A2 Version #3

This week I made some more colour correction and framing changes to my image. Adding a border around the piece was suggested in a comment. I wasn’t sure if this was a good idea as I was worried it would interrupt the flow of the image. This was not the case after completion of this layer. Using a border gives a sense of a finish artwork. The framing allows for further direction to the viewer as to the intention location that I intend them to see. This coupled with the DJ’s gaze towards the word “technique”, enhances the theme of first learning the techniques before being creative. The person viewing this piece must follow the same steps that a musical artist would take in perfecting their shows. I settled on adding a blue tint to both the top half image and the word “creativity”. This was to make the piece feel more like one together image instead of layers put together. The blue acts like a symbol for creative thinking, linking the musical score and the image of the performer. While these were not drastic changes again, I still feel like my piece is slowly moving towards its finish product, and the balance of information is still intact.

A1 V3

A2 Version 2

This week I used the comment on my first iteration of A2 to produce a more refined product. Some of the suggestions made from last week were to make the theme more literal, as it was hard to comprehend the ideas that I was communicating. However, I believe that the artwork must be in-between being too obvious, and too ambiguous. A good piece of art keeps the viewer there thinking about what they are seeing. I replicated this in my artwork by having hints of my intent through the text “technique enables creativity”, which in my opinion was close to the point in which too much information was given away. This week I did small and subtle changes in order to keep the original theme of the image while still adding some more hints as to the intent. Some of these changes include a change in colour towards the right side of the musical score, indicating a more creative and imaginative transformation. As well as this, the font of the text was changed to something more interesting as to grab the viewers’ attention when they first view the image. The location of the image at the top of the piece was moved slightly left in order to have the subjects line of site lead to the word “technique”, indicating that there were years of theory being used by this person to create the show.

This week’s changes were subtle, as they intended to keep balance of creativity and fact that is easily seen in this image. I believe that the image finds that balance and gives the correct amount of information to its viewers so they can understand what is been shown without being escorted through the ideas that are being communicated.A1 V2

A2 Version #1

Major: Audio and Sound Design

This image represents the technical and theoretic learning aspects of the audio and sound design course at the completion of the 1st year. I have chosen to focus on the theme of creativity and the work that is required to be able to produce original and effective content. To show this I combined two contrasting images of musical scores, that are seen at the bottom of the image. The first one depicts a traditional musical notated score. This represents the base knowledge that needs to be acquired to start performing musically. The second score deforms as the notes start to vary shape from their original spots. I did this to represent the creative side of music, that is achieved after the basics are learnt. Combining these two images on Pixlr was done using the eraser and selection tools. The image at the top of the screen shows myself performing on stage. This shows the reality of what the audience sees when attending the venue. The contrast between what the audience views and the work that is put into the performance can be seen by contrasting the top and the bottom of the image.

Images used:



A1 V1

Week 6 – Selfies at funerals

The discussion of appropriate digital media usage has been wide spread in the 21st century. As technology evolves to become part of our communication, sharing and work, the opportunity for “incorrect usage” increases. This week’s reading focusing on one incident of misuse, challenges the reader to develop their own opinion on the act of taking selfies at a funeral. The reading addresses both sides to this argument, sharing the views of those who thought this was a millennial stunt that showed no respect for the family of the person who passed away. Contrasting this were those who claimed to understand the friendly and celebratory nature of the photos being taken as they defend those who had choses to share. (Selfies at Funerals, 2015) This included blaming the funeral industry and the way that society has learnt to mourn a loss of life. This reading comments on not only the act of taking selfies at a funeral, but the way the photographic genre of ‘selfies’ has changed the way society sees moments in their life, and the need to share. They use Instagram as a way to measure the demands for each photo, taken through the amount of likes and comments each piece of content receives. (Taylor M. Wickel, 2015) I found this week’s lecture and reading to be highly engaging as an active member of social media. The youthful nature of selfies as well as sharing large portions of one’s life, leads to this report being a commentary on the combination of millennials and technology. The comments on the narcissistic undertone to selfies challenged the way I thought about social media posts, especially posting photos of myself. This reading forced me to think about why I am posting each photo and what kind of reputation would be created by someone who posts regularly.

Meese, J., Gibbs, M., Carter, M., Arnold, M., Nansen, B., & Khon, T. 2015, ‘Selfies at Funerals: Mourning and Presencing on Social Media Platforms’, International Journal of Communication, vol. 9, pp. 1818–1831.

Taylor M. Wickel, 2015, Narcissims and Social Networking Sites: The Act of taking Selfies, Strategic Communications Elon University, viewed 24th August, < http://elon.edu/docs/e-web/academics/communications/research/vol6no1/01WickelEJSpring15.pdf&gt;

Quentin Fottrell, 2016, Instagram users admit they’ve created the most narcissistic social network on the planet, Market Watch, viewed August 24th,< http://www.marketwatch.com/story/beware-of-people-who-always-post-selfies-on-facebook-2015-07-16&gt;

Week 5 – Participation, opportunities and Obstacles

Disability was the focus of this week in digital literacies. Within the first couple paragraphs of the weeks reading, the term disability was defined as something that is not only a medical and physical impairment, but is also a social barrier towards achieving goals. If this were true then a large portion of society would be classified as disabled in some way as everyone faces adversary in their attempts to have a successful life. A definition that I would suggest is to classify a physical ailment as a disability and those who are healthy but have trouble reaching their potential due to social barriers as disadvantaged. This is a more realistic way to create accurate statistics that allow for further development to help these people. The reading also touches on the lack of media that acknowledges the disabled in their discussions and therefore limits the amount of content they create that can be consumed by disabled individuals (eg. sing language in TV shows). However, they do not mention the statistics that come along with these media corporations not including those forms of consumption. As only 357,000 (Disability statistics 2017) people in Australia are blind or have low vision, the funding for shows must be prioritised to create the best possible show for the large majority of Australians who can consume the media in the intended way. Budgets for Australian TV and movies are already smaller than their American counterparts, making it hard to devote funding to creating the content easier for those with disabilities. As the content creator finishes off their show or movie, they wish for it to be seen in the way they created it. Putting a sign language box in the corner of the screen throughout the show can be seen to distract and take away from the experience for some viewers. This reduced the amount of support for the show and therefore reduces the funding they can receive for a follow up season or film. I could suggest for the construction of a free to air TV channel dedicated to distributing popular media with aids for those with disabilities. Government funding and an individual channel allows for shows to be viewed in their intended way for the majority of the population, without excluding minorities.



Picture of two crutches used to aid disabled or injured people

It is important to have multiple and varying views expressed onto society. One of these could be someone who is disabled and is unable to work, forcing them to use a wheelchair. Being able to contrast these different views allows for a better understanding of what could be improved in society to allow for further participation in not only media, but in developing an Australia that is fit for all types of people. This is mentioned in the weeks reading as well as The Canadian Journal of Communications article on the role of media to display disabilities in their content. (CJC 1995)


Marilyn Dahl, 1995, ‘The Role of the Media in Promoting Images of Disability – Disability as Metaphor: The Evil Crip’, Canadian Journal of Communication, Vol 18, No 1

Ellis, K and Goggin, G (2015): “Disability Media Participation: Opportunities, Obstacles and Politics”, Media International Australia, v154n1, pp 178-88.

Australian Network On Disability, 2017, ‘Disability Statistics’, viewed August 17th, <https://www.and.org.au/pages/disability-statistics.html&gt;


Week 4 – Music in Video Games

Week 4 – Music in Video Games

This week’s reading covering the issues of relating music into video games challenged me to think about the media I consume in an artistic way. The challenges of keeping emotion through a musical score in a game where the player has control of the actions that occur restricts the composer to either fitting their music to the actions, or changing the actions to fit the music. Most game designers do not want to restrict the movements of the player in order to accommodate the musical score as this reduces the immersion that the player can achieve. Finding a balance between player control and effective use of music is something that Martin O’Donnell is well known for with the success of his compositions in the halo series. The relationship between the game visuals and music is that off necessity, however the ‘linear story telling’ capabilities of a musical score when compared to visuals is clear. (Abraham, B, 2011)

With the average daily time spent playing video games reaching 88 minutes (Digital Australia Report, 2016), the market for interactive media has become of the of the largest and fastest growing industries in Australia. The need for musical composition to accompany these games has grown alongside the visual media. O’Donnell comments on the random nature of ‘forced marriage’ sound synchronisation as a technique used by the growing number of composers looking to access this media format. The trial and error technique that occasionally supplies the viewer with a synchronised and edited feel to their experience, allows for those who haven’t studied music composition to create a score that will eventually fit a set of visuals or commands inputted by the player. This challenged me to look and listen to my own games to study the effect that the music has the player without them consciously understanding what the artist was trying to achieve. I found that most games that I had were effectively mixing the music in the experience as to maximise emersion without reducing the emotional effect that the composition had on the story.

There were occasion sections of action games in which I found the music to be out of place in the environment, including a major key signature piece of music placed in a large battle section of the game. However overall the craftsman ship of mixing achieved in this media makes sure that no one notices the work that is being done by the composer. This is good for the game, but allows the hard work to be mixed into the background unnoticed.

Click to access 54001_CuddyHalo.pdf

Steven Jones, 2008, ‘Let the games begin, gaming and entertainment amongst college students’, Pew internet & American Life project, Washington D.C <http://www.pewinternet.org/files/old-media/Files/Reports/2003/PIP_College_Gaming_Reporta.pdf.pdf>

Jeffrey E. Brand, Stewart Todhunter, 2016, ‘Digital Australa Report 2016’, Bond University, Gold Coast, <http://www.igea.net/wp-content/uploads/2015/07/Digital-Australia-2016-DA16-Final.pdf>

Midnight Music, 2016, ‘The guide to composing music for video games’, Melbourne, viewed August 11th, <https://midnightmusic.com.au/2016/06/the-guide-to-composing-music-for-video-games/>


Week 2 – Issues, themes and examples

Week 2 – issues, themes and examples

The lecture this week furthered my understanding of what digital literacies means in reference to a modern society that runs on technology. The examples given allowed for a deeper knowledge of what it means to be literate both in everyday speech as well as effective use of online sites. The different approach of learning social media and technology through a lecture and tutorial is challenging at first, as I have spent my childhood learning these devices and services through trial and error. However, the complicated aspect of understanding the necessity of literacy is something that I feel most youth have dismissed. An example of this is the overuse of emoji and abbreviations in formal communication formats. This is researched by Simona Bostina-Bratu (Simona Bostina-Bratu 2015) in a report on how text messaging challenges academic writing as more people become literate in instant messaging communication.

The Hoggart reading “the uses of digital literacy” (Hartley. J 2009) touches on the appropriate times for academic language in a multimedia society. This comes with a challenge as to the types of media that can use more colloquial terms in order to further increase its ability to connect with an audience. I found Hoggart’s views on “the taste of intellectuals” to be too narrow for an accurate study into this topic. Drawing from my own experience, those who I would consider intellectuals can also be the same people that want to come home and consume media that is easy to digest and understand while still giving them new and important information. Their desire for an easy media experience does not take away from their intellectuality. While I would consider Hoggart an intellectual, it comes down to personal preference when deciding on which media to consume. Hoggart does acknowledge that different forms of media are constructed for consumption by various types of people. However, it is his idea of a “candy floss’ world of entertainment media that is curated for those lacking the intelligence to understand academic language that provides the most challenges. His lack of understanding of these entertainment media formats and how people can decide to consume this content without destroying their intellectual literacy leaves a gap for further research to be done.

Hartley, J (2009): “Repurposing Literacy”, in The Uses of Digital Literacy, Queensland University Press, Qld, pp.1-38.

Simona Bostina-Bratu, 2015, ‘Text Messaging vs Academic Writing – A Case Study’, Vol. XXI, No 2, p 545-550