experimental interaction

There are 6 posts tagged experimental interaction (this is page 1 of 1).

Third Space Fallacy, A Statement

As read in the prelude to our final project, Third Space Fallacy, uses social media to broadcast a certain friendship conflict that two girls have, Daphne (me) and Bella. Of which, polls put up on our Instagram stories will decide the next cause of actions. To disguise this project that we were planning for the final project, we decided to create another Instagram account @abracadabrrun that will decide the narrative for Bella’s death.

Inspiration

The inspiration for this piece is our realization as a team how social media can affect our first space decisions and actions. On a more extreme note, the case of the death of Megan Meier because of social media, that further motivated us to create a a friendship drama narrative broadcasted on social media to observe how our followers would react and respond.

Also, we realized how emotionally connected netizens are to their social media accounts. During one meet up with the team, Bella said, “it is as if everyone has a mobile phone, an addition to themselves”. It is true, our mobile phones always need to be within sight, occasionally checking our social media platforms for updates once in a while. Besides, Bella also shared with us during team talk about a comment that Randall Packer left, that spoke to her:-

“Very interesting how you expressed your thoughts on interaction in such personal terms: how we engage emotionally in the third space. This has been one of the key ideas we have discussed this semester, how meaningful interaction can be achieved despite geographical separation. Wasn’t this proved when you elected not to interact in the chat for Annie Abrahams’ performance, and found yourself removed and disconnected. This implies that is direct interaction that creates the quality of engagement in any form of interactive art. Perhaps it would be interesting and helpful to your thesis to applied this to Blast Theory’s work: how the players and performers engage in something dynamic, arresting, and challenging in both physical and virtual spaces. ”

– Comment on Are We in LOVE with the Connectedness? Randall Packer

We decided as a team that apart from achieving our project objectives, we, as a team wanted this piece to be a statement addressing the potential of the Internet.

Execution

The team has agreed to activate Bella and I in the conflict that will be put online. Both of us used our own personal Instagram accounts, @um_brella and @d/aphnepotata. To create a narrative (if people question us about our friendship), we planned to create a fib of Bella and my past. We met in secondary school in a writing competition and had been really close friends since. Then we came to the same university, but problems in our friendship arise.

Our first postings:-

First post by @um_brella

Second post by @um_brella

First post on @d/aphnepotata in response to @um_brella

Indirectly talking about a specific someone is a common sight on social media. When “indirecting” someone, it is often posted up on social media platforms that the person is following you on, and you speak about the situation or the “beef” you have with the other person but not mention or tag them on the post. The objective is for the other person to get the message or the hint through that, without directly telling them. This is what is done between Bella and I on Instagram. The people who follow the both of us by this time have gotten the hint.

Posed by @um_brella, highlighting the fact that @d/aphnepotata did not reply her after many messages.

A post put up by @d/aphnepotata, stating the fact that a certain someone (@um_brella) has been spam calling her, seeking for her attention and she is annoyed.

A poll posted on @um_brella with the conversation between Bella and I up on the Instagram story.

Bella had purposefully not do a clean job in censoring who the sender was, and revealed part of the name “Daphne”.

Apart from using our personal account to post the drama online, we also created another Instagram account, making polls for people to take, forcing them to make uninformed choices through the polls, that will ultimately be the narrative for Bella’s death.

 

@Abeacadabrrun on Instagram.

 

This account is filled with short poems that might suggest a certain quest that is taking place for our team’s “final project”, but instead it is used to decide the ending of our actual project’s narrative.

Polls done on @abracadabrrun that was featured on the trailer deciding the narrative of Bella’s death, of which the truth behind her death was revealed.

Polls done on @abracadabrrun that was featured on the trailer deciding the narrative of Bella’s death – of which she chose to die in a black outfit.

Polls done on @abracadabrrun that was featured on the trailer deciding the narrative of Bella’s death – of which Bella chooses death, to leave the entire situation.

Polls done on @abracadabrrun that was featured on the trailer deciding the narrative of Bella’s death – of which 0000 is the time Bella will take her own life.

Thereafter, Bella posted this on her account @um_brella indirecting it to @d/aphnepotata on the entire situation, hinting that she will take her own life.

Translate: It doesnt matter if I die today or tomorrow as long as you can witness it.

Thereafter, Bella left social media for 18 hours to make her death as real as possible. Not answering any calls or messages.

Because of that, meals had to be sent to her at her dormitory, to avoid her being in the public.

Responses

Throughout the entire process, Bella and I had received many comments, messages. The bolded ones are the responses we received regarding each Instagram stories that we have each posted.

 

Bella  Daphne 
Omg I cannot take this anymore, am i just a push over…. (emo post)

4 Replies

  • Angry 1
  • Curious 2
  • Comfort 1

Should i confront her (vote)

So it’s okie to just make use of ur friend? WTF can I do with her/this toxic friendship?

  • Make it clear 22
  • Just let it go 20

6 Replies

  • Comfort 4
  • Giving positive suggestions 1
  • Curious 1
Sees post

Rants about how sensitive she is

Complains about this friend.

Responses

-wondering who i am talking about x2

-Jokes- “sorry I offended you”

Maybe they just need some ice cream in their life

Confront her on Insta about the blue ticks (emo post)

8 Replies

  • Show Empathy 2
  • Curious 2
  • Angry 2
  • Giving positive suggestions 1
  • Sad 1

Confront her on Insta about the blue ticks and insta story (emo post)

2 Replies

  • Got the name right 1
  • Ask me to move on 1

Am I sensitive?

  • Stop overreacting
  • She should respond
Call out and rant about Girl A for spam calling her many times.

Responses

-A lot of people are very interested to know who it is. The regular “omg who isit” message.

–Some made a joke out of it.: “wow you have a stalker”,

“wow time to get a restraining order”,

“Nani, thats some insane calling”,

“ITS TIME TO REMOVE THAT HEART HAHAH u savage”,

“omg what? Does she follow you? I think she should get the hint already”

–Really concerned: “Aiyo everything ok?”, x2

Would you rather lose a friend or fight with a friend.

  • Yes
  • no
Should I just find her in school? (vote)

  • Thats rude
  • Go ahead
 Wolf wearing a sheep coat

 
screenshot of friends concern

Thank You for your concern, i feel so much better now.
Again freaking clingy sia (spam call log)

Should I block her (vote)

  • Yes
  • No

Bella and I had to be proactive on posting Instagram stories about how troubled both we were about each other. Because of that, many people in ADM have already caught the hint that it was Bella and I who are “fighting ” indirectly on social media.

Some had mentioned and asked us personally about the entire situation and had comforted us about it.

Many actually believed what they had seen online, and bought it. Hence, the performance had to be brought offline as well, in the first space when we were each questioned about the entire situation that we had put up online.

Making of the Trailer

Initially, we had wanted to remake a news station on YouTube inspired by the InCentral.

InCentral is a channel on YouTube that updates its subscribers about dramas happening online between celebrities and happenings that are juicy and interesting.

Behind the scenes of Let’s Talk the Talk

We named the channel Let’s Talk the Talk and filmed a whole news about the happening between Bella and I.

The script used for Let’s Talk the Talk – SCRIPT-Lets Talk the Talk

Influence of The Blast Theory

Blast Theory is a pioneering artist group creating interactive art to explore social and political questions, placing audience members at the centre of our work. -Blast Theory

We were inspired by the Blast Theory’s quote “explore social and political question”, of which we touched on how news received on social media are treated seriously by many netizens. Even for Bella’s death, she cannot literally die in the first space, but she sure can die in the third space. By going inactive and unresponsive, her death on the third space can be staged, allowing people to really believe it.

Also, touching on death is a controversial topic, yet it is very real that we can fake a death on the third space, similar to what my team did for Bella. This then helped us explore fake news that very much came as a package with the rise of social media.

Initially we had wanted to put up a death note by the parents of Bella to inform her followers about her death, but scraped it and replaced it with a scene in the trailer of her cutting herself. This approach has brought out a much poetic way of expressing her death, which we thought was a better way of addressing death, a sensitive topic.

Scene of Bella cutting herself in the trailer.

Fake news is fabricated or false news. Because of the speed that social media can deliver to its users, fake news on social media can be found.

The claim and counter claim that spread out around ‘fake news’ like an amorphous cloud of meta-fakery, as reams of additional ‘information’ — some of it equally polarizing but a lot of it more subtle in its attempts to mislead (e.g. the publicly unseen ‘on background’ info routinely sent to reporters to try to invisible shape coverage in a tech firm’s favor) — are applied in equal and opposite directions in the interests of obfuscation; using speech and/or misinformation as a form of censorship to fog the lens of public opinion. -Natasha Lomus

Our project touched on the issues and flaws of social media, riding on its speed to spread fake news and touched on the idea of a staged death on the third space.

This process is collaborative, between Bella and I with our followers on our accounts. They are able to interact directly with us through direct messages to comfort us, provide suggestions, take our polls, on the third space. This entire narrative is then brought to the first space when people around us ask us in real life about the entire situation.

Third Space Fallacy, as its name suggests rode on the emotional attachment people have to social media to create an entire narrative of friendship problems and the resulting death on this platform. It is as its name suggests, a mistaken belief happening on social media. Our aim, discussed, was for viewers who knew Bella and I to at least partially believe the entire narrative.

Upon finalizing the project when our trailer was being played in class, many were shocked yet they saw the entire narrative coming into place on social media. Even so, most were in between believing and not believing it.

In a nutshell

It was quite an experience when the entire performance was brought to to the first space in the span of one week. We had realized the power of social media. Both Bella and I ended it by posting a note to our followers online.

Both Bella and I had “emotionally cheated” on our followers as many bought our act and were concerned for the both of us in that one week, the tough thing was to ride on the entire narrative when they approach us checking up on us in the first space.

But we had some encouraging message about the entire performance put online!

As a team, we hope that we had highlighted the power of social media and the amount of time and emotions we had invested in it. As technology advances, our human interaction also advance with it, bringing it online. We hope as a collective, that we had brought a statement to all our viewers and audiences.

References

Blast Theory

Fake News is an Existential Crisis for Social Media

Third Space Fallacy, an Introduction

[About]

A Third Space Fallacy is an experimental interaction performance on third and first space that combines the responses collated on the third space through Instagram polls and stories to curate the next move in a friendship conflict between two girls (Bella and Daphne). To make the entire performance as real as possible, both girls had to put up an act in the span of 1 week in the first space, when questions arises from the people around them. Also, to stage that this is not part of our project for Experimental Interaction, our group have created another Instagram account @abracadabrrun, collating uninformed decisions made by our followers, which is part of the narrative of the death of Bella.

Communication Through Social Broadcasting, A Preface

Computers, Changing the Way Art is Viewed

… if the first computer was the abacus, the ultimate computer will be the sublime aesthetic device: a parapsychological instrument for the direct projection of thoughts and emotions. -Gene Youngblood

Yes, it is obvious that in today’s world, technology and the “screens” have taken over the world instead of the evil ones… or is the former the evil ones?

A group of us got the privilege to attend the international Art of the Network Practice Online symposium over the course of 3 days, of which I had attended day 1: Keynote by Maria X and internet performance by Annie Abraham, who we got to work with for a previous internet performance with her in class, and day 3: Internet performance by Jon Cates and his collaborators.

But the chisel, brush, and canvas are passive media whereas the computer is an active participant in the creative process -Gene Youngblood

While the traditional mediums are submissive to the creation of work, the computer remains on par with the creators of art. Though there was a fixed linear way of the interaction of art in the past (and still occurring), whereby the audience only gets to interact with it after it is done up in the studio, this audience interaction with the art piece and the creation of art can now occur concurrently. That being said, the computer remains the one that will perform under instructions and rules, codes and hypertext markup language. Annie Abrahams’ Online En-semble -Entanglement Training shows how a performance can be put up on the Third Space, and how audience interaction and the creation of art can now occur concurrently.

Annie Abrahams’ Online En-semble – Entanglement Training

In Annie Abrahams’ Online En-semble – Entanglement Training, entanglement is accepted, embraced and celebrated. A performance that needs the collaboration and the compromise of the collaborators, this performance shows clearly how it cannot be done without DIWO and the Third Space, concepts that are greatly emphasized. As the subject matter of the online performance, latency, something that is hard to take control of, takes over instead of being suppressed. Latency being understood as “the wait time introduced by the signal travelling the geographical distance as well as over the various pieces of communications equipment.”

The collaborators took turns to report their latency and saying “excellent”.

Her collaborators come from different countries who possess different cultural backgrounds, where they are connected on the Third Space through Adobe Connect itself on Thursday night, 29 April 2017. In the online performance, latency was observed. The collaborators had to accept the disruption, act upon it and make do with the imperfection. The protocol was to have the collaborators take turns to report their latency in their connection. Also, her protocols were simple for the performance, that allowed for the free-play and the authenticity of her collaborators.

The collaborators were in-sync as they showed their hands on their webcams.

What the mass then realize was that it was tough for them to be in the Third Space all at the same time, despite seemingly being connected to one another through the visuals. They embraced the glitches, the lag-time, creating a new paradigm dismissing the events where disruptions and wait are detested. Just like the Japanese philosophy of Wabi-sabi, Online En-semble: Entanglement Training captured the beauty of disorientations, turn it a hundred and eighty degrees, creating a mesmerizing choreographed internet piece. Although there was a point in the symposium that Annie Abrahams microphone was not working the way she wanted it to, I thought it gave a perfect touch to the piece, aptly applying to the very objective of Online En-semble: Entanglement Training, the ultimate test of the entanglement training itself. Rather than considering it as a katakana, it was taken in as part of the piece. Annie Abrahams successfully took the minor keys of the internet and composed an internet piece with a perfect harmony, a harmony of disorientations.

It is internet performers like Annie Abrahams who revolutionize the way art is – how art is portrayed across to its audiences and how art is perceived by its audience. Moving drastically from brick and mortar museums and art studios, art can also be observed just at the comfort of our homes, performed on the Third Space for its netizens.

Jon Cates’ IGAIES – How the Boundaries of Communication is Pushed

Jon Cates’ IGAIES (intimate glitches among internet errors) then further touches on how Internet Art can communicate through a performance our very society that touches our senses that challenges, pushes the boundaries of a performance art.

It first started out with a few performers showed on screen with filters over their faces, with their faces still visible to the online audiences.

XXXtraPrincess with filters on their faces.

I thought this has very successfully bring across the notion of our digital identities, our online personas, illustrated with the different filters. We can be who we want to be online. At the beginning of the performance, classical music was played at the background, as if signalling the very start of the performance and how we used the internet when it first start to bloom, creating the global village, a notion brought forth by McLuhan.

As the performance progresses, the imageries became more mysterious and left the online audiences wanting to know more. This is especially so when the online audiences can see a jar of leeches on the table, yet not know what is going to happen.

Leeches seen on the table

This is an example of a part where the online audiences are left more unsure than the physical audiences at Chicago itself.

Leeches seen on Roberto Sifuentes

What really shocked us was when the leeches are placed on Roberto Sifuentes, a near-death experience.

Leeches can be seen as good and bad. Good in the way that it can cleanse the body by sucking out the toxic in the blood and bad in the way that it gains out of the the body it hangs onto. Perhaps, it is both. The same way how the internet has impacted the world. How it sucks the living out of us, that we live for the “gram”, or “do it for the gram” which shows how netizens are living for the things they put on their social media. And on the other hand, the saving grace, or the realization of our overdosage of it. “Everyone dies cause of technology”, perhaps its a question of when.

It is fascinating how IGAIES brought to light the dark side of media. Of which, the venue of the performance, Chicago, had a huge role to play, “the birthplace of dirty dark media”. Dark Media, a term coined by Eugene Thacker describes a side of media that “have, as their aim, the mediation of that which is unavailable or inaccessible to the senses, and thus that which we are normally “in the dark” about”. Breaking its boundaries of what is deemed as acceptable and what is not, triggering the human sensory, our sight and hearing. It is of no doubt how art has continued to bring to light the situation of the society.

Communication, Taking an Unconventional Route

Another remarkable way that communication has moved away from its conventional method is a piece called Me and My Shadow highlighted by MariaX.

Me and My Shadow

The idea of shadow communication stood out to me. Instead of merely using words and/or the webcam to speak as a form of communication, body language is in the limelight for this installation by Joseph Hyde.

The life-size projection used the shadows of the participants to communicate and bring people together namely in London, Paris, Istanbul and Brussels. People were able to communicate in real time by their shadows. These people although located in different geographical locations, they are brought together in a virtual space, the Third Space.

Immersive and shows how technology can push the boundaries of communication is indeed the highlight of this piece. And how the other parties view you on the other hand voice down to how do you perceive yourself and how do you plan to portray yourself through the shadows. An interesting approach in communicating, letting go of the words and languages, but solely by our bodies.

Evolution of Media, Traditional to New Media

Moving away from traditional media, new media has changed interaction from a main source to its audiences to a peer-to-peer interaction system where audiences gets a say in affecting the transmission of information rather than a more top-down approach. The chat system throughout the symposium itself is an apt example of how the audiences get to interact with one another without directly interfering with the Internet performance itself. This further proves McLuhan’s idea where “the medium is the message”. The way the performance impacts its audiences is dependent on the medium in which it is used to convey the performance to its audiences. Take day 3 Jon Cates’ IGAIES for example. There were two types of audiences. One the physical audiences who got to view the the performance in real life and the online audiences who viewed IGAIES through Adobe Connect.

The chat box where online audiences get to interact with one another, discussing about the symposium without interrupting the speaker.

“When wireless is perfectly applied the whole earth will be converted into a huge brain, which in fact it is, all things being particles of a real and rhythmic whole. We shall be able to communicate with one another instantly, irrespective of distance. Not only this, but through television and telephony we shall see and hear one another as perfectly as though we were face to face, despite intervening distances of thousands of miles; and the instruments through which we shall be able to do his will be amazingly simple compared with our present telephone. A man will be able to carry one in his vest pocket.” – Nicolas Tesla

Migrating as a village from physical to the virtual world, this village has accepted more people, more diversity than the old one – the global village. As we advance as a community, I wonder how Internet Art will continue to evolve in the future. This is merely a preface, my fellow netizens.

Additional Readings and References

Latency

Expanded Cinema

Marshall McLuhan Predicts The Global Village

Online En-semble: Entanglement Training, Annie Abrahams

The Third Space Network: Art of the Networked Practice – Program

Urban Dictionary – Do it For the Gram

Me and My Shadow – Joseph Hyde

The Language of New Media

The Third Space, a technological illusion of real life//Telematic Dreaming

The Third Space, a concept common people might find it hard to digest, but in fact, it has become an integral part of our everyday life in the technologically advanced 21st century. But has it messed up our minds? A technological illusion of real life?

The Third Space as defined by Randall Packer in his article on The Third Space is a space that “represents the fusion of physical (first space) and the remote (second space) into a third space that can be inhabited by remote users simultaneously or asynchronously”.

The Third Space, a virtual yet real realm we often come in and out of has no doubt become part of our everyday life. From a simple phone call to a short text message, the Third Space is activated in almost all parts of our lives. What is almost as startling is the fact that the distinct difference between the real and virtual world is almost blur and grey. The virtual world is part of our real world.

In this particular piece called Telematic dreaming by Paul Sermon, it explores deeper into the idea of the Third Space, stretching the potential experience we can gain from it. Telematic Dreaming is a live telematic video installation that uses a 2MB ISDN telephone line to link two locations. The bed has projected screen that enhances the entire telepresence.

The choice of site for Telematic Dreaming is intriguing for me. The bed is an intimate, private place, yet it is used for the interactive video installation. It is an interesting choice, to take advantage of the nature of the setting, a place to let your guard down to enhance the experience of the video installation. It brings the audience experiencing the entire experience closer and more intimate with the artist, even without physical contact.

This piece eliminates the subconscious existence of the Third Space bringing in reality into the virtual world. The addition to what technology can provide is the perceived haptic engagement. Telematic Dreaming incorporated the illusion of the sense of touch, a step closer to bringing the virtual world into the real world. I quote from the synopsis of Telematic Dreaming

“When the user reaches out with their hand they interact, not in the local space, but in the distant one, and when they cause an effect to another physical body in the distant location it is evidence that is where their consciousness resides.”

In this case, the consciousness of the user is in the Third Space where the projected screen on the bed enables the sight of the happenings of the other person in another location. The combined engagement of the two person concludes that their consciousness are located in the Third Space, a virtual world, in real time. Our fascinating and dare I say almost foolish brain connected everything seen on the projected screen to be perceived as real, as in in real life. Yet, the Third Space is the fundamental of human engagement these days with the ease of technology and the luxury of mobile phone devices. The Third Space, a virtual place we come in and out of, a place we interact with our loved ones, a place we communicate when all else fails.

Additional Input

A piece I thought is worth mentioning is an episode on Black Mirror called Be Right Back, that uses artificial intelligence to communicate to the deceased using information of them online to imitate their style of communication.

Below is a trailer of Be Right Back:-

This shows the potential of the Third Space interaction and how much it can impact us physically, emotionally and mentally. The episode goes about showing how Martha, the widow, goes about her life trying to accept the fact that her husband is dead by constantly communicating with “him” through phone calls and text messages. What stretches the limit was the possibility of a silicon made “human” of her husband to replace his physical being.

The virtual world has become such an important part of our life. It aids human communication and interaction. Technology has eased our form of communication, could it also mess up our minds?

Additional Readings

Telematic Dreaming – Synopsis

Defining Virtual Reality: Dimensions Determining Telepresence

Telematic Dreaming, University of Brighton

Open Source promotes DIWO (Do It With Others)

Summary of the readings

Open Source is a platform where the community can access to shared information, utilizing the human capital to a greater extent. Stemming from the hacker culture, Open Source, liberated the otherwise restricting and inflexible means of creative production, promoting DIWO (Do It With Others).

Open Source allow for virtual sharing of content using the World Wide Web on cyberspace. This has largely shrunk the “distance” between artists and viewers of art. Responding against proprietary models, Open Source, has made creative productions a common good, available to the mass without monetary profits. In the case of Open Source softwares like Linux, the accessibility to the source code can allow for alterations by innovative programmers to execute a modified programme. As such, the concept of Open Source has turned the World Wide Web into a platform for synergistic interactions of the mass, updating or enhancing current information.

Before the liberty for synergistic interactions, restrictions were imposed, putting a price tag to the accessibility to datas. That led to a rise of hackers. Richard Stallman, a researcher of MIT AI Lab and the father of the idea of Open Source, pushed for the idealization of the concept. As a hacker, he provided free UNIX (operating system) under the GNU project as he thought the proprietary model was discouraged openness and the exchange of ideas. Linux and GNU are some prominent examples of liberal softwares with Open Source development in the 90s. A basic license called the General Public License (GPL) was implemented, allowing for modification and distribution of softwares. Owing to Stallman’s leadership in the Open Source field, the Open Source culture still continues today, benefitting billions.

A more detailed and concise history of Open Source can be found in the infographic below:-

taken from: http://www.mdgadvertising.com/blog/the-history-of-open-source-software-infographic/

The decline of traditional proprietary practices has allowed for a more collaborative art scene, highlighting Yochai Benkler’s idea of “peer production”. In fact, the essence of Open Source requires for collaboration and inputs from the masses, otherwise the concept is considered futile. The Open Source culture make ideas and information as readily accessible as possible, leading to more gain than loss to the community. Traditional proprietary practices is a more isolated and individualized way of creative production, more contained within an atelier. Per contra, Open Source creates a mean for sharing and collaborating without a gatekeeper. Aforementioned in the first paragraph, Open Source creates virtual interactions for inputs. This creates a constantly advancing and conclusive community of sharers, creators, learners and teachers, promoting DIWO.

To end off, below is a video about the origin of Open Source and interesting facts about it:-

What is Open Source? // your phone probably runs it! (WITH LEGO) by Danielle Thé

Additional Inputs

Technological advancement plays a key role in allowing Open Source to strive. It is with the access to computers and the World Wide Web, does it allow the mass to contribute and receive inputs. Technological advancement globalized the world, shrinking “space” and “time”. Please Change Beliefs by Jenny Holzer discussed in class is an apt example. With the “third space” available, people from different countries are able to gain access to the site, crippling the physical distance. Also, since it is available 24 hours, assuming to infinite time, the site technically compiles inputs from the people of the past, present and the future. Essentially breaking the barriers of actual space and time, Open Source is a marvellous tool that continues to exponentially advance us as a community with DIWO.

In fact, in ADM itself this practice is prevalent, with our very own Open Source Studio (OSS). The community based sharing and collaborative site allows for the display of creative productions online (yet not restricting the nature of the art work, tradition or digital mediums).

taken from: https://oss.adm.ntu.edu.sg/

Peer-to-peer interactions can be seen with the comment section open for insightful feedbacks or comments. Ergo, such platforms continues to inspire the newer generation of creators.

Additional Readings

Collaboration with Lean Media: How Open-Source Software Succeeds

Open Source Software and the “Private Collective” Innovation Model: Issues for Organization Science

 

 

Micro-Project 1: Experiment in Social Broadcasting

hello from experimental interaction class! C:

Posted by Daphne Tan on Thursday, 18 January 2018

;Conclusions

Doing the Broadcasting

Going live on Facebook is not necessarily the first thing I expect out of the first lesson of Experimental Interaction. Nonetheless, it was spontaneous. I did my live broadcasting in a vlog (video blogging) style. The content was the one I was worried about, what am I going to say? What am I going to video? Will it be interesting for the audience? I went ahead talked about what was going on at the moment, for example the barbecue that was going to take place.

Seeing it on the Broadcast wall

Seeing all our videos on the broadcast wall after we were all done with the live broadcasting was a whole different experience. Prof Randall talked about The Third Space, a space (virtual) that converges two different spaces into one, which is something that did not occur to me, yet clicked so well after hearing it. The Third Space is so relevant in today’s globalised world that keeps us connected, despite the distance.

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View our Broadcast Wall!