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Critical Analysis

Stäbler, S., & Mierisch, K. K. (2021). 'The Street Music Business: Consumer Responses to Buskers Performing on the Street and on Online Video Platforms', Marketing Letter, 33(2), p325. Available at: https://link-springer-com.ezproxy.herts.ac.uk/content/pdf/10.1007/s11002-021-09566-8.pdf (Accessed: 18 October 2024). The article "The Street Music Business: Consumer Responses to Buskers Performing on the Street and on Online Video Platforms" by Samuel Stäbler and Kim Katharina Mierisch looks at how people react differently to street musicians on whether they see them in live or online. This analysis focuses on two consecutive pages 336-337 where the authors talk about how donations differ on the street and online. Samuel Stäbler is an expert in marketing, especially in how consumers behave in different situations. His work focus mainly on media bias and brand management, investigates on how company activities impact brand perception and their finance. Furthermore, Samuel teaches marketing specific courses at Master degree. He has won the 2017 juinor lecture award of University of Cologne for his excellent teaching skills and knowledge.

Kim Katharina Mierisch specializes in behavioral studies, which adds a deeper understanding to the work about buskers performing live and online. Together with Samuel, they tackle the interesting topic on how traditional street performances are evolving in today’s digital world.

I have selected these two pages, because it is interesting to find out the relationship between live performance and online performance, also knowing the fators that affect both live and online performing can benefit people who wants to work as a buskers or independent entrepreneurial artist. The text focus on the conclusion of what makes performances feel authentic and how that affects people choose to support buskers by donating or seeing them through online. Includes the fators such as music quality, gender, and audience size, while also testing whether street performance success can predict online popularity.

The authors show that certain factors significantly influence donations in street settings. For instance, the genre of music matters, classical music receives higher donations compared to rock music(β = -2.814, p < 0.10). The location of the performance is also important too, if musicians standing in squares, they can be receiving more donations than those performing against walls or in the middle of streets (β = -2.28, p < 0.01; β = -2.480, p < 0.01). Additionally, demographic factors such as age can affect donations, with individuals aged 30–65 are being more likely to donate compared to younger consumers (β = -0.316, p < 0.01). Lastly, the background noise on the street performance has negatively association with donations (β = -1.447, p < 0.05).

One big point the authors make is that although the fators of being successful as a street performer is not always the same as performer online. For example, while high quality music attracts audiences in both online and offline, other factors like gender and crowd size affect street performances more than online ones. However, results show that offline responses do predict consumers’ willingness of watching buskers’ videos online (β = 0.033, p < 0.01). It means that attractive live performances are positively correlated with performance videos posted online. Online videos of excellent live performances can attract online audiences more. Furthermore, music quality remains a critical success factor in both contexts, while younger consumers are more likely to watch videos online, contrasting with older viewer dominating and welling to donate in street settings.

Following in the chapter, although the authors did not draw many conclusions about art theory and only compiled the experimental information collected. We can still see the authors use a combination of field observations and an experiment, ensuring a complete analysis of both offline and online settings. The authors provide a large and diverse data set by including 80,471 consumers and 72 musicians in their field study and conducting 1,000 video observations in their experiment. The statistics number strengthens the reliability of their findings. The authors address an important question about how traditional art forms transition into the digital era by linking street performance success with online engagement. Their identification of consistent factors, such as music quality, across both settings is particularly insightful.

The authors show that female and child performers are likely to receive more donations on the street, might due to social norms or emotional appeal. But online, where audiences are broader and influenced by algorithms, these factors matter less. Another important point is about sound quality. On the street, the atmosphere and real time interaction make the experience engaging. But online, viewers care more about clear, professional sound, which affects their willingness to watch or support a video.

Throughout the two pages I chose to analyse, the study primarily focuses on Western contexts, which may limit the applicability of the findings to other regions where cultural norms around music and public performances differ. For example, factors like age or music genre preferences might vary significantly in Asian or other non-western settings. Also, while the study highlights that classical music receives higher donations, it does not explore why this might be the case. If they further discover and discuss insights into audience perceptions of different genres, it could have strengthened their argument. Moreover, in some terms such as “music quality,” remain vague in the paragraph and could benefit in further clarification. For example, is quality defined as technical skill, emotional resonance, or another factor?

To conclude, in these two pages, Stäbler and Mierisch effectively explain how audience responses to street musicians, and how this plays out differently in live and online settings. Their use of data and examples makes their arguments convincing, and offer practical insights for musicians and marketers. Although they could improve by addressing cultural or digital challenges more thoroughly.

Overall, their analysis offers valuable insights into how street musicians can adapt to digital platforms while staying true to their roots. This discussion is not just about busking, it is also about how traditional art forms can evolve in the digital age while keeping their human touch, which can contribute a lot to the upcoming generation.

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Academic Blog 10: VR, AR and MR Technologies - Unreal City

As an aspiring digital artist, I am deeply intrigued by the fusion of technology and art. “Unreal City” this work uses augmented reality technology to present digital sculptures on the banks of the Thames in London and caught my attention. Visitors can experience the art world that combines virtuality and reality through a mobile app in the heart of London. Unreal City includes digital art work from the digital designers all around the world. Visitors can easily download free Acute Art app to interact with the artifacts. This kind of interacting art is what I wish to create in the future to make the art work engaging.

Figure 1. Olafur Eliasson, Caring Northern Light and Lucky Stone. Augmented reality.

McLuhan and Fiore (1967) believe that media are extensions of human senses, and different media can redefine our sensory experience. For example, the phone can be used as an extension of hearing, and the car can be used as an extension of footsteps.

AR technology is also a manifestation of this extension. It expands the audience's perception of space and art by integrating virtual objects with reality. In "Unreal City", artists used AR technology to integrate digital sculptures and images into the Thames River landscape, creating a new "hybrid space." This combination allows viewers to perceive real and virtual elements simultaneously, experiencing a sensory extension beyond reality. Visitors can see digital sculptures floating above the river on their mobile phone screens, and these sculptures only exist on a digital level. This aligns with McLuhan and Fiore (1967)'s point about how media can reconfigure human senses, showing the potential of technology in redefining reality.

Furthermore, Baudrillard (1983) points out in his theory of "hyperreality" that virtual images may be more attractive than real ones, and even replace reality itself. For example, video games can make players feel like they are in the game, and break through the impossibility of reality so that players can experience a surreal experience.

In "Unreal City", digital sculptures not only supplement the real world, but also become a more attractive existence than reality. For example, the virtual sculptures in the work are presented with high-gloss detail and animation effects that cannot be achieved in reality. When visitors experience these digital sculptures, they may be more focused and immersed than when facing traditional sculptures.

Figure 2. Tomás Saraceno, Maratus volans (peacock spider), Prototype for Web of Life. Augmented reality

In Tomás Saraceno's Maratus volans (Figure 2.), AR technology highly exaggerates the details of the peacock spider, such as its unique vibrant colors and dance behavior, allowing viewers to appreciate the creature’s beauty they never had before. This virtual representation not only simulates the appearance and behavior of the spider, but also magnifies the details that are difficult to detect in nature, making the simulation itself more attractive than reality. This “more realistic reality” exhibits what Baudrillard (1983) describes as the fourth stage of imagery, which is a simulation completely detached from any real connection.

Exploring Unreal City has inspired me to think about how AR and other immersive technologies can revolutionize artistic expression. I think these high-tech technologies like AR and VR, will take art into a higher level and be more active in life in the future. They will not only increase the value of art, but also make our daily life more interesting.

Bibliography

Baudrillard, J. (1983). Simulations. New York: Semiotext(e).

McLuhan, M., & Fiore, Q. (1967). The Medium is the Massage: An Inventory of Effects. New York: Bantam Books.

Wallpaper (2020) Acute Art is bringing its ‘Unreal City’ AR exhibition into your home. Available at: https://www.wallpaper.com/art/unreal-city-london-outdoor-exhibition-acute-art-app (Accessed: 18 December 2024).

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Academic Blog 9: Emotions - Pulse Topology

As someone who is passionate about exploring the intersection of art and emotion, I was immediately drawn to Rafael Lozano-Hemmer's interactive artwork Pulse Topology. This artwork creates a dynamic light installation using real-time data of the viewer's physiological response - the heartbeat. The heartbeat of each viewer is transformed into flashes of light, creating a collective visual and emotional experience. When the audience puts their hands under the light bulb, the sensor can track the audience's heartbeat and pulse, making the light bulb flash with the audience's pulse. In this blog, I will discuss how this work blurs the boundaries between the people's body and the medium, also allows emotions to flow between individuals and groups.

Eagleton (1990) states that aesthetics, as a sensory realm, promotes the perception and creative response to beauty. Eagleton (1990) views aesthetics as an emotional experience, focusing on the intertwining of senses and emotions. "Pulse Topology" visualizes the physiological data of heartbeats in the form of lights, creating a sensory aesthetic that combines the body with art. The heart-beating lights of the audience become a source of sensory pleasure while stimulating reflection on self and collective beauty. The rhythm and changes of light form a dynamic "emotional canvas", which not only allows participants to feel the rhythm of their own lives, but also inspires an appreciation of the beauty of shared human experience. When the lights of multiple viewers are lighting at the same time, a unique aesthetic pleasure is formed, transforming the isolation of individual heartbeats into collective harmony.

Mobbs (2015) discusses that emotional expression in animation relies on subtle dynamics (such as facial and body language), and emotional delivery is also related to the viewer's subjective interpretation. Although "Pulse Topology" is a lighting installation without specific characters or facial expressions, its emotional transmission also relies on subtle dynamic performance, such as changes in light frequency and the rhythm of space. Light, as a non-verbal medium, conveys the emotional intensity behind the heartbeat and the fragility of life. For example: When one audience member's lights flash rapidly, representing a rapid heartbeat, other audience members may experience an emotional resonance of nervousness or excitement. This subtle change in lighting, similar to what Mobbs describes as subtle movements in animation, allows viewers to connect emotionally to others through non-verbal expression.

At the same time, Kidd (2015) emphasizes that the combination of gamification and emotional experiences can allow participants to feel empathy or emotional resonance more deeply. "Pulse Topology" gives the audience a sense of participation and control over the work through interactive design. This "gamification" interaction allows participants to experience emotional resonance at both the individual and group levels. Participants' heartbeats became the core driver of the installation, while their observations of the lights inspired empathy for other participants. When the audience sees their own heartbeat lights integrated into the collective scene, their emotions shift from self-centeredness to group care, forming what Kidd (2015) describes as "emotional resonance." The viewer may observe the synchronized rhythm of other lights and have deep thoughts about the connection between human life.

Interactive art exhibitions not only allow viewers to participate and become part of the art, but also allow viewers to feel deeper artistic value and different emotions. Artists hope to arouse emotions in the audience, so ingenious design is always a very important topic for artists. In my creative journey, I plan to explore how technology can amplify these connections and bring people closer together.

Bibliography

Eagleton, T. (1990) The Ideology of the Aesthetic. Oxford: Blackwell Publishers.

Kidd, Jenny 2015. Gaming for affect: museum online games and the embrace of empathy. The Journal of Curatorial Studies 4 (3) , pp. 414-432. 10.1386/jcs.4.3.414_1

Mobbs, S. (2015) "The evocation and expression of emotion through documentary animation."

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Academic Blog 8: Emotions - The External World

This blog post talks about David O'Reilly's animated short film "The External World". It has an absurd visual style, which challenges the audience's emotional perception. The film is a non-linear narrative work in the traditional sense. Instead, it places the audience in a high tension of senses and emotions through a series of discontinuous, bizarre but deeply symbolic scenes. This approach can be explored from multiple angles in conjunction with emotional theories.

Gregg and Seigworth (2009) mentioned that affect transcends the realm of representation and enters the realm of feeling. They point out that emotion is an intensity that flows between bodies, often without relying on language or narrative to convey it. OReilly's "The External World" abandons traditional narrative logic and instead focuses on sensory stimulation and non-semantic emotional experiences. For example, a child is trapped in a ridiculous fictional scene because he has not learned to play the piano, and finally kills his father who had been hitting him on the head because he was not good at playing the piano. The audience's attention is not focused on the meaning of the plot, but on the meaning of the plot. It’s to the emotional intensity and absurdity of the scene. This non-representational approach is similar to Sluijs and Smelik's (2009) point of view in their analysis of "Elephants Dream", which emphasizes that emotional experience comes from "discontinuous episodes" rather than linear stories. These sequences place the viewer's senses in a state of constant challenge, resulting in a direct flow of emotion.

Figure 1. the boy kills his father who had been hitting him

Gregg and Seigworth (2009) mentioned that emotion is a kind of intensity that can flow between bodies and does not rely on the transmission of semantics. The visual style and sound design in "The External World" take full advantage of this: chaotic scene changes, over-exaggerated character expressions, and sudden voice changes, taking the audience through a series of highly tense emotional fluctuations. For example, a scene in which a character is suddenly swallowed up by fire and disappears instantly brings fear and uneasiness to the audience. This emotion directly affects the audience's body, rather than understanding its meaning through rational thinking. This is consistent with Ahmed's (2004) description of emotions, who suggests that the power of emotions lies in their ability to cling to the body and instantly influence our sensory experience.

Figure 2. the girl takes photos of a sunbathing bug with a flash

OReilly's short film also demonstrates the "continuity and change" of emotions, which Gregg and Seigworth (2009) particularly emphasize: "Emotion is a continuous process of change, existing in relationships and interactions." The film's scenes change rapidly, keeping the audience's emotions in an unstable state of flow. For example, in one clip, the audience may be amused by a character's antics (the girl desperately takes photos with a flash of a sunbathing bug), but the next moment be disturbed by the character's tragic ending (the bug is killed by the girl because its intolerance to light). This fluidity and relationality of emotion embodies what is described in the archive as the “becoming of emotion”: emotions are not static, but constantly changing and generated through the interaction between the scene and the audience.

Strange plot settings can leave a deep impression on the audience. Sudden explosions, exaggerated music, weird plots, and gloomy tones can all make the audience feel stronger. I think this kind of design can help my future creations to use different elements to make the audience to feel the intense strong uneasiness.

Bibliography

Ahmed, Sara. 2004. Affective Economies. Social Text, 22(2), pp. 117-139.

Gregg, M. and Seigworth, G. J. ( 2009) The Affect Theory Reader. Durham: Duke University Press.

O'Reilly, D. (2010) The External World. Available at: https://www.youtube.com/watch?v=Zo0LoBenwRg&t=122s (Accessed: 18 December 2024).

Sluijs, J. & Smelik, A. (2009). Interactivity and Affect in Intermedial Art: Theorizing Introverted and Extraverted Intermediality. Intermédialités / Intermediality, (13), 177–196. https://doi.org/10.7202/044046ar

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Academic Blog 7: Politics - Soul (2020)

In this blog, I will analyzes the Pixar animated film Soul (2020). The film feature an African-American male as the protagonist of a Pixar film for the first time. It also explores issues of race, cultural identity, diversity, and racial representation in visual culture.

Crane (2000) emphasizes the importance of cultural symbols in constructing social identity, especially how clothing, cultural products reflect class, gender and cultural identity. Although the focus is not music, the theory applies equally to jazz as a cultural symbol. Jazz not only represents the art of music, but is also a symbol of African-American identity and community connection through music.

In "Soul", the protagonist Joe Gardner is a jazz lover, and jazz is the passion of his life. This music not only expresses his personal dreams, but also symbolizes the profound historical background of African American culture. Joe's enthusiasm during jazz performances reflects the power of music as a cultural symbol, which is how African Americans have historically resisted oppression and pursued artistic value (Crane, 2000).

Berger (1972) pointed out in "Ways of Seeing" that visual symbols and images are not only media for cultural transmission, they also transmit ideology. The manipulation of power in the viewing process weakens the image of certain groups, thereby concealing their cultural identity. Although the image of Joe Gardner's "soul image" is designed as a blue, abstract soul form. This design deliberately blurs his racial characteristics. While the soul image is intended to be universal (to be relatable to all viewers), this visual design may also cause viewers to ignore Joe's African-American identity, reflecting Jay (1988)'s description of how visual culture reframes reality and diminishes culture. Similarly, as Berger (1972) states, visual representation has a power relationship. In certain cultural products, abstract expressions may weaken or cover up the cultural characteristics of marginalized groups, which is a potential visual "manipulation."

In Semiotic analysis, Joe's clothing design (such as the gray-blue sweater and hat) reflects his ordinary but persistent dream image, and emphasizes the daily nature of his cultural identity, avoiding over-romanticization or stereotypes.

Taylor (2003) discusses in "Multiple Pleasures" how cultural products reflect diversity and inclusion, especially how the identities of marginalized groups are incorporated into mainstream narratives. "Soul" uses the story of Joe Gardner to place African-American culture in mainstream animation narratives, allowing more audiences to be exposed to the artistic value of black culture. This inclusivity is reflected in Joe’s love of jazz and his process of finding his identity in music, reflecting the importance of multiculturalism in mainstream media.

Many scenes in the film, such as the barber shop scene, not only reflect the cultural values ​​of the black community, but also present details of their daily lives, which is a part that was rarely shown in animation in the past.

Joe is not a "hero" in traditional narratives, but an ordinary person who pursues dreams and strives for self-realization. This portrayal helps to dispel stereotypes and present a richer diversity of black characters. However, some critics believe that Joe in the movie is transformed into a "soul form" for most of the time, making his physical representation lesser as a black male, which may be a decentralization of racial identity. In another point of view, this may also weaken the film's representation as a black cultural narrative and avoid the real dilemma of African-American identity in American society.

In terms of character design, the character's skin color and clothing can sculpt their social value. Tops of different colors and materials can create different social backgrounds and can also lead the audience to form a certain ideology. This is something I can carefully explore in future creations.

Bibliography

Berger, J. (1972). Ways of Seeing.

Crane, D. (2000). Fashion and its Social Agendas: Class, Gender and Identity in Clothing. Chicago: University of Chicago Press.

Jay, M. (1988). ‘Scopic Regimes of Modernity’, in Hal Foster (ed.), Vision and Visuality. New York: New Press, pp. 3–23.

Taylor, T. L. (2003). Multiple pleasures: Women and online gaming. Convergence, 9(1), 21–46.

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Academic Blog 6: Representation - Snow White

Disney's classic fairy tale "Snow White" will once again bring back in live-action form, with starring Rachel Zegler as Snow White. In this blog I will talk about how this live-action Snow White adaptation attempts to break the stereotypes of classic fairy tales and add contemporary multicultural elements. Also will analyze how the film uses theories of representation, visual culture and identity to interpret this well-known story.

Figure 1. Starring Rachel Zegler as Snow White 

In the live-action version, Snow White is no longer just a symbol of purity and beauty. The choice of Rachel Zegler as a Latina actress challenges the original description of "skin as white as snow" and connects the character's representation with a multicultural context. Re-Characterization of Snow White rewrites classic symbols and roles. The change shows Disney's emphasis on character inclusivity, an attempt to reflect a wider audience's identities. This also shows the trend of Hollywood gradually accepting multiculturalism. Rachel Zegler, as a Latina actor, takes the fairy tale's Eurocentrism and expands it with cultural diversity. This not only redefines Snow White's cultural identity, but also allows more audiences to find resonance in the character.

Visual Stereotypes

Snow White:

Her "skin as white as snow, lips as red as blood, and hair as black as ebony" creates an idealized image of feminine beauty.

Her role as the victim implys traditional gender roles, where women are portrayed as dependent on male.

The Evil Queen:

She is characterized by her obsession with beauty, her magic mirror validates her self-worth. Her jealousy and use of magic present her as the oppsite of Snow White, embodying the "dangerous bad woman" stereotype.

Her ultimate transformation into an old woman when delivering the poisoned apple visualizes the evil.

Stereotypes of Good vs. Evil

Snow White’s beauty is tied to her goodness, while the Queen’s vanity and desire for power symbolize corruption.

This dichotomy reinforcing the stereotype that external appearance mirrors internal beauty which is not entirely correct.

Berger (2008)’s concept of "the male gaze" applies strongly to Snow White. Snow White is framed as a passive object of beauty, meant to be admired by the audience and other characters, particularly the Prince.

Symbolism in stories is a common technique that allows artists to implicitly tell the audience the artist's purpose through their works. However, sometimes symbolism can easily come from stereotypes. This is something I need to pay special attention to in the future. We should not be framed by stereotypes but should break through them.

Bibliography

Berger, J. (2008 [1972]) Ways of Seeing. London: Penguin.

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Academic Blog 5: Semiotics - Love’s a Bitch

Figure 1. “Amores Perros” (2000)

In this blog post, I will analyze Alejandro González Iñárritu's Love’s a Bitch (2000) in semiotic perspective (Saussure, 1983). The film uses its interweaved narrative and complex characters to explore the themes of love, betrayal, and survival. It reveals all the irrational things people do because of love, irrational but real and touching.

Love’s a Bitch unfolds three stories linked by a car accident, each portraying a different face of human relationships. The film’s strong realism highlights the struggles of Mexico City’s lower class compared with the urban elite. The title Amores Perros translates to “Love’s a Bitch,” reflecting the raw and brutal realities of love and loyalty, both human and animal.

Denotation and Connotation in Amores Perros

In Saussure (1983)’s semiotic model, signifier (denotation) stands for the surface meaning or literal meaning of a symbol. As signified (connotation) means the cultural association or emotional meaning implicit in a symbol, which may be affected by context or cultural background. It can be deconstruct key symbols in the film:

1. Dogs as Central Symbols

Denotation: Dogs are all around in the film, appearing as pets, fighters, or street dogs. Each story involves dogs in significant ways, from main character Octavio’s fighting pit bull to Valeria’s injured pet Ritchie.

Connotation: Dogs symbolize loyalty, violence, and vulnerability. In Octavio’s story, his tough pit bull Cofi kills every dogs, reflects Octavio’s struggle for control and power in a violent world. In the beginning, Cofi joined the dog fighting and won lots of money for Octavio, but at the end, Cofi killed all the dogs own by the old man who saved Cofi from dead. It also symbolizes the hope of Octavio's love for his sister in law initially, and eventually he killed his brother accidently. In Valeria’s segment, the little fluffy Ritchie represents the gorgeous of young model Valeria. However, Ritchie’s injury and was trapped under the floor, mirror Valeria's own physical and emotional decline after the car accident.

Figure 2. Octavio and his fighting pit bull

2. The Car Accident

Denotation: A sudden, catastrophic links the three narratives.

Connotation: The accident symbolizes the fragility of human life and the interconnected of fates. It also shows characters from different social backgrounds colliding in unexpected ways.

Figure 3. Valeria trying to find her dog Ritchie after it ran under the floor

According to Silverman and Torode (1980), paradigm is a set of changeable symbols that represent choices in a context. As to syntagm, it is a specific arrangement of symbols that represents structure. The paradigmatic and syntagmatic relations in a text influence its meaning:

Paradigm: The three storylines offer alternative perspectives on love and loss. Each character’s choices—Octavio’s yearning for a better life, Valeria’s vanity and decline, El Chivo’s redemption—are paradigmatic variations on the human condition.

Syntagm: The nonlinear narrative weaves these stories into a cohesive whole, emphasizing how individual actions across lives. The accident serves as the center, binding the narratives together. After different choice done by the characters, they got different results and consequences.

This film blends denotation and connotation, while constructing myths that critique inequality, highlights its enduring impact as a cinematic masterpiece. This kind of narrative technique is something I can learn to lead the audience through layers of confusion to find the ultimate truth. In various seemingly ordinary plots, I can cleverly use denotations and connotations to enrich the story completely.

Bibliography

IMDb (n.d.) Amores Perros (2000). Available at: https://www.imdb.com/title/tt0245712/?ref_=ttmi_ov (Accessed: 12 December 2024).

Iñárritu, A.G. (Director). (2000) Amores Perros. [Film]. Mexico: Altavista Films.

Saussure, F. de. (1983) Course in General Linguistics. Translated by R. Harris. London: Duckworth.

Silverman, D. and Torode, B. (1980) The Material Word: Some Theories of Language and its Limits. London: Routledge.

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Academic Blog 4: Strategies of Realism - Van Gogh Immersive Experience

In this blog post, I will discuss The Van Gogh Immersive Experience with Bazin's theory. This exhibition is a touring digital art that remaking the works of Vincent van Gogh through large-scale projections, soundscapes, and interactive elements. Unlike traditional museum, this experience transforms iconic works like Starry Night and Sunflowers into living, breathing environments, immersing audiences in van Gogh’s artistic vision.

This approach resonates with Bazin’s idea of cinematic realism, where technology plays a vital role in bridging the gap between reality and representation (Bazin, 1951). Here, the goal is not merely to display van Gogh’s paintings but also simulate his emotions, and perspectives.

Figure 1. Van Gogh Immersive Experience

Simulation involves recreating aspects of reality to engage audiences. The Van Gogh Immersive Experience achieves this through dynamic projections. Paintings inside the exibition are animated, with elements like stars in Starry Night swirling or flowers in Sunflowers blooming. This movement simulates the emotions and energy that van Gogh might have brought into his works.

These elements collectively create a hyperreal experience, allowing audiences to feel as though they are stepping into the mind of the artist.

The exhibition embodies the tension between immediacy and hypermediacy, which create a seamless experience while emphasizes the medium:

Immediacy: The large-scale projections and immersive sound track encourage audiences to "lose themselves" in the art, aligning with Bolter and Grusin (1999)’s idea of direct connection without mediation.

Hypermediacy: At the same time, the visible technology such as projectors, digital screens, and interactive installations, reminds viewers of the medium's constructed nature (Bolter and Grusin, 1999). For example, glitches in projections break the illusion, pull viewers out of the immersive experience.

One of the most debated aspects of the Van Gogh Immersive Experience is whether it deepens appreciation for van Gogh’s art or commercializes it for entertainment purposes.

Artistic Value:

The exhibition provides a fresh perspective on van Gogh’s work, offering audiences an emotional connection that traditional galleries might not achieve.

For starters to art, this engaging format may serve as an entry point into van Gogh’s world and inspire further exploration of his works.

Commercialization:

Critics argue that prioritizing "wow factor" over substance reduces van Gogh’s work to mere visual entertainment.

The high ticket prices and merchandise approach show a focus on profit, raising concerns about art becoming commodified.

Jean Baudrillard’s concept of hyperreality provides a lens to critique the exhibition. In the Van Gogh Immersive Experience, the hyperreal environment often feels more vivid and emotionally charged than the original paintings themselves (Baudrillard, 1988).

For some visitors, the hyperreal portrayal amplifies the emotional impact, making van Gogh’s creativity more relatable. As for purists, the digital enhancements may overshadow the original works’ textures, colors, and subtle imperfections, disconnecting the audience from the authentic artistry of van Gogh.

Then, will hyperreal simulations replace traditional galleries? I think the answer will be negative. Because hyper-realistic simulated art (such as AR and VR exhibitions) and traditional galleries each have their own unique values ​​and audiences, and the two will coexist rather than replace the relationship.

In traditional galleries, people can appreciate the work as it is, including the texture of the canvas, the details of the paint, and its historical and cultural context. Also, it provides a calm environment for the audience to have an in-depth dialogue with the artwork, avoiding the interference of digital media.

While hyper-realistic simulation art creates an immersive experience that allows viewers to "walk into" the artwork and participate interactively. Further expand the possibilities of art and provide a convenient way for audiences who have no access to the original works to appreciate them, especially young audiences in the digital age.

As digital technology continues to shape the cultural landscape, immersive exhibitions like this may become more common. The challenge for us is to use these tools responsibly, ensuring that the essence of art remains intact through the use of digital technologies, while exploring new ways to connect with audiences.

Bibliography

Bazin, A. (1951) What is Cinema? Berkeley: University of California Press.

Baudrillard, J. (1988) Selected Writings. Edited by M. Poster. Stanford, CA: Stanford University Press.

Bolter, J.D. and Grusin, R.A. (1999) Remediation: Understanding New Media. Cambridge, MA: MIT Press.

Digital Media: Sources and Significance Session 4 (n.d.) 'Strategies of Realism'.

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Academic Blog 3: Intertextuality and Transmedia- Furiosa: A Mad Max Saga

Figure 1. Furiosa official poster The film Furiosa: A Mad Max Saga (2024) has a fascinating lens to explore intertextuality, multimodality, and transmedia storytelling. It is built on the rich Mad Max universe, the film continues the series’ tradition of creating interconnected narratives while explaining how contemporary media evolves through cultural and technological. In this analysis, I engage with ideas from Julia Kristeva, Roland Barthes, Henry Jenkins, and others to critically examine Furiosa in the context of these key concepts.

Figure 2. Mad Max series

Kristeva (1980) describes intertextuality as the "transposition of sign system into another," emphasizing the interconnected nature of all texts. In the Mad Max franchise, this is evident through:

Internal Intertextuality: The series constantly references itself, repeating themes, characters, and iconography. Such as the War Rig, character Immortan Joe, and the wasteland environment. These elements become cultural signifiers that resonate across the series.

External Intertextuality: The series utilize post-apocalyptic world, referencing works like The Road or The Hunger Games, while being similarly responsed in subsequent media.

Figure 3. The Road

Figure 4. Hunger Games

Barthes (1967) shifts the focus of intertextuality from the author to the reader. In Furiosa, fan culture plays a significant role in constructing the meaning of the film. Fan's discussions enrich the narrative world and shaping the story.

According to Jenkins (2007), transmedia storytelling combines radical intertextuality (connections across texts within the same medium) with multimodality (connections across different media types) to create fictional worlds. The Mad Max universe exemplifies this through:

Film: Each movie builds on the overall hyperdiegesis (Hills, 2002), presenting fragments of a richly detailed world. Furiosa delves into the backstory of one of its most compelling characters, expanding the narrative universe.

Video Games: The Mad Max video game (2015) immerses players in the wasteland, offering a unique interactive perspective.

Comics: Comics explore character histories and unseen aspects of the world.

Merchandise: Collectibles, costumes, and themed vehicles create tangible extensions of the fictional universe in Mad Max series.

Figure 5. Mad Max video game (2015)

Figure 6. Mad Max comic

Figure 7. Mad Max merchandise

Matt Hills' concept of hyperdiegesis emphasize the world beyond the screen (Hills, 2002). Furiosa embodies this through its intricate world background. The audience sees only glimpses of the wasteland’s history and politics, while there are larger conflicts and untold stories can further explore through other media.

Jenkins (2007) asserts that transmedia expansion is often driven by economic imperatives, in the case of Mad Max:

Economic Strategy: The success of Fury Road likely encouraged Warner Bros.' decision to carry out Furiosa, alongside the merchandise and potential products.

Creative Opportunity: Transmedia storytelling enables creators to explore diverse aspects of the fictional world.

This reflects the interaction between transmedia as a creative tool and its role as a product of capitalism.

Unlike Wagner (1849)’s concept of Gesamtkunstwerk ("total work of art"), transmedia storytelling distributes narratives across media, fostering active engagement. In Furiosa, this distinction displays as:

Passive vs. Active Participants : Film viewers passively absorb the story, while gamers actively engage with the Mad Max universe through decision-making.

Completeness vs. Incompleteness: While Wagner sought to unify all elements in a single experience, Jenkins’ transmedia model works on the incomplete, inviting audiences to fill gaps and expand the narrative through their interpretations.

Furiosa: A Mad Max Saga embodies intertextuality, multimodality, and transmedia storytelling in a modern cinema. The film illustrates how contemporary media can transcend traditional boundaries, engaging audiences across platforms.

Bibliography

Barthes, R. (1967) 'The Death of the Author', in Heath, S. (ed. and trans.) (1977) Image, Music, Text. New York: Hill and Wang, pp. 142–148.

Hills, M. (2002) Fan Cultures. London: Routledge.

Jenkins, H. (2007) 'Transmedia Storytelling 101', Confessions of an Aca-Fan. Available at: https://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html (Accessed: 3 December 2024).

Kristeva, J. (1980) Desire in Language: A Semiotic Approach to Literature and Art. Edited by L.S. Roudiez. Translated by T. Gora, A. Jardine, and L.S. Roudiez. New York: Columbia University Press.

Miller, G. (2015) Mad Max: Fury Road. Directed by G. Miller. [Film]. Burbank, CA: Warner Bros. Pictures.

Wagner, R. (1849) The Artwork of the Future. Translated by W. Ashton Ellis. Leipzig: Breitkopf und Härtel.

Warner Bros. Pictures (2024) Furiosa: A Mad Max Saga. Directed by G. Miller. [Film]. Burbank, CA: Warner Bros. Pictures.

[carolhsu]

Academic Blog 2: Tools - Resident Evil

Since Karl Friedrich Trahndorff first came out with the term "Gesamtkunstwerk" in 1827 and Richard Wagner later explained it. "Total concept of "work of art" is constantly evolving. Wagner pictured an art form that harmoniously integrated multiple formulates, with drama as its peak (Wagner, 1849). Now, in the modern era, video games also combining visuals, narrative, sound, and interaction into "Gesamtkunstwerk". This blog will examine the Resident Evil vedio game, known for its survival horror elements, emphasizing its ability to blend media and create immersive experiences.

Figure 1. Cover of "Resident Evil 4 Remake"

Resident Evil embodies Wagner's saying of a "total work of art," combining different areas of art and technology to create a cohesive horror experience. The series, and specifically Resident Evil 4 Remake (2023).

The story is carefully depict to provide a compelling plot about the Main player Leon S. Kennedy rescue mission as cinematic storytelling. And the lighting designed stunningly detailed environments that evoke tension and fear, immersing players in a world troubled by infected villagers and monsters. As to sound design, such as distant footsteps or creaking wood, amplify the suspense. Furthermore, The player's direct interaction, from solving puzzles to strategic combat, deepens the immersion and connects all these elements in an interactive "total work."

Figure 2. Leon in battle

Despite its overall artistic qualities, Resident Evil also embodies medium-specific elements by utilizing the unique capabilities of video games. Clement Greenberg's concept of purity in art, in which each medium operates within its unique boundaries (Greenberg, 1940), can be used to analyze the medium-specific properties of games.

Unlike movies or novels, video games allow players to influence outcomes, navigate the environment, and engage in combat, creating a personalized experience. The game borrows cinematic techniques such as framing and depth of field, but uses them in an interactive way, making the player an active participant in shaping the visual narrative.

These medium-specific characteristics emphasize the role of interactivity in reshaping traditional storytelling, distinguishing video games from other forms of media.

Figure 3. Atmospheric environment of biohazard

Wagner emphasized a unified viewing experience, but Resident Evil can be played on a variety of devices with different graphics capabilities, resulting in a diverse player experience. The conflict reflects Rosalind Krauss’s idea of ​​the “postmedia condition” (Krauss, 2000).

Studying Resident Evil through these theoretical lenses highlights the transformative potential of video games as artistic and cultural artifacts. As an artist or practitioner, examining such work highlights the importance of collaboration from different fields and the tools to create emotionally resonant experiences. Furthermore, it reveals how mixed media can push boundaries and foster new forms of artistic expression while challenging traditional categorizations.

Bibliography:

Greenberg, C. (1940) 'Towards a Newer Laocoön', Partisan Review.

Krauss, R. (2000) A Voyage on the North Sea: Art in the Age of the Post-Medium Condition. London: Thames & Hudson.

Wagner, R. (1849) The Artwork of the Future. Translated by W. Ashton Ellis. Leipzig: Breitkopf und Härtel.

[carolhsu]

Academic Blog 1: Narrative Structure Analysis - Red Candle Game "Devotion"

Background and Game Introduction "Devotion" is a psychological horror video game launched by Red Candle Game, focusing on family relationships and cultural traditions. The story takes place in Taiwan in the 1980s which feels nostalgia for me as I am a Taiwanese. The player plays a father, exploring his own memories, looking back on his past family life, and finally facing the psychological trauma in reality.

Narrative method: non-linearity and open ending "Devotion" adopts a more experimental narrative structure (Cook, P. , 1985). The narrative of the game is not limited to the simple past and present, but also interspersed with the father's fantasies and hallucinations in the plot, making the overall narrative present a "non-linear causation" structure (Cook, P., 1985). This design can enhance the psychological pressure of the player and reflect the psychological state of the character through multiple layers of narrative. "Devotion" also has more emergent narrative which gives players a high degree of freedom to explore, personalize each player's experience (Juul, 2005).

Narrative role analysis: Propp's role category According to Propp's role classification theory (Propp, 1968), we can regard the main character-father in the game as a "hero" who has experienced many emotional breakdowns in the game and finally tried to save the family. At the same time, the seemingly invisible "psychological pressure" or "power of faith" in the game can be regarded as a "villain" force that suppresses the protagonist. This design allows players to deeply experience the psychological struggle of the character, thereby increasing the depth of the narrative.

Emotional connection between narrative and players "Devotion" uses game mechanisms to strengthen the emotional elements in the narrative. For example, when players explore different rooms in the house, they can trigger memory fragments related to the character's. This design creates a strong immersive narrative that enhances the emotional appeal of the narrative by guiding players to participate in the family's past and present, allowing players to resonate with the characters on a psychological level.

Self-Experience in game Through the process of "self-mastery" and exploration of the "external world", players can gradually discover the truth of the story in the interaction (Aarseth, E., (2004). Different than literature ,participants are no longer bystanders, but reshapers of the protagonist's spiritual journey with first-hand experience.

Bibliography:

Aarseth, E. (2004) 'Genre trouble: narrativism and the art of simulation', in Wardrip-Fruin, N. and Harrigan, P. (eds.) First person: new media as story, performance, and game. Cambridge: The MIT Press.

Cook, P. (1985) The Cinema Book. London: British Film Institute.

Jesper Juul, Half-Real: Video Games between Real Rules and Fictional Worlds, London & Cambridge MASS: MIT Press, 2005, pp. 156-157.

Propp, V. I. (1968). Morphology of the Folktale (2nd ed., Vol. 9). Austin: University of Texas Press.

[carolhsu]

Reader

Frachi, Y., Takahashi, T., Wang, F., & Barthet, M. (2022). 'Design of Emotion-Driven Game Interaction Using Biosignals', In Fang, X. (eds) HCI in Games. Lecture Notes in Computer Science, vol 13334, pp160-179. Available at: https://link-springer-com.ezproxy.herts.ac.uk/chapter/10.1007/978-3-031-05637-6_10 (Accessed: 18 October 2024).

This paper explores how biosignals such as heart rate, skin conductance, and other physical data can be used in video game in order to create emotion interactions. The researchers focued on a system that adjusts game based on real-time emotional responses, aiming to deepen engagement and immersion. This research demonstrates the potential of combining emotion recognition technology with interaction design, giving more personalized gaming experiences. This is particularly important for developers and interaction designers interested in adaptive, emotionally responsive gaming environments. This work provides valuable insights into innovative ways to increase user engagement and may influence future developments in game and human-computer interaction design.

Furmanik-Kowalska, M. (2021) ‘Social media art and/or interactive art? Exhibitionist: PeeP Stream by Ye Funa and Bei Ou’, World Art, 12(1), pp.49–66. Available at: https://doi-org.ezproxy.herts.ac.uk/10.1080/21500894.2021.1991464 (Accessed: 3 November 2024).

This article illustrates the social and artistic implications of 'PeeP Stream', a live-streaming art piece created by Chinese artist Ye Funa and Bei Ou. This work combines social media and interactive art, allowing viewers to directly participate in the live broadcast of the artist's private space, creating an experience that challenges traditional concepts of privacy and exhibition style. Furmanik-Kowalska analyzes how "PeeP Stream" uses the "exhibitionist" qualities of social media. Contemporary people often share personal details on social platforms to gain attention and recognition, blurring the boundaries between public and private life. People often experience tension between their desire for attention and their need for personal boundaries. I think this research arouses the understanding of how digital art reflects social changes in privacy, self-presentation, and audience interaction. This article deeply explores the balance between personal privacy control and exposure in artistic works, which will be very inspiring for my future artistic works.

Ha, S. and Kim, S. (2024) 'Barriers to playing digital games: Why do some people choose not to play digital games?', Telematics and Informatics, 93, 102161. Available at: https://doi.org/10.1016/j.tele.2024.102161 (Accessed: 13 October 2024).

This article investigates the reasons why some people do not engage with digital games in the age when digital games are becoming more and more popular. The study identifies there are different kinds of barriers, including lack of time, negative perceptions of gaming culture, and concerns about the potential for addiction. Also, it explores how factors such as age, gender, and educational background affect people's gaming preferences. For example, older adults tend to play less intense games due to lower reaction times, while younger players might more drawn to competitive games. The text explains the challenges when it comes to people’s willingness to play digital games, given reason why some groups hesitant to gaming. For my own work in digital design, this article helps me consider the diverse factors that might influence people's interaction with digital games. It allows me to create more inclusive gaming experiences.

Kelly, M. B., Phillips, B., & Davies, C. R. (2023). 'The Use of Social Media Art Challenges to Encourage Arts Engagement for Mental Wellbeing in the General Population', Front Psychol, 14, 1113280. Available at: https://pmc.ncbi.nlm.nih.gov/articles/PMC10030949/ (Accessed 31 October 2024).

In this article, Kelly, Phillips, and Davies explore the role of art challenges on social media in enhance public mental health. The online arts challenges, such as #ArtChallenge and #Inktober, create convenient platforms for people to engage in creative activities. People can share their art works, thereby promoting a sense of community and emotional support. Research shows that online arts engagement helps people to reduce stress and increase psychological resilience, especially when they are isolating in a long period. The authors argue that such challenges have therapeutic value because they can promote self-expression, improve self-esteem, and build social connections among participants. I think the particular emphasis on community engagement in the article is important because it shows how virtual arts communities can serve as an easy accessible tool to promote mental health. This research has important value in understanding how digital media can promote creative expression that support individual health and collective mental health.

Leonard, N., & Kwame Wor, J. (2024). 'Addressing Algorithm Materiality and Bias Through Art: Exploring Social Media–Augmented Reality Features', Art Education, 77(4), p.20–26. Available at: https://doi-org.ezproxy.herts.ac.uk/10.1080/00043125.2024.2330342 (Accessed: 3 November 2024).

This article explores how augmented reality (AR) can be used as an artistic tool to challenge algorithmic bias on social media platforms. It analyzes how algorithms influence user experience by preferentially recommending certain content, often with preset biases behind these recommendations. For example, some imaging algorithms will select "beauty standards" based on specific appearance characteristics (such as skin color, body shape). The authors discuss how artists can use AR features, such as filters and interactive experiences, to expose these biases and the social standards enforced by algorithms. This article has been very inspiring for my future artistic endeavors, especially the use of AR technology in digital art to allow viewers to experience these biases firsthand and prompt them to question whether digital platforms are truly neutral. In this way, AR technology can be a powerful tool to help viewers to think about algorithmic control, aesthetic standards, and cultural representation.

Liu, X. (2022). “Animation Special Effects Production Method and Art Color Research Based on Visual Communication Design.” JScientific Programming, 2022(1). Available at: https://onlinelibrary.wiley.com/doi/epdf/10.1155/2022/7835917 (Accessed: 3 November 2024).

The author discusses the production methods of special effects in animation and the application of artistic color in visual communication design, emphasizing how to enhance the visual effects and emotional transmission of animation through color design and special effects technology. Liu analyzed how animation special effects techniques such as light and shadow, dynamic effects are combined with color to create different emotional atmospheres. For example, using high saturation red and dynamic effects in battle scenes can enhance the tension and visual appeal of the picture, while in fantasy scenes, soft colors combined with soft light effects can create a soothing, fantasy atmosphere. I especially appreciate the synergy between color and special effects, because it provides me with a concrete reference for using color and special effects in animation creation. This article provides valuable guidance on understanding how to improve the emotional expression and appeal of animation through visual design, and helps to improve the visual communication effect of the work.

Pennefather, P.P. (2023). 'AI and the Future of Creative Work' Creative Prototyping with Generative AI. Design Thinking. Apress, Berkeley, CA., pp387-410. Available at: https://learning.oreilly.com/library/view/creative-prototyping-with/9781484295793/html/601532_1_En_13_Chapter.xhtml (Accessed: 18 October 2024).

This chapter explains how generative AI can be used in creative workflows. By generate ideas, and improve efficiency in the creative process, AI easily improves work efficiency. The author claims that while AI can automate repetitive tasks, human creativity is still essential for refining and guiding AI outputs. The author states although AI can generate initial content, it still does not have the specific understanding of context, emotion, and cultural relevance. For example, AI might produce a rough musical composition, but a composer would still need to adjust the emotional tone. Also, AI can draft articles, but editors need to refine it and ensure it is accurate. The text offers valuable insights into balancing automation and creativity in a digital future, which is highly relevent to my study field.

Stäbler, S., & Mierisch, K. K. (2021). 'The Street Music Business: Consumer Responses to Buskers Performing on the Street and on Online Video Platforms', Marketing Letter, 33(2), p325. Available at: https://link-springer-com.ezproxy.herts.ac.uk/content/pdf/10.1007/s11002-021-09566-8.pdf (Accessed: 18 October 2024).

This article examines how street buskers attract consumer responses both in live street and on online platforms such as YouTube. The authors analyze factors that influence audience engagement, such as the genre of music, time of day, weather conditions, and performance styles. For instance, classical music tends to get higher donations compared to rock or pop, likely because it is rare in street performances, also in cold weather tend to receive more donations than good weather. Another key focus is how the performances exposure through video platforms, extends buskers' reach beyond physical spaces. The study is particularly useful for understanding how context and consume factors influence financial donations during live performances, and how digital platforms provide new place for audience interaction, which I can apply into my art work.

Vlachou, S., & Panagopoulos, M. (2022). 'An Examination of Classical Art Impact and Popularity through Social Media Emotion Analysis of Art Memes and Museum Posts'. Information, 13(10), p.468. Available at: https://www.mdpi.com/2078-2489/13/10/468 . (Accessed 31 October 2024).

This study discovers how classic art resonates with modern audiences through social media. During the epidemic period, the authors found that Instagram posts increased significantly and art-related memes also increased. The authors evaluate the public's emotional response to classic works of art online, and analyzed how memes and interactive content released by museums triggered emotions such as joy, nostalgia and humor. The study reveals how art memes can make classic art more accessible and relatable between cultural and generational gaps by using technology to analyze user comments and engagement. I think the study's examination of museums' social media strategies is particularly insightful, showing how arts institutions can effectively engage young audiences through humor and emotional resonance. This article is important for understanding how classic art remains culturally relevant in the digital age, and perspective on how social media can contribute to the democratization of art participation.

Xiong, Z., Liu, Q. and Huang, X. (2022). 'The influence of digital educational games on preschool Children’s creative thinking', Computers & Education, 189, p.1-18 Available at: https://www.sciencedirect.com/science/article/pii/S036013152200149X?via%3Dihub (Accessed: 13 October 2024).

In this study, the authors explore how digital education games impact the preschool children about creative thinking. The authors collect experiments and observational data from preschool students, and shows that games designed with educational goals can enhance creativity. The main reason is that the digital educational games encouraging children to solve problems in new ways. The paper also discusses the importance of integrating game mechanics, such as open-ended play and interactive storytelling. It is a vital element to create imagination and divergent thinking in young learners. This source is useful as it provides practical evidence on the educational benefits of games, which is relevant in my field of exploring the intersections of digital design and games. It emphasizes the role of game in stimulating creativity, something I can apply in designing digital games aimed at younger audiences.