Blog 9 Video Games

Video Games "Depends on the person and type of game"

Video games are not literally bad for you because they can not cause harm to you literally. However a violent video game can be a bad influence on a person. In another case playing too much videos can be a bad health problem or a bad habit. A person can die or get sick from playing too many video games because they will not eat or use the bathroom for several days. Play many video games can be a bad health problem because you have not sleep, eaten, washed yourself or washed your mouth and that can cause you to become sick. There was a case years ago about a kid that died from playing too many video games. I think there were two or more cases of people dying from playing too many video games. According to Ranker.com there are eight cases of people who died from playing too many video games. Some of these people were under the influence of drugs and that might have been some of the cases.

http://www.ranker.com/list/8-people-who-died-playing-video-games/autumn-spragg

Story of a man suddenly dying while playing video games.

It's a common sense thing i do not think violent video games can kill people but i do think it can influence young minds to do super or violent things. I do believe that playing too many video games is not good to do all the time because it stops you from doing other important things, and i had a buddy that always played video game and he said it grove him nut and made him more depress but he kept playing it.

There is more information out there about playing too many video games.

http://en.wikipedia.org/wiki/Video_game_addiction.

COMM333 CHAPTERS 6 & 7: I still want my MTV

Chapter 6: The Persistance of Vision ....... Chapter 7: Realism & Hyperreality

COMM 333

MUSIC VIDEO

Raphael Bropleh

Chapter 6

With the sense of sight the idea communicates the emotion. Whereas with sound, the emotion communicates the idea, which is more direct and therefore more powerful. (Alfred North Whitehead, cited in Price, 1954, p. 188)

The most exciting moment is the moment when I add the sound… [Then] I tremble. (film director Akira Kurosawa, cited in Alten, 1994, p. 4)

“The popularity of music videos has to be located in a larger context in which visual media and images are competing with each other if they are not displacing music and aural images as the site of salvation and transcending in rock culture”

(Grossberg, 1993, p. 186)

In 1988 Ewen argued in various ways that understanding the rhetoric of television and videos is largely a matter of understanding the visual presentation and visual imagery. 

Television in visual terms is related to a wider interpretive framework and relates to a wider culture predilection to favor the sense of sight. A phrase like “I see what you mean” reveals the significance of this visual bias because “seeing” is tied to “knowing.”

When discussing music video and television the term imagery almost always refers to visual imagery. Example, early fears of the effects of music videos on rock music revolved around the notion that image would become more important than the music itself and that visual and narrative interpretations of the songs would diminish the interpretive liberty of the specific listeners. (Straw, 1993)

It is important to keep in memory that imagery may be visual, but the audial, haptic, tactile, and so on. It is also important to remember that rock music has always been about images (Grossberg, 1989), and this was founded on the encompassing historical critique of Heidegger

Critics claim that visual imagery is replacing logic and rationality as the dominant communication mode of popular and political culture. (Collins, 1989)

I, Raphael Bropleh, don’t believe that the visual imagery is replacing logic and rationality as the dominant communicating because this theory is only true depending on the viewer.

Vision has stood in for all the senses since Aristotle who in the introduction to Metaphysics wrote that sight is the keenest of the senses.

The proliferation of visual imagery from movies to street signs has lead many to consider the current echoes as the visual age. The central concern to contemporary media criticism of critics is the communicative force, the prevalence, and the impact of visual imagery. (Collins, 1989)

Heidegger suggested that the shift of from classical to modernism thoughts can be understood as a shift from speech and oral discourse as the logos of communication to logic and written discourse as the logos of communication. Now the discourse has changed from logic and written to electronic and imagery.

Imagery has become bias of our daily decisions and expectations of true and false facts and fiction where the reader can question the relative validity of statements because the grammar is understood. However in music videos there is no relative validity of true and false statements.

According to Meyorwitz and Leonard, claims that news, situation comedies, commercials and so on, generally maintain a strong relation to print models:

-they can be summarized.

-they are generally clear and specific in terms of content

-they stress clarity of meaning

Zettl’s Levels of media messages:

-       light and color

-       two-dimensional spaces(height & width)

-       three-dimensional space(implied depth)

-       time and motion

-       sound

Influence of cognitive and effective mental maps on perception

a.     analysis of genre

b.     accuracy of news

c.      dealing with advertising and internet information

Intellectual and cultural frameworks for media production

a.     content analysis

b.     semiotic analysis

c.      Marxist criticism

d.     Feminist criticism

e.     Psychoanalytic criticism

f.      Sociological analysis

Chapter 7

The second order simulation simplifies the problem by the absorption of the appearance, or by the liquidation of the real, whichever. It establishes in any cases a reality, images echo, appearances: such is certainly work, the machine, the systems of industrial production in its entirety, in that it is radically opposed to the principle of theatrical illusion. No more resemblance or lack of resemblance, or God or human being, but an imminent logic of the logic of the operational principle. (Baudrillard, 1983)

  

“Power, too, for some time now produces nothing but signs of its resemblance. And at the same time, another figure of power comes into play: that of a collective demand for signs of power—a holy union which forms around the disappearance of power. Everybody belongs to it more or less in fear of the collapse of the political. And in the end the game of power comes down to nothing more than the critical obsession with power—an obsession with its death, an obsession with it, survival, the greater the more it disappears. When it has totally disappeared, logically we will be under the total spell of power—a haunting memory already foreshadowed everywhere, manifesting at one and the same time the compulsion to get rid of it (nobody wants it any more, everybody unloads it on others) and the apprehensive pining over its loss... [Baudrillard, Jean. 1983. Simulations. Paul Foss, Paul Patton, and Philip Beitchman, trans. New York: Semiotest]

Music video is not an invention of MTV, it has predecessors in earlier television, film, and video.

The performer of a music video is not just a musician, a dancer, a singer, or an actor, but they are a persona.

Blog 5 Kiersey

I don't believe in the Keirsey behavior test. It can not tell how a person acts based on two selections of answers because some of those answers depends on the situation and the rationality of the person and the important of the question.

Keirsey traced his work back to Hippocrates, Plato and Aristotle. Among his modern influences he counts the works of William James, John Dewey, Ernst Kretschmer, William Sheldon, Jay Haley, Gregory Bateson, Max Wertheimer, Wolfgang Kohler, Raymond Wheeler, Erich Fromm, Alfred Adler, Rudolf Dreikurs, Milton Erickson, and Erving Goffman. He considers himself the last living Gestalt Psychologist.

In 1921, Carl Jung published the book Psychological Types,[1] which proposed a concept of psychological types based on introversion versus extraversion, thinking versus feeling as rational functions, sensation versus intuition as irrational functions, and the coexistence of principal and auxiliary functions. Isabel Briggs Myers and her mother, Katharine Cook Briggs, subsequently extended and codified Jung's ideas into a test for sixteen personality types, called the Myers-Briggs Type Indicator. In a two-page chart of "Characteristics of Types in High School" (Myers Briggs Manual, Form E 1958), Isabel Myers described the sixteen types briefly. Keirsey recognized these very brief sixteen descriptions as being accurate, mirroring his observations as school psychologist, and used these descriptions as a basis in a greatly expanded and modified form of his own. Keirsey's critical innovation was organizing these types into four temperaments and describing observable behavior rather than speculation about unobservable thoughts and feelings. Keirsey provided his own definitions of the sixteen types, and related them to the four temperaments based on his studies of five behavioral sciences: anthropology,biology, ethology, psychology, and sociology. While Myers wrote mostly about the Jungian psychological functions, which are mental processes, Keirsey focused more on how people use words in sending messages and use tools in getting things done, which are observable actions. Keirsey performed an in-depth, systematic analysis and synthesis of aspects of personality for temperament, which included the temperament's unique interests, orientation, values, self-image, and social roles.[2]

While Keirsey's main strength may be his accuracy regarding differences in overt behavior, perhaps his most important contribution is his synthesis of Myers' model of "sixteen types" with Ernst Kretschmer's model of four "temperament types," which Keirsey traces back to Greek mythology.

(http://en.wikipedia.org/wiki/David_Keirsey)

My Results. I don't feel it's accurate. 

>>in pics>>

COMM333 CHAPTER FIVE: STYLES: WHY I STILL WANT MY MTV : KEVIN WILLIAMS

What is style? Well according to Husserl, for each artist style is the system of equivalences that they make for themselves, which manifests the world they see. It is the universal index of coherent deformation by which they concentrates the still scattered meanings of his perception and makes it exit expressly.
(Merleau-Ponty, 1964, pp.54-55; "Why I Still Want My MTV,"pp.91)

Music videos takes videography back to it native state or placement. Music videos are easily recognized because of it's style. Even if the television was muted one could easily recognize a music video because of the certain theatrical choreography that is acted out, and one would see the movement or dancing being displayed that is unlike the display enacted on television shows and movies. The style of a music video is the territory that the music video resides. It is how the video is shot to or with the music and edited to and with the music that gives a music video it's style.

CONCEPTIONS OF STYLE: style has traditionally been conceptualized by historians and just recently been taken up by pop culture through music videos.

-its a categorical tool to put works in a genre

-its an evaluation concept, it can mark quality

-now style can be the latest fashion or trend

MUSIC VIDEO STYLE:

-MTV's style is derived from its strong textual and institutional

-the style of MTV comes from its strong textual institutional ties to advertising.
 -advertising is what runs the music television network.
 -bourgeois consumer capitalism viewings.
-Jhally consider 80s rock video to be the most important development in the realism of pop culture.
 -"music videos are it's own phenomenon"-Kevin Williams
-music videos are interpreted in theoretical languages of feminism, structuralism, marxism, and postmodernist structuralism. In some cases psychoanalytical studies are done on music videos

DIMENSIONS OF MUSIC VIDEOS(VISUAL & MUSICAL)
-tone
-timbre
-harmony
-modulation
-dissonance

The visual things seen in the music videos are interconnected and interrelated with the musical and aural presentation.
 -Slusser said that the aesthetics of a music video is fertile and segmented

Foreshadow of a major thesis in this book:
"When im writing lyrics i use the words like colors. I use words for the sounding of the words, not the actual meaning"(Morse, 1996, p. 124)

Perception never finishes and may be recognized as a mode of communication that constitutes and inaugurates its object.

Musical-visuality is the mutual interpretation of sign and sound. The cultural compositions and significants are revealed in the musical vision of the culture when the material presentation of music videos are seen as patterned lyrical ronal rhythmic presentation of sight and sound.

To the viewers and producers of "meaning" style is the allusive logic of the world."(Merleau-Ponty, 1964, p. 57)

Style is an expression of a relationship among body, technology, and the world. At the moment when a person perceives the world a style is created because embodiment is a style of the world.

EXAMPLES OF STYLE IN HUMAN EFFORTS TO CAPTURE A SENSE OF THE WORLD.
-Cave paintings(Gebser, 1991)
-Confucist expressive art virtues(Dawson, 1932)
-Toaist art expressing perpetual change(Watts, 1975)
-Ancient Egyptian art(Gebser, 1991)
-Myths expresses it self through human storytelling narrating human understanding of phenomenons(works of Joseph Campbell)
-Medieval art(Cross, Lamm, Turk, 1982)
Perspectival paintings of the Renaissance expressing an understanding of three-dimensional space(Berger 1972)
-Works of Duchamp and Picasso expressing four-dimensional awareness
-the synesthetic musical visuality of music videos expressing a cross-sensual intercommunication synesthesia(Williams, 1995)

No one styles as the priviledge to present the world as it is.(Singer, 1993, p. 237)

The illusionism of Dutch still life or Renaissance spatial recession are as near to and far from the real as Dali's melting clocks or Arp's free floating forms. Aesthetic communication is possible because the artist and his world engage in a mutual exchange of significance. (Singer, 1993, p239)

Style appears as a thoroughgoing transformation pf the world, which familiar things of the world acquire the power to gather new significances around them. Style establishes a coherent orientation towards the world it portrays. (Singer, 1993, p. 238)

MTV styles differ from the style of other shows and networks because every program has its own style even political campaigns.

Jacopson's Communication Model

Content -> Referential
Message -> Poetic

The principle of similarity underlies poetry; the metrical parallelism of lines, or the phonic equivalence of rhyming words prompts the question of semantic similarity and contrast.(Hawkes, 1977, p. 82)

Lyrical interpretation is interpretation with music.(Frith, 1981)

Musical pleasure is not significance but the work of signification.(Frith, 1981, p. 164)

The style itself is quite simply a structure of rhythms, melodies, harmonies, instrumentations and so on, with paradigmatic and syntagmatic dimensions that creates a grammar of expectation. (Frith, 1981)

Signs in rock songs are arbitrary and unmotivated. (Fisk & Hartley, 1978)

New songs built on old forms, and rearrangement of old forms, provide each subsequent generation its own connection with rock. (Chaffee, 1985)

THE NEBULOUS AND INEFFABLE DIMENSION OF MUSIC

-turbulence- the initial idea for the album origination 

-running the human race- devising a pattern of straightness and parelles to utilize all possible ingredients as we try to learn about more phenomenons. 

novalis- we are part of a massive system

Turbulence of water:

-wave motion, strange attractors, fractal unfoldings, butterfly effects

Turbulence of sound and music:

-musical time, sound space, timbre and harmonics, resonance, reverbs and echos

"The shape of human life is much more closely mirrored in music than in quiescent two-dimensional surface of a picture." (Kevin Williams, 2003, p. 224)

Treatment for Documentary: Barber Shops

Documentary on American American Barber Shops: How Current Shops Came To Be:

The basic concept of this documentary is to have the audience witness and experience what it is like to run a barber shop.
   -Im going to document the day-to-day routine of running 3-4 barber shops in this area and give some like to what it took for the owners to open those barber shops.
-I want the viewer to see what it is like to be a customer at the barber shop
*I will interview a couple of and ask them what do they feel about the barber shop and the barbers.
*Ask customer:
-do they have a favorite barber
-how many timea month do they come to the barber shop
- howmuch do they think they spend a month/year on haircuts/or hair do's

Shooting:
I want to use freehands and a tripod.
* if i use freehands i can get in places that a tripod can not.
* i will use the tripod when i want to get a steady still hand from a wide distance.
* if i want to get a more personal shot and close up i will use freehands.
Angles
* i will start shooting from outside the barber shop and i will shoot myself standing in front of and giving a little introduction about the barber shop.
* while i am giving an introduction about the barber shops i will also let the viewers know what i will be doing(interviewing) in the barber shop.
Lighting
* i wont be using any prop lights because i want to get the nature lighting in the shops
* i will also use the nature lighting of the sun
* i might use one key light for the subject faces
Editing
* i wont do much editing
* maybe ill do a montage
* i may use simple effects

I will keep it simple its just a 2 minutes documentary

"I Wanna Learn!" Part 1

I would like to learn how to shoot while moving in an automobile on the highway.
-are the cars even moving?
-where would i put the prop car when im shooting, in from of a green screen?
-where can i get a giant green screen from, or could i use lime green construction paper?
I would also like to learn how to use different color lights and filters.
I would like to learn how to make a sample video look like a dramatic or action movie.
I also would like to learn how to move and shoot steadily at the same time without a tripod like camera men do.
I would also like to learn how to structure a video in a short amount a time in the proper way.

Theory of Video Lighting

Raphael Bropleh                                   

COMM333 BLOG4

Three-point lighting is simply the fresh format for lighting that isn’t hard to understand and offers you a fast and well-mannered light setup. The straight forward concept is pretty simple. You have three lights, called the key, the fill, and the rim. The key is the inspired light source in the scene, or main light source. The fill light is the light that corrects and softens the key’s shadow. It basically fills in the shadows. The rim is the light that highlights and separates the subject from the background. This concept can help you in a real life situation. When you are setting up the lighting start with the main subject or subjects and figure out what your central light is coming from. Some times it may be obvious what the source is, because it is shown with the scene or it can be the sun coming from the sky. You might have to make up where the light is coming from. Creating new sources where the light is coming from is a decision for the artist, or producer. All the fill light does is to soften the shadow (fill shadows in) of the Key. You may have to use lights from multiple points to motivate the fill and soften the shadows of the key. Fill lighting can be used out of its traditional settings. Different circumstances calls for different usages of the technique. Observing carefully what light does in real life can help you easily understand and use this theory. The rim lighting is the creative practice of separating the subject from the background. A rim light is not always required. Some times it doesn’t always have a natural look within a shot. Switching back and forth from fill light to key light will probably be needed when you start getting more detailed and creative. In most cases you will end up using the concept/theory in a non-traditional way, breaking the rules and doing what makes your video come out the way you wanted it. I often start with three lights on a given subject then split those lights apart to cover the entire scene. When you think about the number of props and subjects, what’s going on in the scenes, and the lighting style; you will find out that you can never have enough lights.