Working Through Technologies

There was a time when dating, handing out your resume and work was simple. Now, the internet is growing and so are the ways in which our social and professional networks communicate. Rather than getting to the office and working among your colleagues from nine to five, firms can now get employees to commit to liquid labour… no office… no worries. Not quite.

“Working increasingly includes (re-) schooling and training, unlearning ‘old’ skills while adapting to changing technologies and management demands, moving from project to project, and navigating one’s career through an at times bewildering sea of loose affiliations, temporary arrangements, and informal networks” (Deuze, M 2006).

I really enjoyed this quote and it adequately displays how work practices are changing and we as workers must change with it; usually demanding more from us rather than less. The rise in liquid labour cuts costs and promises constant involvement from employees which benefits companies, but how much longer and harder will people be able to work in an unstable environment to keep up with it?

References:

 

Social Network Webs

Screen Shot 2017-08-17 at 12.00.15 pm

This week it took a little while for me wrap my head around networks and how they function visually. Basically, I felt like a drugged-up spider failing at my job at creating a web:

Ironically, it kind of resembles network maps. I used this as inspiration for my meme to comically (hahahaha… it’s not that funny, does it still make it a meme?) display how there is one controller of the content in a centralised network, whereas in a distributed network the users are given control.

It’s because of the development of these networks that have created network societies –  Networks appear to be the organising form of life, including social life” (Castells, M 2004). I know it’s not all pretty but how beautifully has the world connected since then, increasing the rate of bringing alike people together and creating opportunities.

References:

Castells, M. (2004) ‘Afterword: why networks matter’. In Network Logic: Who governs in an interconnected world? (pp. 221-224)

 

Patrick Can’t Wrap His Head Around How Far We’ve Come

star

It really hit me how far we’ve come in terms of communication during this week’s lecture. To think of the process it took to send a message in the 1850’s which required operators, Morse code, hand delivery, patience and a lot of money; to now, where we can communicate to anyone, anywhere (within reason), in REAL TIME. What is even more unfathomable is that, “The internet is still at the beginning of its beginning” (Kelly 2017). Even modern innovation is baffling, for example; we are nearly to the point where Quantum Computing is a reality, a computer that is ‘exponentially faster’, can ‘handle complex simulations’ and ‘create uncrackable encryptions’ and will include applications that have not yet been imagined.

I’m excited to see what that will lead us to and what’s to come.

References:

MEDA 302 – W1 (Art, Craft + Research)

The discussion for week 1 MEDA 302 was the difference between ART, CRAFT and RESEARCH. As a whole, these discussions are meant to be useful in us developing our final works, so we can express our own projects with detailed research and practice.

In definition, the Oxford dictionary states that:

ART:

‘1         [mass noun] The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.’

CRAFT:

‘1         [mass noun] An activity involving skill in making things by hand.’

RESEARCH:

‘1         [mass noun] The systematic investigation into and study of materials and sources in order to establish facts and reach new conclusions.’

After going through these definitions, I drew a Venn diagram using the 3 terms to discover what they had in common and what was unique to each.

Venn

My favourite discovery in the Venn discovering was a common factor I placed in all parts which was ‘ESTABLISHING’. I began to think that all Art, Craft and Research must be established in order to be completed, in which case the performer must spend time cultivating using different methods before either of these parts are perfected or satisfied. When analysing this in terms of the future, you could assume that adequate establishing and preparation would lead to a more successful future. The same goes for my final work.

 

MEDA 301 – Final Project Blogs

Week 8 – After exploring Out of Hand exhibition, we continued the theme of Materialising the Digital by forming into groups and recreating a work. Using light, shadows and displacement in the form of multisensory interaction we attempted to recreate Olafur Eliasson’s work ‘Your Uncertain Shadows’. Using a combination of 4 different coloured lights we placed them alongside each other projecting onto a large white canvas. We did have a white light but once we took that away we realised it only limited the colours and the work looked much better without it. The use of light was softer allowing to fade out rather than have the hard cut border which would have occurred if we used a projector.

me              Iz

By stepping in front of the lights you cast multiple coloured shadows onto the canvas, to add even more effect we placed a few more coloured lights on the other side of the canvas as well so that two people could create shadows at the same time from either side. This created an effect where two people that couldn’t see each other (only their coloured shadows), were moving together in the same piece, and creating a beautiful magnitude of colours. Looking into progressing this work we thought about adding more light, including chromatic sensors or even adding sound.

Week 9 – We wanted to continue investigating the projection of colours and the inclusion of sensors as well as include the theme of satire in order to accommodate everyone’s specialties from the group. We began by projecting a large coloured video onto the wall with a human size silhouette of the hulk in the centre of it. The aim was when a person stood in front of the silhouette then the sensor would react and project a contrasting moving black and white geometric pattern onto the person where the silhouette was.

hulk

The problem we found with this piece was projecting onto the person, what the person was wearing had a big influence on how well the projection looked. As well as that, the person standing in the piece couldn’t actually see what was happening only audiences watching the person interact could see the change.

Week 10 – We decided to move into another direction this week, looking into the idea of facial mapping and projecting onto a face, using the work of Nobumichi Asai as inspiration. We realised the difficulty in projecting onto peoples’ faces and began testing by projecting onto a Styrofoam face. Again by using the theme of satire we projected different portraits onto the face (some still and some moving) with an addition of sound that works with it e.g. Johnny Depps’ face and Pirates of the Caribbean theme music accompanying. The audiences’ reaction was that the look of the face being distorted and not fitting into the Styrofoam face was more interesting than the image matching up perfectly.

Week 11 – Again – I think because of the diversity of the group – we moved on to something different this week. Moving into a theme of horror we wanted to create a gore inspired scientific experiment prop to the likes of Frankenstein. We were also inspired by the footage of Russian scientists attempting to reanimate a dead dogs head the footage was the biggest influence for us to incorporate sound to the piece. Using projection, we wanted to place both still and moving images onto glass jars. After experimenting with the projections and sound we came across many difficulties and the work with this design was very unsuccessful with none of our members being satisfied. We decided to go back to scratch… the work we recreated by Olafur Eliasson using shadows. We took another work by Dpt. And Laurent Craste, Dancing Shadow Sculptures as inspiration and tried to create a piece focusing on light and shadows. At this point, our group decided to split with one member focusing on shadows, another on gore and myself and Isabelle going back to jars and projection.

Week 12 – Using the theme of ‘life preservation’ Isabelle and I played with the idea of medical procedures and genetic modification. In two different jars we placed a bone with a screw drilled into it and a chuck of meat with aluminium sewn into it. This was slightly inspired by a 3D printed work at the Out of Hand Exhibition by Anatomics Pty Ltd Melbourne Australia ‘AnatomicsAcrylic Custom Cranial Implant’, where subatances are imbedded onto humans to prolong life.

bone

In another two jars we had carrots, tomato’s and apples and accidently when someone else’s work crossed over with ours some numbers were projected onto it. The vibrant green looked really effective on the red tomato and orange carrot. So disregarding the meat we began to play around with the fruit and projecting genetic codes for fruit and veggies onto them. During these experiments we discovered that water creates a really effective magnified visual of the fruit and also brings a relevant problem of rising water levels to attention.

Week 13 – In the final week, we finally built on the previous week rather than starting from scratch. Bringing in multiple jars filled with a variety of fruit and veg and filling them with differing amounts of water, we placed them at eye level and projected onto them. The aim is to explore the global increase of genetically modified fruit and vegetables, as agricultural conditions change and water levels continue to rise. The information that is projected is from the Australia New Zealand Food Standards Code – Standard 1.5.2 –Food produced using gene technology and a series of genetically modified PLU codes found on stickers placed on fruit and vegetables. Our work can be associated with Vincent Van Gogh’s still life with vegetables and fruit because of the layout of fruit on the table which looks neat and organised. However, to push our theme more and to stray from still life painting to a science project we put fruit in jars and then labelled the jars with the scientific names of the fruit and veggies inside and numbered them by how many tests had been done on them. This way our work would rather relate to the work of Piccinini whose art practice explores how technology, nature and the artificial are changing society.

veg           code

 

 

CADG290 – 3

After breaking down information I began to develop a site map and how all the pages would intertwine in the simplest and most user friendly way possible. I narrowed it down to the three common tasks of any user who is involved with the Caringbah Markets, that is: Stall Hire, Visiting and Location information. All information distributed on the original Caringbah Markets site could be categorised into these 3 navigation buttons.

Screen Shot 2017-05-26 at 11.00.48 AM

I found by minimalizing the navigation bars there was less repetition throughout the site. I removed a contact button because there is no need for contact unless you are hiring a stall in which case contact submissions, postage address and phone numbers will be provided under those headings. Location became its own page due to the complexity of the details regarding how to get there as well as including parking and public transport. While analysing other market websites I’ve found the simpler and minimalistic approaches are definitely the most user friendly for all audiences and in most cases, more visually appealing.

CADG290 – 5

Continuing on with my final prototype, I began to create working buttons, incorporating colour and images and aligning and organizing all the information efficiently. Using the home picture of the Caringbah Markets I used Adobe Kuler to create a colour scheme that would be repeated throughout all the pages. I spent a lot of time aligning margins and a few of the images I used were sourced from Creative Commons. Once I was happy with how the prototype looked and worked, I gathered some volunteers to test and comment on my website.

Still keeping the same goal of aesthetic simplicity and efficient user interface design, I monitored volunteers as they searched through the prototype completing a simple user test I had given them. The first was to find out what time the market opened. All volunteers found this relatively easy however, when compared to the original site most (especially those with poor eye-sight) preferred big eye catching important information on the home page. As a result, I added the opening time and the amount of stalls as well as the next market date on the home page in a large and eye-catching manner to suit these audiences. Second was to find where to park if you were to drive. Everyone found this extremely easily. Finally, they were asked to follow through with booking a market stall without filling out any forms, which was again easily done, however when compared to the original site some volunteers preferred all the forms on the one page which makes me think whether the option to scroll rather than click [next] might have been a better option. After developing the prototype since the wire-frame and taking into consideration the feedback from others this is a sample of how the final pages looked:

Proto 1   Proto 2

Proto 3   Proto 4

I’m happy with the process and the result of my prototype. Due to me restricting the space on each page I learned a lot about spacing and alignment and not including anything that isn’t necessary. However, I feel like by including the option to scroll down on each page allowing me to include more and create a larger spread of information the outcome would have been very different and possibly more effective, that’s something I’d like to work on next time.