The way an audience uses everyday places, devices, networks and interaction between these amongst themselves creates a narrative or story that allow the media “space” to be conceptualised as a research practise. The term “media space” doesn’t refer to a fixed or material object, but a collection of links to news, current events, photo/video/audio, opinion and anything branched out from these that allow the user to control their intake of information distributed by means of the internet and Legacy mediums. Wendy Mackay introduces the media space in terms of multimedia interactions and details “…(The) World Wide Web have transformed work, enabling people to work together, even when they live in different countries and in different time zones.”(W.E Mackay, 1999) This resonates highly with my interest and own narrative with video interactions and multiple uses for them in the ways humans co-exist with technological evolution.
Wifi, Bluetooth and ever improving video link technologies to devices such as smartphones, tablets and even watches, 360 degree video and virtual reality (VR) headsets have allowed media spaces to be interacted and explored through a visual medium that encourages a disembodiment gaze idea of a space. This is something I’ve investigated and taken upon in an area of study, whereby the intended or commercial market of these technologies can be applied to all areas of observation and surveillance.
I’m fascinated with the emergence of drone technology and the new ways aerial space is being explored with fixed cameras. The ethical considerations with the audience and user generating the content as well as the narratives that come out of their commercial use. From their intentional, speculative, regulatory, definitional, historical, contemporary and aesthetical narratives, the drone has gained a wide, divided viewpoint from the public about how they can attain regulation and be an accepted medium for uses limited to the imagination.
When technologies integrate and respond to one another they’re trajectory can be fitted to human interaction as a cyber-cultural extension to a narrative that has to take into account robotic law and policy. Live feed video attached to for example a First Person View (FPV) headset allows the user to gain a new perspective into the media space which could provide raw and un-edited images of war/peace aesthetic and catastrophe. The way audiences respond to a visual medium can be interesting and VR capabilities and Drone perspectives is how I’ve got to where I am today in terms of the way I respond and interact with the media space. It has allowed me to think differently about career options in terms of taking these devices within a media space and applying them somewhere different and reflecting on the information and new ideas that flow with new technologies.
I enjoy the task of educating and challenging set norms of old technological minds, and explaining the ways in which the fear of robotic type media exposure isn’t a new phase. Every new technology has a speculative mythos, and through my own narrative with these technologies, I’ve found myself intrigued as to how new devices can improve the understanding of a medium.
Chris Moore, 2016, #dronestories, prezi lecture, DIGC335, University of Wollongong, 3rd May 2016, viewed 5th May 2016, <https://prezi.com/b9fp3pnjfqew/dronestories/?utm_campaign=share&utm_medium=copy>
Mackay, W.E., 1999. Media spaces: environments for informal multimedia interaction. Computer Supported Co-operative Work, 7, pp.55-82.