Monday, 30 April 2012

Blog, week 9; Do visual media work differently to other media forms?


Blog week 9:



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Visual media and visualisation in general differ to other forms of media in the way that they communicate their messages to the public. Visual media is used to communicate information that other forms of media may not be able to communicate. For instance, in this week’s readings, the topic of climate change has been discussed, in both a positive and a negative light (Anon, 2009). One recurring theme in the readings is of visual media, in particular graphs, that are used to represent otherwise complex data strands that would be listed on a page or written in an essay. Here we can clearly see that the graphs show us valuable information in a visibly simplistic way (Anon, 2009). We are able to gain an understanding of the serious effects (or hoax if you are a skeptic) of climate change over the long history of the globe, to the present day (Anon, 2009). By visually expressing this data, a great deal of archived information is communicated to the public, often in exciting and colourful, yet easier to understand ways (Mosher, 2012). This has effectively opened up communication levels as far more people can become involved in the debate and bring forth their own ideas, all through the power of visual media.


Visual media also differs from other forms of media in terms of construction, in that visual media initially consists of a series of codes of data before being presented in a clear way. Where audio and textual media can be informing and cover a diverse range of topics, it can also be a long process that serves to confuse viewers in comparison to a block of information that is put in front of viewers.








Halls encoding/ decoding Model.

This hard to distinguish and poorly photographed graph is based on Halls encoding/ decoding model, in which there are 3 readings; dominant, negotiated and oppositional, to each text. The first is labelled dominant, the second negotiated and the third oppositional. The vertical axis is the number of people who looked at the text (Hall, 1980).



This is just an example of visual media, which tells us that most people would take the dominant reading from a text. Instead of a lengthy essay or audio commentary, the graph is a simplistic way of showing information, although it does require considerable explaining to properly explore Hall's theory (again I stress it is a rough example!) (Hall, 1980).

Bibliography:

Anon. (2009) ‘The Global Warming Skeptics versus the Scientific Consensus’, Information is Beautiful,
<http://www.wired.com/wiredscience/2012/02/science-visualizations-2011/>Hall, S 1980, “Encoding/decoding”, in S Hall (ed), Culture, Media, Language: Working Papers in Cultural Studies,1972-79, Hutchinson, London in association with the Centre for Contemporary Cultural Studies, University of Birmingham, pp.107-116.

Mosher, David, 2012, Email Author, <http://www.wired.com/wiredscience/2012/02/science-visualizations-2011/>


Sunday, 22 April 2012

Blog, week 8; Information Graphics


Information graphics (IG) are basically a different way of representing information, in an easy and clear way. As opposed to other ways of representing information, such as through essays, books, maps etc; information graphics are a more decisive and (in most cases) efficient way of producing information.

IG’s are being used more and more frequently in the media. It can be seen in a variety of different mediums which it has helped to gain popularity, and is continuously evident in our day to day life. ‘The dashed line in use’ demonstrates the incredible explanatory power of IG’s, as Arnell discusses the seemingly simple use of the dashed line to communicate a number of different types of information ranging from graphs to simple signs to paths (2006).

IG’s are related to archives, in that the development of information graphics and its efficiency is closely linked to our desire to archive, aka archive fever. Whilst archiving is the aggregation and organisation of data, IG goes one step further and involves the distribution process. Like archiving, it is necessary to organise the information that has been presented, however it is also about presenting (distributing) the information in the clearest and most efficient way possible.

Whilst information graphics fundamental role is to explain in the simplest way what cannot be explained in words,


It can also be quite complicated at times:




I think that the sudden increase in information graphics is a reflection and manifestation of people’s fascination and seeming obsession with archives, as both relate to collecting and organising data, and IG's effectively complement archives. Described by Friedberg (2007) as the "entangled forces that contribute to the evolution of technologies of vision", the sheer volume of data that we are subjected to on a daily basis is extraordinary, and information graphics is a way of categorising this data and effectively reading it. It also improves our level of communication on a global scale, as with the case of much information graphics these days, the language of the graphics is global, and although there may need to be some explaining, it is generally easier for a range of cultures and languages to understand one another through IG’s much easier than if they were trying to communicate verbally or textually.

Of course we must be careful not to trivialise IG’s, and use it for important information, lest we end up like this:



Clip:


Bibliography:

Arnell, Timo (2006) ‘the dashed line in use’, <http://www.nearfield.org/2006/09/the-dashed-line-in-use>

Friedberg, Anne (2007) ‘The Virtual Window Interactive’ Vectors, 2(2) <http://www.vectorsjournal.org/index.php?page=7&projectId=79>

Wikipedia, 'Information graphics',  <http://en.wikipedia.org/wiki/Information_graphics>

http://www.youtube.com/watch?v=f_J8QU1m0Ng

Information graphics image search results:
Simple:
http://www.google.com.au/imgres?imgurl=http://coreldesigner.files.wordpress.com/2009/10/info-04.png%3Fw%3D500%26h%3D512&imgrefurl=http://coreldesigner.wordpress.com/2009/10/03/designing-better-information-graphics/&usg=__g7ubyi5Rvm5rCgqFGp5uI0fGF2U=&h=512&w=500&sz=98&hl=en&start=1&zoom=1&tbnid=hXyCK0ZjQ-QD0M:&tbnh=131&tbnw=128&ei=Tu2UT72YHqOpiAe29f2EBA&prev=/search%3Fq%3Dinformation%2Bgraphics%2Bsimple%26hl%3Den%26gbv%3D2%26tbm%3Disch&itbs=1

Complex:
http://www.google.com.au/imgres?q=information+graphics+examples&um=1&hl=en&qscrl=1&nord=1&rlz=1T4SUNC_enGB375GB376&biw=1366&bih=609&tbm=isch&tbnid=mbl1qRFMvP9AoM:&imgrefurl=http://p-adamek0912-dc.blogspot.com/2010_04_01_archive.html&docid=JxNGLZfQ-v8NEM&imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsLKoR7LMKcDIJoAC0KH-_H-WGW95fYEIZn-WqBKK9sGv3Fiw3Yru-EmsNQx_E5JPZkDSTgjhyphenhyphenNSR8hbUHCW7um0pEVou74A9DkCx2qIPQpVUugwnYeoJnrkuyM5S2KInBFi4w9dYZ6Y/s1600/GTF%252B-%252BDDD%252BGallery%252B50%252BProjects.jpg&w=392&h=550&ei=AQ_DT4jgIKaEmQXjhPnMCg&zoom=1&iact=hc&vpx=267&vpy=210&dur=1204&hovh=266&hovw=189&tx=103&ty=204&sig=111442489915568246197&page=3&tbnh=128&tbnw=93&start=47&ndsp=29&ved=1t:429,r:9,s:47,i:192




Monday, 16 April 2012

Blog, week 7; Piracy



Whilst last week’s readings discussed the positive and negative aspects on our attention in the transition into a technological world, this week’s blog topic is equally as controversial, as it discusses piracy within the publishing world, and media world in general. Piracy is an important topic leading into our week of debating because it is not a clear cut, wrong and right issue. Because we are living in a world rich in information and communication, it is extremely hard to monitor internet content, when so many people are accessing online material and producing their own (Madrigal, 2012).



The SOPA (2012) (the ‘Stop Online Piracy Act’) and ACTA (2012) the ‘Anti-Counterfeiting Trade Agreement) dealt with issues regarding the protection of intellectual property (ideas) of content creators, and the online distribution of this intellectual property as well as counterfeit objects. However these legislations have sparked debate over the decline of freedom of speech, a likening to the Chinese firewall, and a host of other copyright legalities that could arise due to the broad nature of SOPA and ACTA (Wikipedia, 2012). By broad language, I mean that the legislations are not specific enough in the copyright laws that they want to uphold, and this could result in punishment for internet users who unintentionally use other people’s work, for well meaning internet based businesses, and other cloudy and lengthy court processes. In this circumstance, the internet is such a massive platform, which would make it extremely hard and time consuming to monitor, and the end result could mean that the “bad guys” who are actually committing the copyright infringements may never be punished, whilst the relatively innocent and unaware users could be (Wikipedia, 2012).

The debate of piracy, censorship and privacy is further complicated when looking at case studies such as wiki leaks and the issue of online piracy, or the various social media sites and the issues of privacy. However whilst we will be covering these cases in class, I’d like to look at the incredibly frequent piracy of online audio and visual content. Whilst pirating music, movies and other types of internet based material has an extremely negative economical impact on the content creators, is it appropriate to treat the act of piracy as a serious crime, in which the users of these streaming sites are as at fault as the creators? I think that it’s such a shame that the music and film industries within America are struggling due to online piracy, but I don’t think that promoting adds that treat piracy as if it were a serious crime (like stealing a car or a handbag etc) are very effective, and I myself have been guilty of downloading ‘free’ songs online. I think that the creators of these streaming sites need to be addressed, however because the internet is such a huge platform, we have shot ourselves in the foot, so to speak, because individual liability is now so hard to monitor.




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