Television Programmes like ‘Live’ news and sports events that are broadcasted ‘Live’ on television, evoke a certain excitement and amusement in people. Proof of this lies in the collection of hilarious memes and compilations of news anchor fails, immortalised in the Internet.
‘LIVE’ videos hold a certain authenticity due to it being real time and its similarity to real life. This ‘in the moment’ realness is a phenomenon that is enhanced in social broadcasting.
Reconstructed Identities
This might sound completely paradoxical but the reason why social broadcasting is such an interesting concept is that while there is a sense of authenticity in going ‘Live’, people still have the freedom to explore and reconstruct their identity and behaviour on the internet.
“Do you think you could act normally with this on? ever?”
“No, I don’t think I could.”
~Convo from Here Come the VideoFreex
The camera somehow tends to make people more self-conscious of their behaviour. People can also create their own personas online.
Facebook Live screenshot of my janitor persona
Third Space behaviour and collective narratives
As we have seen from the various artists that we studied, social broadcasting and using the third space is a powerful space to bring people together, the idea of “many to many” and super participation
We wanted to explore the aesthetics and sense of presence in a shared performance environment, where people don’t leave their indigenous environments. That way people from varied creative and cultural backgrounds could help create a new environment in which they could collaborate on an international scale. ~ Kit & Sherrie on their telecollaborative art projects
Two crowds from different ends of America connected by satellite network
Adobe Connect Vs Facebook ‘Live’ Vs Written Collaboration
World’s Longest Collaborative Sentence
Our class’s contribution to “TWFCS”
The simplicity of words and characters in this work encourages super-participation in a surprisingly chaotic and unpredictable way.
The huge difference between broadcast TV and the Web is the keyboard. With that people can say anything; they have full expressive capacity. This means a more intense and personal link could occur between me and the audience. So why not get the whole world together to write a sentence?[1]
Class conducted via Adobe Connect
Adobe Connect was a good platform for an online class. It was a creative outlet for real time collective imagery and students were less self-conscious of their behaviour and actions on this platform much like the work “Hole In Space”. This is because experience was more private and intimate than Facebook Live.
Facebook Live + OBS
inspired by Alice in wonderland, I explore my digital wonderland of my desktopSimultaneous streaming with Facebook live and Instagram Live
CROSS STREAMING
Leaving trails for Dina to find me
Attempting to incorporate written interaction in our work
The final Cross-Streaming experience was the most complex and technical and took a lot of experimenting and exploring. Technical adjustments like latency, areas with internet connection and other details had to be considered. Ultimately there is much potential we have yet to explore for this method.
One comment on “Hyperessay #1: Concepts in Social Broadcasting”
Tiffany, you captured so many interesting ideas in your Hyperessay. I very much like your style of online writing, a kind of stream-of-consciousness journey through concepts, quotes, artworks and observations. Your writing is very compelling and you captured many aspects of social broadcasting that were crucial to our understanding, including the live nature of broadcasting, the many-to-many quality of the social, and how these two ideas meld together into what we refer to as social broadcasting. I felt this was all leading very well to your reference to the cross-stream project, but I would have liked to have seen more of your thoughts on the nature of this project, as it was informed by the ideas you expressed leading up to it. Aside from latencies and the complexities of streaming, do you feel you were able to make possible the social aspect of broadcasting? In terms of the potential of what is yet to be explored, what might this be? Do you have any specific thoughts as to where an expanded use of Facebook Live might lead? I think had you expanded on this you would have had the perfect conclusion to an essay that had many of the key building blocks to describing and assessing our work so far in the area of social broadcasting.
Attempting to incorporate written interaction in our work
The final Cross-Streaming experience was the most complex and technical and took a lot of experimenting and exploring. Technical adjustments like latency, areas with internet connection and other details had to be considered. Ultimately there is much potential we have yet to explore for this method.
Tiffany, you captured so many interesting ideas in your Hyperessay. I very much like your style of online writing, a kind of stream-of-consciousness journey through concepts, quotes, artworks and observations. Your writing is very compelling and you captured many aspects of social broadcasting that were crucial to our understanding, including the live nature of broadcasting, the many-to-many quality of the social, and how these two ideas meld together into what we refer to as social broadcasting. I felt this was all leading very well to your reference to the cross-stream project, but I would have liked to have seen more of your thoughts on the nature of this project, as it was informed by the ideas you expressed leading up to it. Aside from latencies and the complexities of streaming, do you feel you were able to make possible the social aspect of broadcasting? In terms of the potential of what is yet to be explored, what might this be? Do you have any specific thoughts as to where an expanded use of Facebook Live might lead? I think had you expanded on this you would have had the perfect conclusion to an essay that had many of the key building blocks to describing and assessing our work so far in the area of social broadcasting.