MEDA Week 12

Difficulties within the group are beginning to show, with new ideas being thrown into the mix and getting shut down. The group seems content on clinging onto ideas that are struggling to develop depth and refusing to take particular risks.

We expanded on the facial expressions, working on the aesthetic aspect of the visuals using an iPhone light to express the depth of the facial structures. Understanding that the large space was problematic for the viewers experience, we have walked away from the corridor effect and instead moved towards a singular cloth for projecting the visual onto. Using two projectors and one cloth we have begun to project the conflicting facial expressions onto each side, while having the poetry coming from two speakers below the cloth. This has allowed for a degree of distortion in the concepts. In the previous week I incorporated poetry with natural and artificial sounds, however from feedback this week we focused on the content of the poetry rather than the vibe.
 

 

 

The Reputation System of Online Personas.

The influence of social media on human behaviour is so important to state interests, that corporation Ntrepid was awarded a $2.76 million contract with Central Command in the US. The ‘Operation Earnest Voice’ (OEV) program is developed to those outside the US as an impression of real personas, but in reality are fake social accounts. This is known as state-sponsored sock puppetry, a construct of game theory that impacts reputation systems.

Reputation systems rely on the collection and dissemination of an entity’s reputation to increase the value of X – however such value is the sum of the party’s reputation. However according to Nisan et al. phantom feedback is one of the leading concerns towards reputation systems, in which a party produces feedback for interactions that never occur through the use of sock puppets. Thus transparent reputations reduce adverse selections, allowing for sock puppets to create value in perception. 

Here’s a Remediation on how a user can frame a political issue, and blend it with a meme to impact reputations to favour a particular agenda.

 

MEDA Week 11

The concept of how the brain perceives information regardless of space, with the ear picking up the positive sounds when perceiving the aggressive expressions is still at the core of the project. How reality is ‘real’ until we perceive it to be broken as noted here:

Attempting to manipulate space through creating a tunnel of sound with each visuals at the end allowed for some degree of distortion however it seems that our feedback each week is that our materials don’t speak for themselves as much as we’d like. We are almost attempting to force the materials to say something that defies reality, playing around with the illusion and boundaries between perception of digital and real. We are struggling to develop any form of immersion to the project, as the space that is utilised is too large allowing for attention to wander elsewhere.

MEDA Week 10 – Expanding and Issues

Moving further with the concepts of distortion of space, visuals and sounds we further explored the concept of multisensory interactions through faces and sounds. Building on the concept we addressed aesthetic issues of black cloth to separate the visuals rather than large paper, increased focused on facial representation through lighting. Furthermore instead of sounds, we recorded poetry using Audacity we influenced the pitch and panned the audio to influence the perceptual response by the brain in the noted space.

The group at this point is struggling to develop a direction, attempting to build on components that we previously determined should be disregarded moving forward. I perceive the group to exhibit too much planning, asking questions as to what meaning is there in this, or what are we trying to develop from this rather than meaning stemming from the artistic process. With considerations to the number of individuals, there are obvious issues with group dynamics.

Z

Sound mechanism

 

Consumer trust and property paradigm

Zittrain states that tech consumers are willingly sacrificing freedom over security through purchase of closed-source software such as Apple. While alarming at first, considering the underlying political framework of the US of freedom, there is sufficient argument for proprietary software. According to Spenner, P. Freeman, K. consumer loyalty is built on simplicity, thus the ability for an individual navigate and trust the brand is fundamental. Connecting a Samsung phone to a Mac results in a series of negative touch points (increased expenditure of downloading transfer apps, the requirement of pressing ‘accept’ a multitude of times), rather than the simplicity of linking iOS products (thus closed-source can be positive for developing the stickiness of non-developer consumers).

This is simplicity construct is linked to the intellectual property paradigm in that open source philosophy argues that information should be co-developed, distributed and consumed by all. However if software is a particularly specialised activity, and an idea, than it can be established as an expression of the intellect.

Remediation 

philosoraptor-if-facebook-owns-my-online-identity-does-that-mean-all-users-are-property-of-facebook

MEDA Journal Week 9

Large part of discussion for the MEDA project centred around the concept of whether social media is ‘real.’ With human sensory modalities as a construct of representation by the mind, allowing individuals to understand through perceptual experiences (Lewkowicz, D. J. Ghazanfar, A. A. 2009). Therefore does social media distort reality through framing, or is it an extension of the self. This stems into the theory of the mind-body problem, as whether the realm of the mind transcends into the digital and to whether such interactions are tangible experiences. According to Hart, W. D. (1996) the substance of the mind can exist outside of physical manifestations.

From this led to the discussion to move away from looking at social media and into the distortion of reality and senses. Through filming of two faces expressing two emotions (happy and angry), dividing the projected faces by a sheet and playing conflicting sounds:

Angry Sounds: https://www.youtube.com/watch?v=cR9cczgmPlQ

Happy Sounds: https://www.youtube.com/watch?v=xDqxUKMHLCQ&t=4s

The idea behind the faces is to create confusion for the individual, at first from a distance the viewer perceives a mixture of sounds and two faces. However once the individual moves closer to the art, they experience that the sounds are contrasted to the visuals – creating a distortion in the viewer’s sensory experience, perceiving a happy face with angry sounds.  

References:

Hart, W. D. (1996) A Companion to the Philosophy of the Mind, Wiley, viewed 08.05.17

Lewkowicz, D. J. Ghazanfar, A. A. (2009) The emergence of multisensory systems through perceptual narrowing, Florida Atlantic University, viewed 07.05.17 <http://asifg.mycpanel.princeton.edu/publications/pdfs/Lewkowicz&Ghazanfar2009.pdf>

MEDA Journal Week 8 – Multi Sensory Interaction


Multisensory integration is the process in which sensory input, through the nervous system, informs the individual’s concept of the external environment (Stein et al. 2009). Multisensory interaction will form the core concept of our MEDA project.

Subjects such as Immersion, Distortion and Curiosity have been discussed:

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From previous MEDA research, immersion is subject to a series of sensory interactions through the concept of spatial presence. For individuals to transcend beyond their physical presence and develop a relationship within the digital environment is defined as spatial presence; the occurrence when media produces ‘a sense of being there.’ This arises when an individual’s perception fails to differentiate the role of technology that makes it appear that they are in an artificial environment rather from the actual physical environment. (Wirth et al. 2007).


Wirth demonstrates two steps are required for the experience of spatial presence. With the first step being a mental-model of the mediated circumstances that understands information relative to space and attention allocation all determine the precursor for spatial presence through the Spatial Situation Model (SSM).

  • Media Factors: persistence, realism

 

  • Process Components: the mediated environment meets the user’s needs and interests.
  • User Actions: involvements and beliefs
  • User Factors: motivation

 

Screen Shot 2017-05-25 at 11.37.25 am

Practical concepts include what develops from curiosity such as reward. We explored curiosity and reward through developing a series of interacting senses (projector, mirror, sound and confined space) to research the concept of distortion and social media. Exploring the concept of whether social media is a distorted construct of reality, or rather an extension. However following the installation we determined that it was just an attempt to integrate every form of sensory interaction and hoping for some response.

YTX

 

References:

Stein, B. E. Stanford, T. R. Rowland, B. A. (2009) The Neural Basis of Multisensory Intergration in the Midbrain: Its organisation and maturity, NCBI, viewed 01.05.17 <https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2787841/>

Wirth, W. (2007) A Process Model of the Formation of Spatial Presence Experiences, Media Psychology Volume 9, viewed 01.05.17 <https://www.researchgate.net/publication/233387225_A_Process_Model_of_the_Formation_of_Spatial_Presence_Experiences>