carrying some emotional baggage over the concept of voicemail as being an homage to the old technology. When thinking about what it is that actually makes this video ‘new’ apart from the obvious of that it was recently made, I had to step back and study the individual parts that make up the whole. We have the parts that are filmed, parts that are animated, photographed, and the sound that was recorded. Lister, in Change and Continuity, speaks of old media in new times (Lister, 47). This is how I feel about “VoiceTales.” This is a video that combines my interpretation of the old technology of voicemails and tells an emotional story about each one. Now, as Lister does in the reading, I must seek out what it is that makes this artifact ‘new.’ For one, the context is new. I’m not sure if this is supposed to be understood by the audience, but little things like in the first scene, Nikki is sitting in front of her computer screen, eating and listening to her voicemail. This is a part of our generation’s daily life, we are always in front of a screen, be it a smart phone, computer monitor, or television. Another way that this video employs newness is in the style of how scenes of the video were created, namely the stop motion scene. This style of combining different types of videography and animation is new and is facilitated by recent advances in production software.

My next topic to critique this video within is remediation, or representing the old in the new (Bolter and Grusin, 45). As the viewer, and taking my own opinions and experiences into my understanding of this work, I view voicemail as “old media” that has been represented through a new media artifact. Nikki has taken the audio of her own personal “voicemailbox” and visually represented it with video. I think that this is a profoundly creative concept of memorializing voicemails that hold emotional value. Not only is she repurposing the actual audio of the voicemails, she gave them a unique visual representation that is specific to each audio clip. Bolter and Grusin define two logics of remediation, immediacy and hypermediacy. In applying this to Nikki’s video, I struggle with defining one or the other to the video as a whole. This is because her video lacks a consistent visual style. I can say that Nikki achieved hypermediacy in the birthday song scene since you were to understand that the voicemail was probably occurring while Nikki was eating dinner/looking at her computer screen. However, the second scene of the friend in Dunn’s Woods is closer to immediacy, as if the friend was just talking on the phone in front of [you] instead of leaving Nikki a message. The emotional aspect, I think, is stronger in the first scene and probably could’ve been pushed further in this style.

In transition to my final topic of digital art, I wish to analyze the artistic qualities in the video and the ‘values’ it carries. To begin, the opening scenes of “VoiceTales” is strong both emotionally and visually. The way that the sound of the “voicemailbox” plays while the title scene plays is clean and really sets the stage for the birthday scene to open. The Dunn’s Woods scene, on the other hand, has a transition in visual style, but it is an abrupt one. I want to know what significance the choppy stop motion style has for that individual versus the style of the first scene-why isn’t it Nikki doing whatever it was she was doing while the friend was calling her. I think exploring that concept throughout the entire video would’ve been both cohesive and emotionally powerful. De Mul’s ideas of cult value and exhibition value are interesting to explore here. She has an example of ‘remixing’ an artwork that holds cult value with the audience, the American Gothic painting she animated. I also think that as visually strong as this video is, if conceptually developed more, it will have a strong exhibition value with audiences (de Mul, 95).

In conclusion, Nikki made a very unique, conceptually interesting video that fits well into the theories that we have discussed this semester and it was a pleasure to critique it.­

Work Cited

Bolter, Jay David, and Richard Grusin. Remediation: Understanding New Media. Cambridge: MIT Press, 2000. Digital.

De Mul, Jos. “The work of art in the age of digital recombination.” MediaMatters. Ed. Marianne van den Boomen, et al. Amsterdam: Amsterdam University Press, 2009. 95-106. Digital.

Lister, Martin. New Media: a critical introduction. 2nd ed. London: Routeledge, 2009. eBook.

For this analytic paper I will be doing a critique of David Bruton’s Stop Motion video, which is a “brief” look into the life of a college student at IU. The first half of the video is a scenic view of campus, weaving in and out of buildings, flashing from one building to the next, and exploring what a student does on a daily basis. The second half of the video is all about the weekend and the drinking that occurs, legally of course. I really enjoyed this project for several reasons. First the content was pleasing to the eye and I actually felt like I was experiencing campus. The music was also upbeat and didn’t make me want to fall asleep which could have been possible considering the video is almost seven minutes long, which is extremely admirable. I really liked that David didn’t include any walking pictures in his video and he sort  of appeared to just be moving without lifting a leg. The fact that he did not use a tripod made all the pictures more engaging. To engage this project I’m going to use Baym’s Seven Key concepts of new media, Bolter and Grusin’s Remediation, and Manovich’s five main principles of new media.

Baym has seven key concepts as previously stated and consist of interactivity, temporal structure, social cues, storage,  replicability, reach , and mobility. The key concepts I find relevant to this project are interactivity, storage, reach, and mobility. The interactivity being used here is technical interactivity, “a medium’s capability if ketting human users manipulate the machine via its interface. (Baym 7) To view the video the user has to either search for it on Facebook or click on its link. There is also textual interactivity in that anyone watching the video can leave some feedback.  The storage for this project is I’m sure on David’s computer and hopefully somewhere else also so he doesn’t lose his entire project again. He also posted it on Facebook so it is also stored with Facebook. And because David posted his video on Facebook his reach is potentially very large. He posted this for everyone in the class to see and also all of his friends on Facebook if he chose to share it. This also makes his video very mobile since it can be accessed from any computer and phone at any given time.

I wanted to briefly talk about remediation in relation to this video, because that is essentially what stop motion videos are. Remediation is “the representation of one medium in another.” (Bolter 45) Stop motion is the compilation of numerous photos. Put together these photos create a story that slowly unfolds as you watch the pictures go by. David did a really good job with his pictures, I was actually sucked into the video and wasn’t distracted by the fact it was stop motion. Some other stop motion videos I watched didn’t quite accomplish this and it took away from the video.  I would say this process is refashioning in that you are taking simple photos that capture a moment in time and putting them together to create a video that tells a story while still just being a bunch of pictures. I would say what draws attention to this fact is that David’s feet never move in the video making you realize there are gaps of time missing because this is not film but a compilation of pictures.

Manovich has five main points numerical representation, modularity, automation, variability, and transcoding. I will only focus on two of these. I want to talk about automation because it is extremely prevalent when making a video of any kind really. The program used to compile the pictures and  make the video has automatic settings, and then different manipulations you can do to the video. Digital cameras even have different manipulation settings to get the perfect picture. Finally transcoding is the cultural layer and the computer layer, which I think is important to talk about because David’s video is about his personal experiences here at IU. The culture in this video is the story, plot, and point of view. The story is David’s and is told throughout the video. The first half is just him walking to campus and class and doing a little studying. The second half is his weekend life, which is not about studying or class, but about drinking. And specifically the games and fun you can have while drinking. Now my weekend experience is different from David’s and I’m sure there are other people who have a very similar weekend. This is culture. The content of the video and what David does is culture, his choices and actions, which completely make up the whole video and are also what makes it so interesting to watch. The computer layer is the process of putting all of the photos onto his computer, and then into his program where he compiles them. The computer is what makes watching the video possible. These two layers are a part of each other and influence one another.

Overall I really enjoyed David’s project especially the fact that it started and ended with the alarm clock sound. I really liked the song he chose and it helped keep me interested through the 6 minutes and 54 seconds it took to watch the whole thing. And I also want to add that it is amazing that he made a video that long and it must have taken him so much time to complete, especially because he had to do it twice.


Baym, Nancy K. “Seven Key Concepts.” Personal Connections in the Digital Age. Cambridge, UK: Polity, 2010. 6-13. Print.

Bolter, J. David, and Richard Grusin. “Remediation.” Remediation. Cambridge, MA: MIT, 1998. 44-50. Print.

Manovich, Lev. “Principles of New Media.” The Language of New Media. Cambridge, MA: MIT, 2002. 1-24. Print.

The project I chose to critique was Sam Dillon’s kinetic typography video. I selected this project because I feel like it relates to many different topics we have read about and discussed in class this semester. Also, I picked it because I enjoyed watching it and I thought it was really well done and creative. The way the text appears and moves really goes along with the beat of the song. Also the images that he uses in the background during the song really fit well with what it is saying.

This artifact is a good example of new media. Over time, the way media has been produced has changed dramatically. According to the authors of the reading entitled New Media: a critical introduction, “in an age of trans-mediality we now see the migration of content and intellectual property across media forms.” (Lister et al 9) Originally if one was to make a music video, they would need to take an expensive camera to shoot some scenes and edit them all together with the music. Today, however, anyone can use their computer and create a kinetic typography video, such as Sam’s. Lister also states that “we have seen a shift from ‘audiences’ to ‘users’, and from ‘consumers’ to ‘producers’.” When Sam created his typography video, he was no longer just a member of an audience. He became a user of the music to create something unique. He became a producer of something new, based off of something old. The fact that it is so easy for people to create videos of this type forces “all media producers to be aware of and collaborate with others.” (Lister et al 9)

The first topic that comes to mind when the topic of collaboration is brought up is remixing. Sam used the song Save the World by Swedish House Mafia and created something new around it. According to Lessig in Remix, “Using the tools of digital technology… anyone can begin to “write” using images, or music, or video. And using the facilities of a free digital network, anyone can share that writing with anyone else. “ (Lessig 69) Current technology allows people to create things that they were never able to before. This means that someone can take something that is already in existence and add to it, change it, or use parts of it to make something of their own. Although the song in the video remains completely unchanged, the video itself is completely different from the song itself or even the original music video.   Using the program Adobe After Effects, Sam was able to “write” something new using text and images that went along to the rhythm of the song. Also, he was able to share it with a much larger audience than ever possible in the past due to video streaming websites, such as YouTube.

Lastly, I believe that this video is a really good example of fandom. In choosing this song, Sam demonstrated that he enjoyed this group’s music. However, he felt that just hearing the song wasn’t enough. According to Jenkins, “popular narratives often fail to satisfy [so] fans must struggle with them, to try to articulate to themselves and others unrealized possibilities within the works.” (Jenkins 23) Sam saw potential for the song beyond just listening to it. He wanted more from it, and realized he had to make it himself. When people create their own media artifacts based off of original works, they “cease to be simply an audience for popular texts; instead they become active participants in the construction and circulation of textual meaning.” (Jenkins 24)When people make videos such as this one, people push media created by the original artist in the direction that they want it to go. By making his own version of the song in the video, he creates his own meaning and allows others to see it from his perspective as well.

Overall I think Sam did a great job making this video. He created a new media artifact by using new technology to create something unique. He remixed a good song to create a great typography video that I feel enhanced the original feel of the song. Lastly, he showed how much he liked the group by creating something based off of one of their works. He says in his blog post that he presented the text in a way to evoke emotion, and I feel as though he is quite successful in fulfilling this goal.

Works Cited

Jenkins, Henry. “”Get a Life!”: Fans, Poachers, and Nomads.” Textual Poachers. London: Routledge, 1992. 23-24. Print.

Lessig, Lawrence. “RW, Revived.” Remix. London: Bloomsbury Academic, 2008. 69. Print.

Lister, Martin. “New Media and New Technologies.” New Media: A Critical Introduction. Milton Park, Abingdon, Oxon: Routledge, 2009. 9. Print.


Craigs project can be found here


The project that I have chosen to critique is Craig Anoskey’s Typography of the song Tokyo by Imagine Dragons.  Craig’s project was an example of many of the ideas we discussed in class this semester.  The three that I thought were most prevalent in his project were Digital art, remixing, and remediation.  Craig, a fan of the band Imagine Dragons, was able to create a Digital art form by remixing a song and creating a new form of medium, typography, out of the medium he took from, song that can be enjoyed by other fans.

Fans sometimes recreate things that they love. “[Works of Michel de Certeau] proposes an alternative conception of fans as readers who appropriate popular texts and reread them in a fashion that serves different interests, as spectators who transform the experience of watching television into a rich and complex participatory culture” (Jenkins 23).  In this case, Craig takes a song that he likes and is familiar with to create a new form of medium with it.  He uses his knowledge of the song to create an interesting digital art piece.  This allows fans of the same band to enjoy Craig’s work while listening to something they already know, just in a new way.  Craig is remixing a song he and many others enjoy to create something new.

This leads me to my next point, Craig’s Typography of the song Tokyo is an example of remixing.  The project doesn’t change the song in any way to create it’s remix but it takes a new turn on the music video.  Instead of having video of the band singing or watching people dance, Craig decided the most entertaining way to share the song was to creatively display the lyrics to the song while the words are being sung.  This creates a completely different music video to the same song.  “When you hear four notes of the Beatles’ ‘Revolution,’ it means something.” When you “mix these symbolic things together” with something new, you create, as Söderberg put it, ‘something new that didn’t exist before’” (Lessig 75).  In our case, the music video that Craig created wouldn’t be the same without the music, or his own song.  The fact that he used a popular song that people knew allowed him to create something knew that people could also recognize.

“Marshall McLuhan remarked that ‘The content of any medium is always another medium.  The content of writing is speech, just as the written word is the content of print and print is the content of the telegraph’” (Grusin 45).  Craig’s project is a perfect example of remediation.  Remediation is defined as taking a form of media and turning it into a new form of media.  In his project he takes audio media, the song Tokyo by Imagine Dragons, and creates a visual media, his Typography video.  In this case the content of typography is song as McLuhan would have phrased it.  I chose the word song instead of speech because of the way the words are represented in the Typography.  Craig doesn’t just bring the words onto the stage, but he always moves the words with the song, making them bounce or dance to the beat of the song.   This creates more a link to the actual song than just the words themselves and also creates a more interesting art form.

I was very impressed by Craig’s project overall.  I really think Craig did a fantastic job reimaging the song in a new form.  He gave his audience a way to enjoy the song that was not yet available.  You could tell it took him a very long time to complete his project with the quality of the project.

Work Cited

Bolter, Jay David, and Richard Grusin. Remediation. London: The MIT Press, 44-50. Print.

Jenkins, Henry. Textual Poachers. Routedge, 1992. Print.

Lessig, Lawrence. Remix. Bloomsbury, 2008. Print.

All of the projects are very impressive and people tried quite different creative ways to generate distinct media artifacts. Of all of them, I was impressed much by Hillary Lloyd’s kinetic typography video on a poem by Brain Turner. It was interesting to see how a poem on paper can be remediated in to the form of a kinetic typography video, and generates new meanings and impact along with the original context of the poem. I would like to look closely at how the meanings I derive from my viewing experience are mediated through the video and how does the video impact me.

The video was well made that I enjoyed the seamless connection between the words and the visual images. To understand an artifact, we can try to break it down to very little components and apply the techniques Michael Clarke proposes when studying it, including, naming, describing, contextualizing, analyzing, interpreting, and evaluating (Clarke, 21). There are texts (style, color, font, meanings, etc.), images (shape, space relation, representations, etc.), and voice (intonation, pauses, pronunciation, speed, etc.). Not only should we pay attention to the attributes of those elements, we should see how those elements play out in relation to each other. For examples, words are thrown on the screen as pronounced; sometimes words faded out as the voice dies out; image actions vary based on the content (a liquid smash happens when the word “puncture” pronounced strongly and shows up in text). The poem has meanings, and contains words that can trigger vivid images in peoples’ minds. That’s why people immediately see the connections between texts and images presented on the screen, unless there are people like me who might not even know what the words mean. Even in such cases, I still felt the video was a great marriage of the various elements, because of the well-chanted poem.

The video could be appreciated using Clarke’s techniques, but it can also be experienced through the lens of remediation. David J. Bolter proposes that any of the borrowing in new media is never a simple add on, but they are incorporated in to generate new experience and impacts in a complex way (Bolter, 45). As defined, remediation is the representation of one medium in another. I can imagine the poem was probably expressed in words on paper, or recited originally. In this kinetic typography video, I can see two of the three ways Bolter identifies how remediation works. One is that old media are highlighted, and ideally it should be no difference in hearing the chanting of the poem coming straight from the mouth of the poet or from the video (Bolter, 45), as the new medium is supposed to be transparent (the media player). However, that’s not the case, because of the attribute of this new medium that one can replay the video over and over again without hearing a difference, and can manipulate it. On the other hand, the differences between the old medium and the new media are emphasized as the total effect of the poem through the combination of various media are amplified and multiplied. It is a successful example of remediation, which enhances my experience with the poem.

Last but not least, through Lloyd’s video, I see Mark Deuze’s media life concept where he describes media as building blocks of our society, and that people use media as means to construct and influence identities of themselves and others (Deuze, 138). The video is not only a representation of the original poem, but it is also an expression of Lloyd. She incorporates her understanding of the poem into the video and brings in her own style. She selected the images and the type; she decided the motion; she created the video in ways that the poem impresses her. When we as audience view the video, we are not reading directly into the poet’s mind. Instead, our impression of the poem is layered and could be very different given that the context when we view the video is completely different from when the poem was written. We can see the video (of a certain style) is an expression of Lloyd’s self and our minds are influenced by that. Media are a crucial part of our selves and lives that we might not realize until they are missing.

I truly enjoyed Lloyd’s video, and I consider it a perfect marriage of texts, audio and images. I would not suggest further changes to the video, but I would definitely love to her to make it into a series and create more videos of this type. I consider this a more effective and attractive way for people to learn poems and it would be a good means to preserve intelligent works of great minds and build upon it to create more brilliant works.



Work cited:

Bolter, J. David, and Richard A. Grusin. “Remediation: Understanding New Media.” Cambridge, MA: MIT, 1999. OnCourse. Web. 4 Dec. 2012. <;.

Clarke, Michael. “Language and Visual Artefacts.” Verbalising the Visual. 20-37. Web. 4 Dec. 2012. <;.

Deuze, Mark. “Media Life.” Media, Culture & Society. 137- 148. Web, 4 December, 2012. <;