MEDA302 (MEDIA ARTS PROJECT) is a capstone subject for the Media Arts study stream and one the central focus’ is the transition between university studies and the world of professional practice.
PROFESSIONAL PROFILE LINK:
Professional Portfolio Statement found HERE, within website.
Apple device archeology – powerhouse museum (https://maas.museum/event/interface/manufacturer/apple-computer/)
My creative direction this semester has followed a fascination turned captivation with the works of an Apple Device archeology showcased at the PowerHouse museum when I visited Materialising the Digital, as apart of an excursion. The aesthetic for me was the showcase of the dead objects, technologies and phases. The collection of the devices allowed me to resonate which ones were popular as I grew up. It always kept me thinking about what it was that drew my attention to these types of installations.
Personally I find myself collecting all of the technologies that I’ve accumulated over the years and have always wondered to myself why I can’t part with them. We then look to popular culture and 21st century trends of revisiting or the resurgence of old media (for example the vinyl record, a technology that has been out dated with CD and MP3) into a both commercially viable product and collectors leisure.
What is about the revisiting of old technologies that is
- nostalgia ? Simple human reflection?
- Is it trends? Will the idea of grasping onto old materials come and go?
- Human development/ progression/dependance on devices
- Reverse magical? What is that feeling we have when we see something from our childhood in fully functioning condition. Is this the same feeling as when we see magic performed live? I want to investigate this feeling of connection and disbelief that something “works”.
- Inside a broken/dead technology a resurgance via LED lights and vaporwave inspired themese
- Human glowing from the eyes, mouth, brain
- Connection with technology from the past
- Content? Nostalgia ?
My OWN works, trying to visualise my project trajectory and what I have in mind:
The New Aesthetic is not superficial, it is not concerned with beauty or surface texture. It is deeply engaged with the politics and politicisation of networked technology, and seeks to explore, catalogue, categorise, connect and interrogate these things.
The New Aesthetic and its Politics
JUNE 12, 2013, James Birdle
- Demo scene: an international computer art subculture that specializes in producing demos: small, self-contained computer programs that produce audio-visual presentations. The main goal of a demo is to show off programming, artistic, and musical skills.
MENTAL NOTES TO VISIT:
- Jussi Parikka – What is media archeology ?
- “Engaging with the past and learning from the past media cultures in order to understand the present, mediated, globalised network culture through artworks executed through various media”
- Ways in which old media and technology themes can be resurrected into a contemporary context.
Clever use of a reversal of special effects or CGI in this, where the example of the multiple dancers are in fact more than one human being filmed at the same time.
“ReFunct Media” is a series of multimedia installations that (re)uses numerous “obsolete” electronic devices (digital and analogue media players and receivers). Those devices are hacked, misused and combined into a large and complex chain of elements. To use an ecological analogy they “interact” in different symbiotic relationships.
“ReFunct Media” isn’t proposing answers to the questions raised by e-waste, planned obsolescence and sustainable design strategies. Rather, as an installation it experiments and explores unchallenged possibilities of ‘obsolete’ electronic and digital media technologies and our relationship with technologies and consumption.”
PAL can, even though the technology is terminated, be found here as a historical form that newer technologies build upon, in- herit or have appropriated from.
More examples I’ve made using real objects:
This week we had a guest lecturer, artist-in-residence Warren Leung, thus, “His reflective practice combines historical exploration with conceptual inquiry within a contemporary urban landscape.is site-specific project was featured in the first Hong Kong pavilion at the Venice Biennale in 2001. His works have been exhibited in major international museums and institutions including Tate Modern in London, NRW Forum in Dusseldorf, Museu da Imagem e do Som in São Paulo and biennales in Shanghai, Busan and Manchester.” To visit some more of this interesting work, click here
This got me thinking, I need to become more invested in online presence, and professional practise requires more than a blog. I started brainstorming ideas as to what it is exactly I wanted to showcase myself as a media and communications practitioner. Was is simply drone video? Was it something more broad in the technology field? Was it a service? The tutors discussed the means of being not only a decent craftsman, but also a decent human. This resonated with me, as it was refreshing to think people skills and face value was still important in a creative practise.
Brainstorming ideas about possible themes on my professional portfolio
This has prompted me to look into paying for a professional domain and create a platform of showcased work in a collective portfolio. This also works into the first assessment task, and gives me a chance to take control over a domain to give potential future work collaborations a chance to see what my personal and unique creative style is.
Casey Neistat 2015, High school stories | Casey Neistat | TEDxParkerSchool, TEDx Talks, YouTube, Online Video, Published January 29, viewed 11th, 12th 14th, 16th, 20th August 2017, Available via <https://www.youtube.com/watch?v=_ayTA-tJr3A>
“Opportunity and Obligation” (C Neistat, 2015)
The beauty of narrative for me personally, is the many forms it can take that include storytelling in film, experience, nostalgia and trajectory. The versatility in our ability to share narratives creates new meaning to things we take for granted, and I’d like to share an academic video response that looks at one man’s narrative that has defined his professional context, that compliments ideals and themes covered within a tertiary environment. Through a narrative reflection, value of experience is highlighted as a key feature to understand the ecosystem we find ourselves in when speculating the future of work.
“If I were a student…What could I hear that would affect me or what would I want to hear…” (C Neistat, 2015, 0:55)
This follows a discussion I opened up in relevance to Steve Jobs and a speech he gave about his life at a university graduation. It was interesting to hear Casey right at the start of his speech, talk about how he could have showcased his success and perhaps tips on how he feels about certain topics within his profession, but instead chooses to open up about what he thinks he (and ultimately his audience) want to hear. This direct quote stuck with me, and made me reflect on Lumen5, a platform that causes its user and the audience of the film to pay close attention to the details of a section of writing. What words resonate with different people, a really great insight into how we can apply this mode of thinking into motivational speech.
Casey Neistat is a filmmaker, entrepreneur, YouTuber and a father. Like great entrepreneurs before him, he never attended higher education to achieve his dreams or to excel in fields where the training would have served well to an established line of work. He gives a talk with TEDx, Technology, Entertainment and Design, about his own life and how his stride for efficiency allowed him to see opportunity perhaps when he didn’t even realise. Casey Neistat began his career with a hybrid mix of ‘gonzo journalism, guerilla filmmaking and cinema verite. He’s captured these elements working in a professional practise and then applied them to his daily vlogs. Cinema Verite often makes its way into the films or apart of the story, and Neistat takes this further by always showcasing his equipment and his work area giving them their own stigma in the videos he produces. Each of the devices he shoots with have it’s own story, his drones have a certain aesthetic or feeling behind them, to when he films on his iPhone that’s raw and seemingly unedited in the process. He’s allowed himself to develop stories from his past and essence that craftsmanship of narrative into his videos so that as an audience to his career we feel like he’s motivating us to grab any opportunity big or small, equipment professional standard or not.
“Those opportunities where in the moment, I couldn’t have told you they were opportunities” (C Neistat, 2015, 11:40)
This resonates quite heavily with me as a moment of reflection and contemplation. When asked to think of a memory or a narrative of my own, I mentioned that, “give attention to detail of the experience I’m having and will have”. Now, this quote from Casey I love to reconnect with the idea that I’m trying to give a greater focus on the opportunities life is giving me, and that is evident in my story about taking an advanced seminar class, despite having limited confidence when writing academically, subject to the description. He further discusses how the distinct difference between recklessness and fearlessness can promote the positive outcome. Perhaps another resonating feature this theme carries into is the idea of experience-near narrative. His family, his peers, and his Hollywood manager at one point in his highly successful career all disagreed with his decision to throw away years of “comfort” in the filmmaking space for a risk at daily vlogging (video blogging) on YouTube, a platform renowned for viral videos and unprofessionalism in aesthetic, however his momentum with his own local understanding allowed him to excel.
His core value sits very similar to the right way to approach this class and definitely this degree. If more content creatives were to just start with whatever they could get their hands on at the time and post professionally about what they’re passionate about then we’d start seeing the fears of work after study start to disappear. We’d start to build portfolios and this resonates with me, as I love to document new things and try new things and see where the creation leads to. My practise at the moment is that I want to work in a field using drone technology to encourage people to interact with them and push the boundaries of what kind of uses they hold, whether it be creative or assistance to helping people or even artistic.
“When I look back at the trajectory of my career and the larger scale of my life, I see every time there was a pivot point, now, in retrospect…it’s easy to look back and see where the opportunity was…when I scratch the surface a little bit more…in the moment the opportunity was never really clear, and I think that in itself, is what opportunity is” (C Neistat, 2015, 1:23)
Some of the motivation he carries and advice he gives on cracking this field isn’t a guide that everyone should follow, it’s inspiration based on his experience. His core values are simple in that “being fearless rather than reckless” is the most important part, crediting his success in his passion to tell a story. His viral sensations that escalated his career were both shot on devices he could afford at the time, a camcorder and a mobile phone.
TEDx talks usually require a script with a prompter in front of the speaker, this is something Casey doesn’t require in this video, instead talking with real auto-ethnography which allow myself especially to empathise heavily. An idea, that has been discussed in a classroom setting, is the emphasis we make on words and how reflection enables recognition. This story of how Casey Neistat allows himself to be subject to opportunity because he can reflect on steps taken that perhaps haven’t been orthodox, allows me as a media and communication professional to practise listening and applying this to my own past, present and future. Through his unique storytelling, I’m able to attract my own attention into values that I hold in high esteem to myself, and that is staying prepared and taking every opportunity. Casey addresses the notion of absent but implicit when reflecting on how “we have won the lottery on life”, implying that we are simply born into a world without choice, some however are born into a life of misery. He denotes that this isn’t relative, with exception, that he never understood this until he experienced life in a third world country. Living conditions there allowed him to understand his own obligation to grab every possible opportunity, to allow him to draw out every value in these individuals grievance. A showcase in his core values, that he is able to see their complaints and situations, to then take back and reflect, with perspective, how he can leverage his success.
Through my reflection and critical understanding of this resource, I allow myself to introduce others to the same practise and share my stories within a university setting that allows that obligation I accept looking forward. Something interesting Casey leaves us with, is the perspective on life he has due to a decision he made earlier in his career, much similar to an exercise I’ve recently reflected on. It’s an opportunity for a filmmaking project that he initially turned down, due to a lack of interest in the commercial viability. He takes us on therapeutic narrative about how the opportunity went behind him, but to help those less fortunate in life’s unpleasant nature. He could reflect his life so distinctly, and so coherently, that he could now leverage that life experience into helping others. That is the future of narrative in a professional practise, and that’s the future of media work. This TEDx video allows us as leaders of tomorrow, to inspire hope for our own future practise.
Last week I spoke about research, craft and art being a trio of intersecting parameters in which we define our practises in media and technology. One could argue that, based off Terry Eagleton’s book Literary Theory: An Introduction, that theory is more than just a governing body to give reason behind things we do. Some interesting words came about when discussing a solid definition to “theory”:
- Discourse affecting Practise
- Contemplation and Speculation
- A morality behind a curiosity
So what makes theory vary from Research?
- Theory can spark a particular engagement element or a curiosity as mentioned, to perhaps gain an intention.
- I believe these two ideals DO compliment each other in terms of motivation and outlook. Research isn’t sparked on us without wondering the intentions of something.
I want to use my significance of last weeks post to dive deeper into this with my own experiences and try and grasp such a broad topic with the example I’ve had in practise. Suppose my passion for Drones sparked by a love of the skies. Or perhaps it was my interest to reinvent their storytelling narrative by turning them into an all in one robotic device that allows the operator to capture landscape, subjects and if so desired themselves with autonomy function. Actually, it was much more theoretical than that. It was a lecture room and a quadcopter was walked in sitting amongst other technologies that caught my attention and seeing it take off and land indoors with no real direction as to how it can be applied or what its purpose was. More that there’s a camera on the front, and it can fly, next move is yours. Already we have a research path, a craftsman path and a potential for an aesthetic (which was my initial response to how calm it hovered in the air seemingly by itself).
What transpired after getting involved with them, was the motivation and intention that I was going to build one for the intention of a purpose to extend the human potential that would ultimately create a safe environment for practitioners in engineering disciplines, as well as efficiently saving resources in time and money. This is how I intersected theory (my reason behind or rationale) and research (how do I access resources to get hands on in a technological inspired background). I believe that my research approach (whilst not industry professional stereotyped) was effective in that online tutorial and trial and error actually assisted my craft, which was, finding out everything I can about the hardware of robotics.
The Art side of my practise, which is, how was I going to satisfy my aesthetic motivation with these devices. In the years that I’d become interested in drones, so had every other media practitioner wanting to create visual experiences. This is why I get some people think the technology is fast becoming boring and repetitive (to a certain extent I agree, birds eye view of a landscape kinda has to resonate the video’s trajectory or its past its used by date) but I’ve created start to end projects using the lens of the robot in various forms of motion. Not always does the camera have to be hovering in the air to capture unique shots, this personal assistance allows people to Be Their Own Camera Crew.
The idea of futures, I believe relates to how theory can relate to a critical engagement or an inventive narrative that allows concepts to turn into projects through, again, research application. Perhaps we have an obligation, to continue all three aspects so that these technics live on and projected futures don’t become scarce.
These were my notes from recently watching a video of Steve Jobs giving a speech at a graduation ceremony at Stanford in 2005. I started writing down the words that really resonated with me and stuck with me throughout the video and decided to create a short Lumen5 video for this. This platform allows me to reflect with a visual and audio assisted video that I’m able to then reflect myself as to why these particular parts of the speech are so powerful to me.
It is interesting when reflecting on words from others I’ve personally taken note to. I think theres a particular theme to my narrowing completion of higher studies, that the role of curiosity has played in my own personal development. The idea that my own trajectory isn’t going to be defined in a sense, by others saying yes or no, rather why or why not.
A lot of speculation is often applied to these kinds of motivational speeches and success stories, in the way that “perhaps if they didn’t get these opportunities or there fame wasn’t successful, would they still have that same mindset”. These criticisms are speaking to an attitude that if he (Steve Jobs) didn’t make the fortune from Apple and Pixar, he wouldn’t adopt the same mentality. I disagree with that, and instead turn it around and put myself in the drivers seat. Take an empathetic approach to the idea and use the success he has created for himself as motivation for me. If he can do it, why can’t I? This kind of thinking almost serves as personal motivation, and when asked to reel it back and be realistic about the future (suppose not everyone can be as lucky as Steve Jobs, and most entrepreneurial endeavours are impractical) I invite to read my previous blog on Luck.
I love the idea that we can use other success stories, motivational optimism and self direction to manipulate what we like. I have no doubt that if Apple or Pixar didn’t create the phenomena it has today, we would be all texting on our Uphones and using BananaBook Pro/Air’s instead, Steve never looked like giving up.
Neatly typed version of the scribble I noted down for the video.
Dropout – connecting the dots.
“I should be adopted by college graduates”
I have no idea how college was going to figure out my life.
Curiosity and Intuition was my best experience, fascination over helping with life application.
Looking backwards to connect the dots
Visions of the future vary
Love what I did, You have to find out what it is you love.
Can you wake up in the morning and honestly say you’re happy about what you’re going to do today
Stay Hungry, Stay Foolish.