Riley Savage Capstone 2016-2017

[rileysavagecapstone-blog]

Delving into one specific identity exploration here. This idea of 8 rectangles forming to make the logo (the whole “hivemind” idea of parts working as a whole). 

I also explored simple illustrations as logos for the segments. Those icons populate the rectangles, adding motion and furthering the relationship of the parts-combining-to-make-a-whole thing. 

Concerns here: Is there a way to limit the number of colors used in the logo. I want the colors to indicate different segments, but maybe not always be present. The monochromatic versions of this logo work, just need those icons to still be able to populate their rectangle, so to speak.

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Some hand-written notes on segment topics, names, questions, and content. Here, the actual content begins to take shape. 

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Then, the brainstorming began. After sketching some logo ideas, I started to settle into the mood of the project.

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At the beginning of my final semester, I needed a little direction. There were some mental roadblocks and some doubts, but a few minor victories and I’d kick it into gear. 

Luckily, nailing down the structure was just the jolt I needed. In this chart, I’ve laid out the information structure for my content. This helps me visualize my final product, and organize my deliverables.

[rileysavagecapstone-blog]

Content Organization & Communication Goals

In order to start making, I needed to flesh out what I want to communicate and how I’m going to do that. I separated the content into 4 main communication goals: 

1. The Musical Introduction - if you can’t sell fans on the music, you won’t sell them on the artist.

--- For viewers who are not familiar w/ Fluffer’s sound, this will familiarize them and help them understand the group. For fans, it will serve as more desired information and conversation topics. It will provide context in the form of history, geography, influences, collaborators, process, and aspirations. 

2. The Personal Introduction - the music-makers will inevitably work their way into this piece, but I want their personalities to come across and shape their unique brand. 

--- With a little grasp on the music Fluffer makes, fans can then learn about the people behind it. This information will give fans both new and old take-away factoids and serve as entertainment. Humor will play a huge role in this section, and Fluffer will be able to put a lot of themselves into it. I want to kind of treat this like fans’ “first date w/ Fluffer.” It will provide context in the form of interests, aesthetic, and personality. 

desired effect: in addition to entertaining and informing, this section will make fans more comfortable with the band and hopefully vice versa.

3. The Stories - story-telling is very important and makes the piece instantly more shareable. 

--- Fluffer is a party band. Not only do they often perform at parties, but they also make music about partying, and do a fair share of it themselves. These experiences have provided them with plenty of stories to tell, and not necessarilly a way to tell them. This section will be animation-heavy, and give fans a look at some of the wild times Fluffer has had as a band. Every music fan loves a good story. 

possible subjects: mall show 2011 / tinderbox 2015 / dayton - cincy tour 2012 / foam party 2014. which stories are told can be dictated by the artist as well as myself. I may test w/ a mock audience (the alternative staff) and see which stories are most compelling.

4. The Session - a live take of the band in a unique setting is shareable and on-message.

--- This can be the more production-heavy side of things. Ideally, i’d like to shoot an interesting live performance in a customized space that fits the band’s visual and sonic identity. This will incorporate the visual language of the full video, and serve as “proof” for unconvinced fans, and a shareable piece of compelling media within the larger piece (unlike anything else out there) for existing fans. 

Assets: sound - Nick Ruma, Cincinnati / add. video - Hunter Viers, Cincinnati and Daniel Sullivan, Cincinnati

Additional: Testimonials, Studio Updates, Live Footage, Specialized Segments

[rileysavagecapstone-blog]

Meeting with the band

So first off, I should introduce Fluffer (considering that’s essentially the core of my project). 

Fluffer is a Cincinnati duo made up of Guitarist / Synth Player / Vocalist Al Sigman (also known as Owle Justice) and Percussionist / Sample-man Patrick Apfylbeck (also known as Pierce Carver). I’ve mostly discussed this project with Al, because he is the frontman of the band and also has a clearer idea of the media he’d like to see created for them. 

He and I agree on a few key things, the most important of them being that Fluffer’s accessibility is somewhat confusing. Their sound is dance-oriented, pop-friendly, and garners strong fan reaction in a live setting; however, it often takes a nudge for their online audiences to catch on. We have a common goal of breaking down that barrier with something visually engaging, experiential, and immersive. 

Aesthetically, we were mostly on the same page. We agree that Fluffer’s sound is vibrant, angular, synthetic and futuristic. Just communicating these things visually can engage the intended audience enough to bring them to our content.

What do we want to communicate? That’s something we’ve been working on together and something I’ll explain more thoroughly in my next post when its more developed. 

[rileysavagecapstone-blog]

A Visit to Audiotree

Hidden in Chicago’s Wicker Park is a little gem called Audiotree. Known for their live sessions, they started in 2010 and record all live video in the studio where Modest Mouse made their landmark LP The Moon & Antarctica back in 2,000. I was introduced to Audiotree (virtually) in 2011 with sessions from Desert Noises and Oberhofer. I was introduced to Audiotree (physically - specifically longtime host Blake Norris) at Columbus’ Fashion Meets Music Festival in 2014 by my friends in the aforementioned band Desert Noises. Blake and I became good friends, and I even got to sit in on a session with Mitski back in the summer of 2015 while I was co-oping in Chicago. So while Blake no longer hosts sessions, the rest of the crew was willing to let me visit and observe another session, this one with my friends in Secret Space (from Toledo). Here’s what I learned:

1. Everything they do is very professional. The studio has many moving parts, and high quality video and audio paired with reliable live-stream is a tough feat.

2. While the experience is not custom-fit to each artist, it is an experience for the artist. Bands get excited (the word ‘honored’ is even used, at times) to do an Audiotree. 

3. You can get interesting answers without asking interesting questions. This is directly related to the next thing I learned.

4. If an artist is excited about the piece of media they are creating, they will be more willing to show enthusiasm and share more interesting information. It’s about making them comfortable. 

5. I’m glad Audiotree exists, we have different goals. I want to communicate something about the artist with every aspect of my work. 

6. Fluffer would do great on an Audiotree, but nothing would visually or experientially separate it from the artist sessions that already exist in this space. That’s where I see the most opportunity. 

Here’s the full session I got a chance to sit in on: http://audiotree.tv/session/secret-space/

[rileysavagecapstone-blog]

Assets & Ideas

In exploring my problem, I’ve found a lot of inspiration through ideation and discussion. I’ve been discussing my topic among friends and peers in order to build and expand my ideas. 

In talking with Jacob Biel - a friend and set designer for Frontgate in West Chester - I learned about vignettes and the aesthetic impact of set design. He’s become familiar with Fluffer’s sound and we shared a similar vision for some of the imagined deliverable. He’s interested in contributing his talents and even offered Frontgate’s studio for a weekend.

I’ve also bounced ideas off of UC Graduate and Cuba Skate photographer Dan Sullivan. His knowledge of photography, film, and storytelling aided my process, but he also helped ground my wildest ideas, breathing a little life into them. He is available and willing to help with shoots and offering feedback.

Another connection is Henderson Cole, the creator of New Jersey rising blog the Alternative - for which I’ve written for over a year. He is very tapped into the mindset and community of independent music, specifically of the rock variety. He in an interviewer and connection-master; his enthusiasm is helpful, and the writer community we share offers an exceptional test audience for my work. 

It helps having talented cohorts as touch-points for different aspects of my project, especially excited individuals who contribute not just expertise, but ideas, too. 

[rileysavagecapstone-blog]

Elevating the Indie

I think the real potential of my project lies in the details. I think some media like the kind I seek to create exists - it’s more about how it exists and who it exists for. So while Pitchfork may be able to create a hilarious artist-centric pseudo-interview platform, and Nardwuar can create hundreds of deep-digging near-uncomfortable interviews, but nothing like this exists for undiscovered artists who would be massively helped by this type of media.

So what does exist for artists like this? A few things do. Audiotree is a cool example, because it focuses on rising artists and gives them a platform to perform and showcase a little about themselves; they give artists access to a high quality piece of shareable media - this is something I also seek. The difference is that Audiotree’s interviews are minimal and seem largely underprepared. There is opportunity to customize, research, and create something that fits the artist’s vision. Beyond that and other session sites (see: Daytrotter, KEXP live, NPR Tiny Desk), only sloppy interview platforms and random radio station segments exist for bands like this. Not even a high quality or widely popular podcast exists for this community. 

There is a want for storytelling, information sharing, and music discovery in this creative space - and through elevated visual communication pieces. I see a lot of opportunity in this, and look forward to getting something valuable in the eyes and ears of Fluffer’s fans and potential fans. 

[rileysavagecapstone-blog]

Design Problem vs. Marketing Problem

One of the biggest issues i’m running into is differentiating this from a marketing problem. Of course, marketing plays a role; however, the difference is that I see the biggest barrier to Fluffer’s success as a visual communication problem. The imagery and media they share does not evoke the excitement of their live show or even their music. I feel that because their is not a compelling visual medium in place to draw potential fans, Fluffer misses opportunities. In this case, my job as a designer is to take an elevated approach to creating engaging visual media for fans and potential fans of Fluffer. 

Because this is my approach, my deliverable - as it stands right now - is a motion piece / video. In order to reach fans of modern dance music and indie rock (intended audience for Fluffer’s music), I need to communicate to them in a medium they are used to and in a way that they prefer. Videos are engaging and tell stories; but most importantly, they’re very shareable. 

[rileysavagecapstone-blog]

Artist Selection: Fluffer

In order to make my project manageable, I am honing in on one artist; this will give me a chance to find a solution and make sure that I can effectively communicate with them - and the methods which work best - before possibly expanding this endeavor outside of capstone.

I’ve selected Cincinnati Electro Dance Rock duo Fluffer. Why?

1. I think they’ve got massive pop appeal - both sonically and aesthetically.

2. Their visual web presence and brand leaves room for improvement.

3. Their sound can be challenging at times, but seems to resonate with people in live settings or when shared via peers.

4. I am friends with them and have access.

5. They are excited about their online presence and want to communicate more clearly with fans.

Check them out: 

https://www.youtube.com/watch?v=7S0T9qMuAR4

[rachel-otte-blog]

Interview with a caregiver

This past week, I was able to sit down with my grandma and ask her questions about taking care of my grandpa. Here are the questions that Janie and I wrote:

1. What was day-to-day life like in the beginning? When did you first start noticing signs of Alzheimer’s?

2. Do you recall anything that was particularly frustrating to them early on? What about now?

3. In early stages, what tasks became most difficult first? For you and for your loved one?

4. Did they understand what was happening to them? If so, how did they react to it or what did they say about it? If not, was there any sign that they saw changes in themselves? How did they cope?

5. Was it gradual or instantaneous when your loved one began to lose a certain ability? 

6. Was your loved one open to receiving help with these tasks as they began to have a hard time with them?

7. Were there any tools or technology that you used with this person, whether it be to keep them safe or aide them in any way?

8. Can you think of anything that would have been helpful in caring for this person? Or made things easier?

9. What are some tactics you’ve used/tried to make certain tasks easier?How do these things affect you? Your loved one? How have they been successful or unsuccessful?

10. What daily tasks have proved to be the most difficult for you and your loved one? Are they different now from early-on?

11. How much time does a particular task take you both? Is there a wide range or is it pretty consistent?

12. What emotions do you feel when trying to complete these tasks with your loved one? How do you think they feel throughout the process?

Asking her these questions, some of her answers answered multiple questions, so I started taking notes and trying to skip over questions that would be redundant. Here are my key takeaways and things that I found particularly informative:

He tends to do things that just don’t make sense. When asked to put things away, he’ll do it but in the wrong room or wrong drawer.  Another example of this is that he lays out 10 pairs of socks on his dresser occasionally, all in a line, for no apparent reason. He lays his handkerchiefs out all over the house. He saw the signs before she did One of the earliest signs of memory loss, and in turn Alzheimer’s, was that he stopped flying his plane, which he had been doing for 15-20 years. He came home one day and told his wife that he was going to stop flying; when she asked him why, he said that he got in the plane, looked at the control panel, and had no idea what to do with any of the controls. Since he’s always been a relatively quiet person, she didn’t really notice when it happened exactly. He didn’t talk much about his struggles, and they have just taken on the changes that were taking place as they happened. (not much preparation) Once they started noticing the signs of dementia/Alzheimer’s, he was very open to help, and the transition to their roles now came very easily. He’ll often mention or apologize for being forgetful, and most of the time, she tells him that the reason why is that he has Alzheimer’s. She says that he doesn’t respond negatively, but he’ll ask what it is and accepts it quietly. His personality is exaggerated now that he has Alzheimer’s He was always easy-going and quiet, and that is magnified now. He isn’t angry or vocal about his frustrations, he takes the challenges as they come and doesn’t seem to be too disturbed by the disease. He loved to be around people and tell jokes, which he relies upon now. With anyone other than my grandma, he is quiet and reserved, but likes to contribute to conversations by tellings jokes because it’s something he can think of in the moment and doesn’t rely on memory. Safety isn’t much of a concern for them. He doesn’t wander off, and typically clings to my grandma since she is one of the few things he remembers now. He still drives- which scared me at first - but she said she watches him and moniters his basic skills of driving. He knows how to use his turn signals, watches for traffic lights, checks his mirrors, etc. He still does all of this well, he just has no idea where he’s going. She didn’t find many resources that helped her. She received a few books from people that would prepare her for caregiving for him, but she stopped reading/using them because they scared her. Tactics tried to help daily tasks: She put a piece of paper in the shower with simple instructions for using shampoo and it did not help at all. She tries to keep the same things in the same place, to maintain a routine the best she can. Rather than moving things around to how she might like, she has kept things organized exactly how it was before he was diagnosed. He doesn’t do any tasks independently anymore innate abilities, things that have always come easy for him have remained. When I got there, he was cleaning a fan. He’d even taken it apart and was cleaning the inside. He has always been very handy and fixed things around the house intuitively. One particularly frustrating task is getting ready/preparing to leave the house.  he changes his outfit multiple times, even when she lays out an outfit for him this can take “at least” 30 minutes and up to and over an hour. Emotional toll: frustration was the most mentioned feeling when asked about completing daily tasks. She admitted that she yells and said that “[they] sound terrible” but they moved on and forget that it happened. She feels guilty about her reactions in the moment but that something inside of her tells her it’s okay to have feelings.

One more thing I found interesting, but did not pertain to any question I asked her, is the amount of people diagnosed with Alzheimer’s in her neighborhood. Of the 10 houses on their street, there are 5 people with Alzheimer’s. 

A little background: Most of the couples living on their street all moved in around the same time, before they had kids, and they are all around the same age. 

My grandma took note that while those 5 people all have the same disease, it manifests itself so differently each of them. This is important for my project because it means that our solution will not be able to help all of them, but it may be able to help some of them.

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First of all, I just found this extremely interesting - I’ve wondered many of these same things about alzheimer’s, because I’ve been lucky enough to not have seen anyone go through it. Seeing all of the different, devastating ways this can manifest itself may make your project more difficult, but it also shows how important a solution could be. I think the project relies heavily on the personal - so your solution will be most effective if customizable in some way. 

[rileysavagecapstone-blog]

Beginning Project Brief & Defining Problem Statement

I’ve recently decided to take a little bit of a different angle on my original problem; before i can focus on how to create meaningful media, I must focus on why most media isn’t effective now. By tackling the issue of media in the age of rapid information sharing and increased access, I can start to see an angle to take when creating my own. 

Problem Statement: There is an invisible barrier of tension between artists and the media, making for an unhealthy relationship between artists and their fans.

Current Situation: Social media and general rapid information sharing have provided us with a clear look at our areas of interests; while an interconnected culture is a positive, some fields of communication have had trouble adapting. When those interests are people - a musician or an actor, for example - increased access can be overwhelming, invasive, or numbing. The subject of interest can feel like they have no privacy, or they fear of over-sharing and misdirecting their audience. For example, Justin Bieber now refuses to take pictures with fans or talk with the media - he says he feels “like a zoo animal.” Or on the other hand, the fans can feel like there’s nothing left to learn about their interests - or that it’s not worth learning because it’s widely accessible, largely similar content. 

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The Design of the Interview

For the legitimate selection process for capstone, I explored a few different problems - Early Childhood Mental Health Education, Body Dysmorphic Disorder, and The Design of the Interview. 

After discussing the topics and doing further research, I decided on The Design of the Interview for several reasons. I found that this creative space allowed me to explore more media and solutions can take many forms. Also, I found myself to be more passionate about this problem, and have personal connections in the music industry that could open doors to interesting collaborations. 

My 3 original sub-topics were focused on the problem. They were 1. Tension between artists and the media, 2. Interview are boring and 3. Creative interviews are mostly based on premise and platform. While these will most certainly shape my project, further research afforded me some clarity on finding a solution. I read Poynter’s The Art of the Interview, which focused on the fundamentals of a good interview and setting yourself up for a real connection with your subject. Additionally, I watched a Ted Talk given by Marc Pachter, also called The Art of the Interview. This was the most important research I had done; he focused on important questions vs. easy questions, and sought to ask the questions “people have been waiting to hear their entire lives.” He also laid some groundwork about how much talking should be done by the interviewer, and asking questions that allow the interviewee to talk at length, and building from there. 

My challenge here is to take the fundamentals of an interesting interviews, according to the experts, and bringing them into a new creative space or medium. Pachter used a great metaphor when describing the great interview; he talked about interviews with important people like portraits. He says that so many important and interesting people will never have their portrait painted, and we won’t have anything to pass down to future generations. With my project, I want to paint a beautiful portrait, but reimagine the frame.

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Topic Research and Exploration

Just to get the ball rolling, we looked through newspapers for current events and tried to discover design problems appropriate for capstone topics. I tried to think about which topics i’d like to learn more about, and then analyzed them from an educational standpoint; by doing this, I can more effectively find design’s place within the issue. 

I intentionally selected spaces that i may not want to work in, but that i still think would make interesting capstones. I researched the Puerto Rican debt crisis first - mostly because I wanted to learn more about it and how design could aid in a solution. This is not to say I could solve the debt crisis with my capstone, but rather how I can tackle an aspect of it - like America’s awareness of the issue and existing solutions we can participate in. I did the same with the destruction and killing of the coral reef in the Kiritimati and the severe budget cuts for Chicago State University. I found that getting very specific within the context of a larger issue is important. When you can tie your solution back to a more broad problem, but address it on a specific level, it gives you a chance to find solutions and think about your problem on a few levels.

But again, these are not topics I’d want to cover in my capstone; however, this did help me think about how i’ll approach finding the space I want to work in.