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Media Psychology: Gestalt Theory

Gestalt theory concerns our perception, and how we process something as a whole rather than focusing on each constituent part. The context of the parts defines them rather than the other way around (Britannica, 2024). For example, in Gestalt design, objects are grouped based on their similarities or proximity (Marsh, 2020), rather than classified each individually. This top-down approach also means people can 'fill in' missing or implied information in order to create a 'whole'.

Gestalt theory states people look for completeness and patterns (Bustamante, 2023) when interacting with their environment, and by extension, media. This instinct can be used by creators to affect an audience by leaning into or purposefully subverting expectations. A consistent build-up and then sudden shift in style or content is impactful, a non-linear narrative disorienting, a cliffhanger suspenseful. A harmonious style is pleasing, storytelling well understood, a clean conclusion satisfying.

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Process 4

After a short discussion during the exchange session with another group, we’ve talked about how our content and procedures are running. They’ve given advice that we should adopt the second idea initially, because it is less exposure and more private to everyone's own self. As well as playing the 2 videos together at the same time, both inverse and reverse can create a very cinematic and calm environment during the meditation session with audience. So we’ve conduct experiment at one of the rooms and setting up our devices to see the effect.

As the video had shown, the large scale video effect among with the sound creates a very calm and static environment. Where the video had filled the room with the blue color, and the color blue is often used when relating to psychological actives, therefore the entire environment will be very ideal to conduct our group activity.

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Assessment 3 - Chinese Whispers

For this assessment, my group and I chose the concept of glitch and reflection. We demonstrated this through a game of Chinese Whispers where one person from two groups picked a ‘stimulus’ and whispers it to the next person. In the end, we got the last person to draw the phrase they heard as well as say it out loud. We framed these drawings on the spot.

The main topics we addressed:

- Miscommunication and the notion of information being influenced by different things

- The notion of information being skewed and twisted as a result of external forces i.e. media, social media, spoken word.

- The combination of different media (e.g. drawing, oral) represents the overwhelming influx of media communications in our present social landscape

- The idea of rumours

- Racism (a point which we looked at during research)

- The reason for the jar and the multiple pieces of the same stimulus (The illusion of the jar and telling them to believe that they are given different stimuli represents consumers’ vulnerability and accessibility of false information in the media which largely contributes to miscommunication)

- The reason for the Stimulus (mundane phrase being skewed)

- The reason for the Drawings (representing different forms of communication, a visible process of translation and interpretation)

- The reason for the Frames (ideas being ‘framed’ i.e. the media, social media platforms act as frames that present news, ideas)

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SARAH RODIGARI’s INPUT -> Week 12 (Oct 19)

Sarah’s potential insights into conceptual discussion: Through the act of playing the game what do I learn or discover? Could just be the name of someone else. Conversational Qs supplementary. How do they play? How many? Together? Team building is usually around an idea. Politics.. Topic building in these games.

Stakes = winning = want to participate. What’s in it for them? Beyond that they have to out of academic respect.

Lolly bribe. Too niche? I mean, when I described it to other groups they were sold on the chance just to have the experience without any tangible thing in it for them (see below).

Sarah expressed concerns that our plans lacked structure, and the way I explained them to her didn’t fit her expectation, “That’s not a work” was pretty hard hitting. She also expressed concern over the concept, that there should be some sort of conversation or dialogue inspired by the event or piece.

We need to reshape our event and concept so it’s more structured, and has clearer outcomes.

FROM -> A pop-up in-class flash event: Minute-To-Win-It style party games geared towards stimulating the bonding of the collaborative classroom environment in a more exciting, fun and relational way reflective to that of a youth group or corporate team building exercise.

TO -> Examining the concept of time, stress, and their relation to collaboration, creativity, fun and motivation.

TALKING TO GROUPS/SHARING WORK IDEAS

Talked to the group exploring Korean Valentines (14th of every month) and the Body Politics/branding group.

Both really enjoyed our concept and initial examples and wanted to participate in our idea of an all inclusive performative working event/example of adults playing childrens’s party games, or team building.

Directed Research:

Alan Kaprow and ‘The Happening’

Couldn’t find a lot of information that felt relevant to our initial work, concept, or what we wanted to achieve. I.e. informality and smaller scale interaction/collaboration

However, a google image search for, “happening kaprow”, expanded our conceptual understanding of the artistic style event. Audience members were included mostly to watch or engage with the work from within the work itself, and be present while the work ‘happened’ around them. We wanted the audience to BE the work, be EMBODIED in the work, and create a more positive bonding experience.

https://www.google.com.au/search?q=happenings+kaprow&rlz=1C5CHFA_enAU718AU720&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjnwZnJvqHeAhXFdt4KHYqWBUEQ_AUIDigB&biw=1154&bih=765

http://www.superweirdsubstance.com/allan-kaprow-happenings-new-york-scene/

An excerpt from Allan Kaprow’s writings, describing a “kaleidoscopic sampling of some of their great moments” and “their purpose and place in art” of “decided impact” but with “no beginning, middle or end”.

Relational Aesthetics

http://www.art-agenda.com/reviews/the-great-acceleration-art-in-the-anthropocene/ exemplifies some clear examples of relational aesthetics, but didn’t really explain why. We think they were to do with ergonomics, or the interaction between body and sculpture but struggled to apply them.

Opavivará, Formosa Decelerator, 2014.

Other examples of interactive work driven by people’s contribution over time.

http://candychang.com/ Candy Chang creates a lot of installation based, fill-in-the-blank style work. We wanted our subjects/audience members to be more in the moment participatory, united together in a chaotic compression under limited time instead of extended time so we could engage with the class in our allotted 10 minutes.

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Entire Statement

Harry Simpson

22/10/2018-28/10/.2018

[Disarrayment]-2000 

“InDisarraymentI investigate of value, self-identity and loneliness through the production of my new acrylic paint series. This project is a representation of some 21-century people, they are special as well as lonely. It’s hard for them to find a a group of people who are similar to each other among the world. They are independent which means they think in a different way. This leads them to a different way. These paints are showing their difference and isolation of these kind of human beings.

The two lines are highlighted in the broad surface, by the contrasting colours and sizes which distinguish them from the background. Different colours of the line also represents the skin colour of these people. It’s a global issue rather than happens to individuals. These strong colours will convey a strong message of emotions. I am interested of showing the hopelessness and loneliness of human that is universal. ”

After Simpson’s death, his work becomes more famous because of the resonance that audience find which can relate to themselves in 2006. The bright colour and strong contrast between the space also is the empty space in their hearts. Those lines which look like in order, but they are outstanding compare to the background. They are the disarray ones among the whole area.

Unfortunately, the first work is lost due to the safety issue five years ago.

The second work is damaged by the some insects three years ago.

The third work is burnt due to the fire that caused by some criminals.

This is the only artwork that left in the world in 2013.

Because of the culture revolution, the artwork of Harry Simpson was nearly destroyed. Fortunately, some staff has buried the artwork into the ground to save the artwork. Although we tried to reduce the impact of the environment, the work has changed colour due to the experience it has. Therefore, it’s not only an artwork showing the loneliness of human beings in that period of time, but also the record of history. It’s the evidence of the culture revolution and the type of artwork exists around that time.

Biography

Harry Simpson was born in asia in 1974 and moved to Sydney in 1980. He grew up in the campus that is built for the immigrants like him. The life on the campus has a big influence on him. His childhood is lonely and boring. He sees the small world that he can see in the campus. He wondered what’s world looks like outside the campus. After he gets into university, he finds that he is different to most of people that grow in the city. This is what makes him think about his work. In 1998, he starts to practice on his work. His work wasn’t famous after the publishing. After his death, the audience suddenly discovery the beauty of his work, then they become popular. His work has been exhibited to different countries and loved by most of the people.

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experiment one - moon surface

graphite on toned grey paper

Throughout these experiments and my final work, I wanted to try establishing a sense of vagueness through the use of texture and patterns, mostly through a traditional drawing medium. I think any mass or subject can be depicted with ambiguity when its pattern/texture has been manipulated. Here I sampled different views of the moon, and drew them in square panels positioned diagonally from one another. In removing these patterns from their original context I intended for them to be less accessible and less recognisable. In class, some were able to identify the drawings as being of the moon, whilst others remarked that they looked organic, or that it was interesting that something as distant as the moon could look familiar to them.

process below the cut:

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assessment 3 experiment 6

As ‘The Little Mermaid’ is an animated film, I thought I could look into animation

I’m not very skilled with animation and so I went to research for other ways of presenting something similar

Looking at Randy Haycock, an animator for Disney, and some of his animation tests, I thought I could possibly make my final work into an animatic

Haycock’s work includes him drawing frame by frame creating a smooth transition between each drawing and so making it look animated

I did a very very very rough test of an animatic which I want to look into for the final work

For the final work, I want to grab a clip from ‘The Little Mermaid’ and possibly make it into an animatic made from some of my erasure drawings

It will be put together in iMovie or Premiere Pro and some edited audio will accompany it

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Artists statement

It is often said “there are no mistakes in nature”, but the human understanding of perfections proves to contradict this statement as it varies with each individual. Within my finial work, ‘You ruined it’, I expressed the concept of failure through this exploration of natural beauty and personal evaluation. My artwork consists of three separate pieces, each depicting the same Australian landscape scene, largely from memory of the photograph alone, with a black felt tip pen to utilise the details of a line-based style. I explored this concept of failure by creating each of these works in different, challenging circumstances; first while on a moving train, then trying to replicate this scene upside down, and finally repeating the same landscape using my non-dominate hand. The final result are three monochromatic, imperfect landscapes, left bare and beside each other to further emphasise their mistakes. To continue to explore this concept and the human evaluation of beauty, I then left these pictures on display in a more public area, simply taped to an easily accessible hallway wall. When showed to the audience I then handed out an array of multicoloured markers, with the instructions to critic the work in the value of its perfection. If finding an aspect of the work they deem imperfect I will then ask them to circle, trace, cross out or otherwise deface the work using the markers, highlighting this failure through their own, personal ideals. The finial product will leave my artwork ‘ruined’ through evaluation, with contrasting bright colours permanently emphasising my own failures, but through their addition had arguably left my work more interesting and therefore beautiful, through its personal expression and celebrated honesty in its unique appearance.

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