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Taylor Browning – Project Critique of “Voice Tales”

For my final analytic paper, I decided to consider Nikki Pinney’s project, Voice Tales, which can be viewed on the class blog at the following link: Click Here! I was incredibly impressed by the creativity displayed within her work, in addition to absolutely loving the idea of capturing and presenting voicemails in such an endearing fashion. I also thought that her project did a fantastic job of embodying many of the media concepts that we learned about this semester. By taking a previously existing media artifact, her voicemails, and pairing them with short video clips and animations meant to supplement the audio with a visual component, she has successfully engaged in both remediation and remix, in addition to creating what would certainly be considered a new media artifact. Voice Tales is a unique and powerful idea that I feel has the potential to be used for both sentimental and entertainment purposes, and I am very glad I had the chance to view Nikki’s work and consider how it might be used in the future.

One of the first concepts we talked about in class was the idea of New Media Artifacts and how they are defined. In an article discussing New Media, Manovich provides the following statement about this particular kind of artifact. He claims, “New Media, in contrast, is characterized by variability. Instead of identical copies, a new media object typically gives rise to many different versions,” (Manovich Ch. 1). Nikki’s project certainly fits this definition in many ways. While working on her project, Nikki took a variety of voicemails she had saved and coupled them with video clips or animations. By doing so, she created the variability that characterizes new media. In addition, she mentioned that she hopes to turn this project into something larger, where others can make their own visual voicemails and submit them to a collection. By allowing others to partake in the creation of these artifacts as well, the variability is increased even more.

Another concept that we discussed during the semester was remediation. This is the process of taking a media artifact and updating or improving it in some way. In addition, remediation requires both the old and new artifact remain in existence. Bolter and Grusin write, “The very act of remediation; however, ensures that the older medium cannot be entirely effaced and the new medium remains dependent on the older one in acknowledged or unacknowledged ways,” (Bolter and Grusin 47).  When she updated her old voicemails to include a visual component, Nikki engaged in remediation in an incredibly successful manner. I would certainly argue that the process of preparing her voicemail messages for this project improved them in a few ways. First, the visual component adds a level of entertainment to the voicemails that likely wasn’t present previously. In addition, by adding visuals and compiling the messages together, they are now able to be enjoyed by a far larger audience. In their natural form, voicemails are usually a pretty personal artifact. However, in this case they have been modified such that everyone can watch and listen to them for entertainment.

Finally, we also discussed the concept of remixing at great length within the scope of this course. I would also argue that, in addition to being a form of remediation, Nikki’s project also remixes the voicemails by matching them with video and splicing the different clips together. “Remix is an essential act of RW creativity. It is the expression of a freedom to take ‘the songs of the day or the old songs’ and create with them,” (Lessig 56). Lessig makes the claim that remixing is creating by using current or old media as a base. Voice Tales certainly does just that, and it works very well. In addition, it seems that a future avenue for this project could be the combination of different voicemail messages to create a new clip entirely. Much in the same way that songs are often mashed up to create interesting combinations, I think it would be interesting to attempt a similar feat using voicemail messages.

Overall, I was completely impressed by Nikki’s project and I feel she did a fantastic job of representing many of the themes of New Media that we learned about this semester. By remixing and remediating the voicemails that were important to her, she managed to capture a little slice of her life and present it in such a way that it was quite entertaining to watch. I hope that she follows through with her plan to continue making more clips, in addition to creating a location where other people can share similar projects. I think this would be a great opportunity to bring people together and allow them to share in some of the little moments that, until now, were locked away in the voicemail inboxes of people everywhere.

Works Cited

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

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

Manovich, Lev. “1. Principles of New Media.” The Language of New Media. Cambridge: MIT, 2000. Print.

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http://www.youtube.com/watch?v=isiqrQDlEg0

In my final paper, I will be critiquing the project created by Justin Young, titled Linkin Park vs. Project 46. This paper gives me an opportunity to look at another type of media and identify some of the deeper meanings and reasons behind why the project was created. In this project, Justin created a mash up song using two artists with very contrasting styles. The first artist, Project 46, has a very upbeat, electronic sound. The second artist, Linkin Park, has a heavier rock sound. The Project 46 song “Whistle” was used for the majority of the beat throughout the song while the Linkin Park song “Burn it Down” was used mainly for vocals.

Fan culture is a crucial aspect to this type of new media. Two distinct fan bases are present in mash up songs, like the one Justin created. The first fan base is people that listen to electronic and upbeat music while the second fan base is people that are fans of the band Linkin Park (particularly the vocals in this case). While these two fan bases are clearly different, Justin’s mash up provides a way to bring people that listen to different types of music together through the common interest in the media artifact. In this case, someone that listens to electronic music might not like the heavy rock that Linkin Park provides, but in the form of a mash up, the vocals change the song and make it something new. According to Jenkins, “Fan texts, be they fan writing, art, song, or video, are shaped through the social norms, aesthetic conventions, interpretive protocols, technological resources, and technical competence of the larger fan community.” This quote clearly explains that the mash up song relies on the larger fan community in order for it to be successful.

The use of remixing is also very important to the success of this media artifact. According to Lessig, “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.’” This media is obviously a remix because it is taking two different songs and combining them to make something new. I was very impressed with how these very different styles of music were able to combine together and produce a new sound. Also, the song is accompanied with a video that uses pictures of the two different artists to help the viewer further relate to the vast differences between them, as well as pictures of the program that was used and the process of creating the song. In my opinion, the pictures in the video that explained the various steps to create the song were very effective because they show how much work actually goes in to creating this type of media. Also, these pictures can help other people that are interested in creating mash up type songs because it gives the viewer a feel for the process and program that were used to create the song.

According to van Elferen, “Digital music is an interesting example of these two aspects of technological mediation: not only do we hear this music through the digital media keyboards, samplers and MIDI – and we might download it in mp3 format via p2p networks – we also interact with it with the help of digital agents such as iPods, Internet radio and club turntables.” This quotation perfectly describes how this type of media is able to influence so many people. Once this song was created, it is out there for anyone to listen to, change, and share with others.

In conclusion, I believe that Justin was very successful in creating his new media artifact. Fan culture, remixing, and the digital nature of the song all contribute help the song reach its full potential. Additionally, the video accompanying the song was very creative and gives the viewer an idea of how the song was created and the program that was used to create the song. While combining two songs may seem easy, I know from experience that the amount of time that goes in to matching up the songs perfectly takes a lot of time. When Justin presented in class, he mentioned that he is going to continue to work on this song as well as other new songs. I am very interested in what new ideas Justin might come up with and am definitely going to be looking out for some of his new tunes on YouTube.

Works Cited:

Jenkins, Henry. “Textual Poachers: Television Fans & Participatory Culture.” Routledge 1992. Web.

Lessig, Lawrence. “Remix.” Bloomsbury 2008. Web.

Van Elferen, Isabella. “Digital Material.” Amsterdam Press 2009. Web.

For my third analytic paper I have decided to focus on Thomas Theobald’s Final Project found here: http://www.youtube.com/watch?feature=player_embedded&v=OyYzaIKlbgU. His final project encompassed two separate songs, one that focused on what he had created by himself and one that he had remixed from the popular song “Clique” by Kanye West. Initially when hearing about this project myself, I had hoped to tackle a project involving dubstep or another form of electronic music, much like the project Thomas had decided on. I really liked the idea of this project, I am also a fairly avid electronic music fan and this project merged a couple of different genres of music together in a very subtle and interesting way.

The first section of the song sounds much more electronic heavy, there is a recurring bass line that sounds to be more upbeat and is definitely the focus of this section of the song. This bass line is accompanied by other percussive instrument samples that make up the make up the vast majority of this portion of Thomas’ song. Very subtly towards the end of the first section there is what sounds like, a sample of a Snoop Dog song hidden in the background of the bass line, the different layers of this section come together to form a very catchy, streamlined finished product. While creating his own song in this portion of his project he directly shows the process a new media artifact goes through in a great way.

The second section of Thomas’ song transitions into different the listener to a different feeling entirely. This section is more focused on the lyrical aspects from the selection “Clique”. There is a similar feeling of the overarching bass line that the listener perceives in the first section, but it is only to accompany the lyrical selections from the song. There are sections within the second section that highlight the bass line, but they are between the selections of lyrics. This allows the section to keep a sense of fullness throughout its entirety, and achieving a sound that really isn’t common among the rap community. Although, with the history that the rap and hip hop community brings about with the incorporation of disc jockeys in the past on turn tables, and today being probably the most electronic friendly genre, I believe it is only a matter of time before more works much like Thomas’ come into the spotlight when famous rappers start the collaborative process with the ever growing electronic music genre.

This section of the song and last thoroughly achieve the ideas that a New Media Artifact that we had discussed in class as well as in the early reading New Media: A Critical Introduction the article shows how a new media artifact differs from older mediums as follows, “We now see the migration of content and intellectual property across media forms, forcing all media producers to be aware of and collaborate with others.” (Lister, Dovey, Giddings, Grant, and Kieran) Thomas has taken content from many different sources, merged them into a conglomerate of sorts and even added his own spin on the mix, making this a very clear example of the new media artifacts we have been discussing throughout our time in this course.

Clearly, with the merging of multiple genres of rap, dubstep, and electronic music that Thomas strove for in his song he closely followed the remixing ideas that Lawrence Lessig discussed by saying, “there are new forms of art being generated by virtuosic remixing of images and video and remade audio.” (Lessig 69) This remix has not only been about converging similar music into one medium as someone may typically expect, but Thomas took the approach of some similar remixing powerhouses such as Girl Talk, where he interconnected multiple different sounds and artists that are usually not associated with each other into a bigger picture that allows the listener to experience multiple different music selections in one medium.

Not only has he remixed all of the samples he had taken in a very unique and powerful way, but he has also shown a very clear connection to the participatory culture that we had discussed in Henry Jenkins’ Textual Poachers Television Fans & Participatory Culture. When Thomas first heard dubstep or electronic music it had influenced him in a way, much like it did me, where it sent a sense of curiosity about the process that goes into making one of the songs and what the true potential of the style could be.

Overall, I believe that Thomas’ project really highlights some of the most important aspects of new media culture in the music world today. He took went a different direction with the content of his songs, but it became a very successful conglomerate of different sounds. Following the ideas of remixing and participatory culture, I think this new subgenre of electronic music that Thomas has created has a great chance of progressing into the mainstream music scene.

I’m critiquing Ted Harton’s  project. Ted did a rap song about Thursdays in Bloomington and mixed it himself along with making the beats as well. The lyrics are about what he experiences on a typical Thursday and he has a picture of himself out on a Thursday as the background of the youtube song where he looks like he’s having a good time (as he should be).

By posting his video on Youtube his media has the ability to get to anywhere in the world and able to be replicated, edited and copied. The potential of the video being popular is endless because of the massive audience that it could reach and could also influence people to make their own music as well.

Ted used Fruity Loops 10 to create his beats and also mix his voice into the beat as well. FL 10 is a popular beat maker used by many artists including GirlTalk, I used it one time to mash some music as well. This is a program that helps remix music much like Lessig talks about in remixing. It could change the sound of a track and mix positions from back to forward and slow it down as well and even add new beats like snare drum, symbols and beat drops too. I’m hoping Ted could get his music to become part of the IU fan culture since IU has a record of Students making music popular even when it has a satire gist to it. This new media artifact has some personal creativity and sounds like Ted put time, thought and passion into it as well.

 

https://mediaartsandtech.wordpress.com/2012/11/16/thirsty-thursday-ted-harton/

https://mediaartsandtech.wordpress.com/2012/11/16/craig-anoskey-final-project/

I chose to critique Craig Anoskey’s Tokyo kinetic typography music video. Through the semester he was telling me about his progress on the project, so I was getting a vague idea of what it would turn out to be in the end, but I was never able to see his project until the final work was presented in class. After watching his music video a few times, the topics I believe best fit his projects are remixing, participatory culture because of how he wanted to learn the new technology, and fandom.

The first topic Craig’s project represents is remixing. In one section of Lawrence Lessig’s, Remix: Making Art and Commerce Thrive in the Hybird Economy he talks about remixing new media. “Using the tools of digital technology – even the simplest tools, bundled into the most innovative modern operating systems – anyone can being to ‘write’ using images, or music, or video” (Lessig 69). Craig was able to find one of these tools online, and learn how to use it. With it, he took the song “Tokyo” by Imagine Dragons and made a kinetic typography music video out of it. I personally like music videos like this, because lyrics in songs can be difficult to understand, but the lyrics can now be read in the music video. For the most part I thought this was well done, but there are a few moments when the lyrics are hard to read, and that can take away from the experience of listening to the song, because now I am focusing on both the sounds and the visuals.

The second topic Craig’s project represents is participatory culture. In the reading, Media Ecologies written by Heather Horst, Becky Herr-Stephenson, and Laura Robinson, they define participatory culture as having three different genres: “hanging out, messing around, and geeking out.” Craig leaned towards the third genre, geeking out, which Horst defines as “an intense commitment or engagement with media or technology, often one particular media property, genre, or a type of technology” (Horst 65). While talking with Craig through the semester, he seemed pretty adamant about being able to learn Adobe After Effects and use it to make this kinetic typography music video, and less interested in being able to show his friends and family what he made.

Still with participatory culture in mind, the final topic Craig’s project represents is fandom. In Textual Poachers: Television Fans and Participatory Culture by Henry Jenkins, he says, “Drawing on the work of Michel de Certeau, it 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). Craig, being a fan of the song and the band, took the song which originally only had the intent of being listened to, and made a video that included the lyrics to the song. In doing so, his video has the same intent of being listened to, but also now has the intent of reading and understanding the lyrics in the song. This can also bring in other fans of the song who were looking for a kinetic typography music video of this song.

Craig’s kinetic typography music video was well done because it stayed simple and it does exactly what was expected: shows lyrics while playing a song. His project does a good job showing different new media topics such as remixing, fandom, and participatory culture. He was able to learn a new program and create a video that he and others can enjoy.

Works Cited

Horst, Heather, Becky Herr-Stephenson and Laura Robinson. Media Ecologies. Print.

Jenkins, Henry. Textual Poachers: Television Fans and Participatory Culture. Routedge, 1992. Print.

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

Third Analytic Paper: Critique of Kevin Chang’s Final Project

https://mediaartsandtech.wordpress.com/2012/11/16/kevin-chang-final-project/

I elected to do my project over Kevin Chang’s 3D modeling project. I really liked that he decided to learn a technology that was totally new to him, and was different from what anybody else in the class did. I know that it did not turn out the way he had intended for it due to time conflicts, but I fully respect the effort he took to learning the Autodesk 3D Max software from square one. He was one of five in my practice session so I was able to see the learning process he went through on a weekly basis as well as his submitted project that catalogs the various tutorials that he completed.

Having dabbled in some computer-aided design (CAD) myself I can appreciate the amount of effort it takes just to learn what some of the tools mean, but then you have to learn how to use them. This is one of the reasons that I can’t fault Kevin for not reaching the goal he wanted, because without knowing how to use the technology it is not easy to predict the scope of the project. Using the knowledge he has now, I do not think it would be unreasonable for him to dive in and create exponentially more work with even greater details.

3D computer animation is a relatively new phenomenon mainly because computer technology has not been around for very long, especially personal computers that can handle the taxing resource intensive demands that are required to work in creating 3D models. However, 3D models have been around in other forms beginning way back in history and by looking at these other forms it is possible to create a pseudo genealogy of them. Lister (2009) explains puts it this way, “Essentially, to consider the nature of the ‘new’ we have to become involved in theories ‘of’ history (or historiography)” (p. 45).

Statues are the first thing that comes to mind when thinking about older form of 3D models, but these can take many forms. They range in size from tiny decorative pieces to massive mountain sized ones like Mt. Rushmore or the ancient Colossus of Rhodes. One thing they all have in common is that they are rigid and thereby making them not useful for animation. A form of 3D animation that has been around before computer animation is clay animation, or as it is more commonly referred as, claymation. Claymation is stop motion animation using physical models that are moved a few frames at a time and then played back at a frame rate that gives the appearance of a seamless animation.

Kevin’s 3D models are a great example of what new media is, and are prime candidate for discussing remediation. Bolter and Grusin (2000) claim that, “The digital medium wants to erase itself, so that the viewer stands in the same relationship to the content as she would if she were confronting the original medium. Ideally, there should be no difference between experience of seeing a painting in person and on the computer screen, but this is never so” (p. 450).

By creating the models entirely in a digital manner the designer is able to create in shape imaginable. With claymation the designer is limited to what can physically be done, and must keep everything on a smaller scale. Working with digital mediums allows for much faster creation of multiple similar objects by duplicating and making small tweaks. This is not possible in physical mediums so the time it takes to create multiple objects is linear. But the greatest benefit of using computer 3D models is the level of precision that can be achieved.

A lot of 3d models are created by fans to showcase their favorite characters or items from video games, movies, television shows, and books. Kevin did something similar by trying to create a character that is very popular right now in Japan, but changing it some to make the character into his own slightly altered interpretation. This reminded me of the Henry Jenkins (1992) reading we had in class that discussed fans and the lengths they go to incorporating their favorite aspects from their favorite media into as many facets of their life as they can. I am by no means attempting to say that Kevin is obsessed with this character, but that he is clearly a fan of it since he chose to make the 3D model of the character when he had his choice of making anything.

References

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

Jenkins (1992). Textual Poachers: Television Fans and Participatory Culture. New York, NY: Routledge.

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

Carly Crays

Analytic Paper-#3

Dustin Wishmeyer’s Project- https://mediaartsandtech.wordpress.com/2012/11/16/final-project-social-network-wishmeyer/

 

 

For his final project for I310, Dustin Wishmeyer created a kinetic typography of the scene from the film “Social Network”, where Sean Parker, played by Justin Timberlake, wakes up with a girl from Stanford, who introduces him to Facebook when he asks to check his email. It is also during this scene that Parke, while the two share personal information about their lives, reveals himself as the creator of Napster to the shocked Stanford student. While the scene is used as an introduction for Timberlake’s character, it also showcases that while no one really knows who they are talking to while on Facebook, and that it is up to someone to decide whether they reveal that information to the other person, it can still be used as a powerful tool with which to meet and interact with other people.  The video is also an excellent show of fan appreciation, as it showcases intimate knowledge of two related forms of media, Facebook and the movie about the origins and making of Facebook, “The Social Network”. While the short video does showcase an inherent problem of Facebook, it also, by using a basic Facebook outline with which to showcase the film’s dialog, gives homage and respect to Facebook, by showing how easy it is to communicate using the social networking site.

When discussing fan-culture, it is often that the term itself, “fan”, and carries with it a negative connotation. Fans are described as being childish, asexual, and anti-social (Jenkins 10). It often appears that, to many, fans offer nothing more to serious discussion, except for incoherent babbling about their love or hate for one part of their fandom or “obsession” or another. However, in this case, while the video, by its use of knowledge of Facebook and “The Social Network” and their inner-workings, is a “fan-made” video, it clearly offers up a unique discussion over both Facebook’s inherent flaws in privacy, confidentiality, and relationships with those the user may have never met in real life.

Dustin Wishmeyer’s video offers a discussion on both the allure and potential danger of “anonymous” relationships, or those without a basis in the real world. It presents the meeting of Sean Parker and the girl he wakes up with as if it were taking place over the messaging and status updates of a Facebook profile. A question raised by the video is why either Parker or the girl would engage in such risky behavior in the first place; is it done out of trust, curiosity? In his book “Media, Culture, and Society”, Mark Deuze offers the “Truman Show” delusion, based on the movie “The Truman Show”, where the life of a unknowing man is in fact a television show, whereby a person believes that they themselves are the star of their own television show. Deuze does not consider this itself a mental illness, but more a state of mind that has been cultivated by that person’s exposure to different forms of media, where after a while, said person begins to become more self-absorbed in their thinking and world-view (Deuze 140). Using this, it is easy to see how two people who have become somewhat used to social media such as Facebook often may become disconnected from the experience and not see the dangers of it. While the scene from “The Social Network” it depicts showcases one person who has only recently began to use Facebook and another who has never use it, the video could easily be viewed a conversation taking place between people who have been using Facebook for years. There is no context given besides that they both send message back and forth and between the two, seem to know how to use the social network.

That there is no context given for the scene, and could easily be considered to be something completely different from the scene from the film, is in no way a deterrent or evidence that Wishmeyer has no respect for the source material. Remediation, or where details of a story or source or changed from one retelling or change in the form of media that hold the source or story, is far from a new phenomenon. It has been used for hundreds of years, including especially such works as “Dracula” and “Frankenstein”. These retellings allow us to reexamine the story or media, adding or taking away from what was already there (van Elferen 123). With this in mind, one can see how Wishmeyer used his knowledge of both Facebook and “The Social Network” to expand upon it, to show by using both together and using the unclear context of the video the layered interpretations of what each represent. By using the Facebook profile format to showcase the conversation between the two characters from the film about Facebook, one is able to see that the two characters barely know each other, as well as Parker’s dismissal of the girl by both his condescending tone, and by his deciding not to “friend” her over Facebook.

Dustin Wishmeyer’s short video depicting the conversation between Sean Parker and a girl he wakes up with in the form of a Facebook profile is a fan-made video. However, is goes against the stereotype of “fans” by giving an intelligent representation of what he is a fan of. The video offers a unique insight into how both users of social media behave, as well as new understanding to both Facebook and “The Social Network”. Through these, it subverts the stereotype and presents an intelligent argument that is both entertaining and informative.

 

 

 

 

 

 

 

Works Cited

Jenkins, Henry. Textural Poacher: Television Fans &

     Participatory Culture. London: Routledge, 1992.

     10. Web. <https://resources.oncourse.iu.edu/a

ccess /content/group/FA12-BL-INFO-I310-21397

/Readings/jenkins-fans.pdf>.

 

Deuze, Mark. Textural Poacher: Television Fans &

                                                                    Participatory Culture. SAGE, 2011. 140. Web.

<https://resohttps://resources.oncourse.iu.e

du/access/content/group/FA12-BL-INFO-I310

-21397/Readings/Media Culture Society-2011

-Deuze-137-48.pdfurces.oncourse.iu.edu/ace

ss/content/group/FA12-BL-INFO-I310-21397/R

eadings/jenkins-fans.pdf>.

 

van Elferen, Isabella. “Digital Material.” Cybergothic music

    and the phantom voices of the technological uncanny.

(2009): 123. Web. 7 Dec. 2012. <https://resources.onc

ourse.iu.edu/access/content/group/FA12-BL-INFO -I310

-21397/Readings/Van Elferen – Digital Material.pdf>.

For my project I decided to critique Eric Voigt’s kinetic typography of the song Little Lion with the music video included in the background.  I really liked this project because it was a unique take on the kinetic typographies that were presented in the class. I could tell that Eric spent a lot of time during the project to create something that he was very passionate about.  The words on the screen were a great complement to the music video that was playing in the background.  Eric did a great job of making sure that the words were visible throughout the entirety of the video.  In some instances where the screen was bright the text became darker and I thought that was a great idea.   Eric did what constitutes remediation by simply borrowing the video from YouTube which is described as “extremely common in popular culture today, and is also very old.” After borrowing the content of the original video Eric remixed the video into something that “carries more possible meanings than their obvious surface ones.” With a kinetic typography the viewer is able to see the lyrics and make their own interpretation of what the lyrics mean.

Although the video was not completed it gives Eric something to work on if he continues to work on this project.  I feel like this type of music video would catch on since I have not seen anything like this on YouTube prior to this project.  I think it’s great that the official video and words are displayed on the screen so that the viewer doesn’t have to go to different lyric websites to figure out the lyrics of their favorite or new song.  This type of fandom of the musical culture on YouTube could help the musical fan base of YouTube.  There are many kinetic typographies that are on YouTube of just a black screen and words transitioning but with the music video Eric has done something unique. He has combined two very different mediums of delivering the same music video because there have been “Official Lyric Videos” and “Official Videos” but never have the two been combined on one screen which is why this project was very well thought out and executed.

In the future I believe that videos like this will foster “New relationships between subjects (users and consumers) and media technologies” due to the fact that the user can sing along with the correct lyrics since they will be present on the screen.  The text was not distracting of the video but worked as a great complement to the video since the text was not doing any type of transition that took away from the overall quality or content of the music video.  I liked the choice of font size and color of the video because it was very easy to read the words no matter how big the screen.   I would really like to see Eric finish the video with lyrics included and present it because I believe fans of the musical group Mumford and Sons would be very appreciative of content like this.

Overall I would say that the video not being all the way completed was the only thing I didn’t like about this project but I can understand how this would take a long time since there were a lot of technologies used to create this artifact based on what Eric presented in class to us.  I really believe that this type of project will allow fans to connect with the music in a deeper way when creating types of videos like this especially if they are fans of the music.  Often times it will help to understand the artist if you see the lyrics on screen of the official video so you can see why the artist would choose to shoot things a certain way when certain words or phrases are performed.  Very well done on the project and I hope that once it’s finished this type of kinetic typography is a YouTube sensation.

Works Cited:

Bolter, Jay, and Richard Grusin. “Remediation.” MIT Press (Dec. 5, 2012): 44-50. Web.

Clarke “Language and visual artefacts.”

Lister, Martin, Jon Dovey, Seth Giddings, Iain Grant, and Kieran Kelly. “New Media and New Technologies.” New Media: A Critical Introduction. 2nd ed. New York: Routledge, 2009. 9-13. Web.

I’m critiquing Carolyn Doyle’s final project. I like the stop motion animation video that she did and I was very impressed by the video. I did a stop motion video as well and I know how hard it is to do one. The video moves very smoothly from picture to picture and has many complicated and hard techniques in it with the use of moving multiple items at once and also using a person in a video. I wanted to use a person in it but I found it too hard to do and only used a hand instead of a whole body.

“There is a strong sense in which the ‘new’ in new media carries the ideological force of ‘new equals better’ and it also carries with it a cluster of glamorous and exciting meanings. The‘new’ is ‘the cutting edge’, the ‘avant-garde’, the place for forward-thinking people to be (whether they be producers, consumers, or, indeed, media academics)” (Source 1, 11). This excerpt from “New Media: a critical introduction” shows what the new media is perceived as in modern society and how many people truly think it is. I believe this is true but I don’t think that everything has to be the most cutting edges to be really exciting and entertaining and this video shows that it can be. Carolyn does a great job of making a video that uses old techniques to make it exciting and new. The video makes you think about how it was possible to do even though you know it is still pictures put together to make a film. The ability to make this seem so fluid is something that is very impressive and also makes you feel like it is completely new and cutting edge.

The concept of putting image in a row to make a video is not revolutionary but is hard to do properly but is how you make a video normally. The first videos simply were individual pictures played fast together to make a “motion picture”. Carolyn project is a remediation off of videos but just in a different way. This way leaves a smooth transition but with small jumps in the image that a movie or show does not have so it gives the video a much different and exciting effect that does not draw away from the movie but actually enhances it. Her project also has music playing in the back ground that fits very well with her images and lines up very well with the actions. The song seems like it was almost made for the movie instead of being added afterwards. Remediation was also key to her project to make her video better and more exciting due to repeating the process and refining it. Remediation can also be seen in her video with how the still images come together to form a new media without it being obvious that it is made of still images. Her video also gives life to dozens of fake cockroaches and make them seem real and alive and with a mind of their own. The video also gives you the feeling that the cockroaches are working together which is something that you don’t see in real life which is very interesting.

Media Convergence is also a concept that is shown in her project. Media convergence is when two different mediums come together to form something new which is prevalent in her video. It is a very common practice when companies turn a popular book into a movie so they can draw on the fans of the book while also making new ones who haven’t read the book and may now read it after watching the movie. Carolyn uses this idea very well by almost making a stop motion video for the song that she used. The video matches the song so well that it could draw on fans of the song and help her video get more views. Her project uses media convergence by combing still photos, film, and music to make a new media. Her project combines all of the elements very well and make for a very exciting and unique new media.

Overall I think her project was one of the best that was done but this may be because I did a stop motion video as well. I know how hard it is to do and how irritating it can be at times. That gives me so much new found respect for anyone that can pull it off well and make it look seamless and exciting.

 

 

Work Cited

1)Lister, Martin, Seth Giddings, Iain Grant, and Kieran Kelley. “New Media and New

Technologies.” New Media: A Critical Introduction. Ed. Jon Dovey. Second ed. Abingdon: Routiedge, 2009. 9-13. Print.

 

2)Lister, Martin, Seth Giddings, Iain Grant, and Kieran Kelley. “New Media and New

Technologies.” New Media: A Critical Introduction. Ed. Jon Dovey. Second ed. Abingdon: Routiedge, 2009. 44-51. Print.

 

3)Bolter, Jay David, and Richard Grusin. “Remediation Understanding New Media.”

Immediacy, Hypermediacy, and Remediation. London: MIT, n.d. 43-50. Print.

 

4)Meikle. “Convegent Media Industres.” Media Convergence. Ed. Young. 35-58. Print.

Logan Lynch

Third Analytic Paper

December 7th, 2012

During this semester of i310, our class has discussed various topics about new media.  We have learned how to relate these concepts to media we interact with everyday and our own projects.  I have decided to critique Andre Warren’s “Trap For Snacks” music and video because that his project hit on the three concepts of remediation, remixing and genres of participation on many different levels. I also chose this project because of my experience in mixing music, I enjoyed his project “Trap For Snacks,” and  my friendship with Andre.

Bolter and Grunsin’s idea of remediation, the process of taking elements of an old form of media and reusing those elements in a new form of media, is evident in Andre’s “Trap For Snacks.”  There are various forms of remediation. Andre took the approach of refashioning by taking music and reusing it in the same medium.  He took clips from different songs and mashed them into a single song.  These clips, while not changed to preserve the original song, complimented each other in a way that made the entire song better.  After completing the mash up, Andre remediated his own project by adding a video to go along with the music. This represents one of the methods of remediation; taking the old media and simply changing the medium without making significant changes to the content itself.  The video helped give an new dimension to “Trap For Snacks,” ultimately making the project better(Blter and Grunsin).

Lessig’s idea of remixing is involved in both the music and video of Andre’s project.   His project incorporates a remix of different songs and a remix of different clips shot for the video. Lawrence’s article states that the remix is meant to do something new.  Andre  took multiple songs and video clips and remixed them into “Trap For Snacks,” a story of a music creator and his job as a Jimmy Johns delivery driver. Lessig said in his article, “Remixed media may quote sounds over images, or video over text, or text over sounds.”  Andre accomplished all of the above.  Andre first put his remixed audio over his remixed video clips. He then had text over the song and video.  As we saw in class with the remixing video, remixing can be an important part of today’s creativity.  Andre did a great job of remixing both parts of his project to make a new entirely different media(Lessig).

Horst’s genres of participation are also apparent in Andre’s “Trap For Snacks.”  Hanging out, messing around, and geeking out are the three genres of participation that Horst focuses on.  Hanging out is the friendship-driven genre of participation, where the cause for new media interaction is to connect with friends.  Messing around takes hanging out a step further where one becomes more engaged in the new media.  The third genre of participation, geeking out, is an intense commitment or engagement to a media or technology including an extreme level of highly specialized knowledge in a specific subject.  Andre started out in the hanging out genre and progressed to geeking out. He first started by “looking around” for songs, tutorials, and advice from online and friends. As Horst said, “the vast majority of the young people we interviewed engaged in ‘fortuitous searching.’”  Fortuitous searching is a term used for searching that is more open ended instead of being goal oriented.  After searching the internet Andre began to experiment and play with the songs and GarageBand.  As Andre got the hang of the program, he gradually moved into the geeking out genre of participation.  For the video portion of the project Andre started out in the hanging out genre of participation. With the help of a friend that was in the geeking out genre, Andre was able to learn the basics of video editing and progress to the messing around genre.  As with most of the projects completed in i310 this semester Andre’s “Trap For Snacks” clearly represented Horst’s genres of participation and how someone can progress through them(Horst).

Andre’s project related well with several topics that we learned this semester in i310.  The end result displayed Andre’s hard work throughout the semester.  “Trap For Snacks” is a fun and entertaining project that took several songs that had been preciously remixed of others and remediated and remixed them into a new and improved song.  I truly enjoyed listening to and watching Andre’s project. I hope to listen more mashups from Andre in the future.

 

Works Cited

Bolter, Jay, and Richard Grusin. Remediation Understanding New Media. Cambridge: The MIT Press, Print.

Horst, Heather. Media Ecologies. 29-78. Print.

Lessig, Lawrence. Remix. Bloomsbury, 2008. 51-83. Print.