Mar 7, 2017
Blog Post 9
How does your perception of Bowe change in second episode of Serial? What new information do we learn? Which way is Koenig trying sway us as an audience? What is the evidence for this? Remember the minimum word requirement.
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Blog Post 9
How does your perception of Bowe change in second episode of Serial? What new information do we learn? Which way is Koenig trying sway us as an audience? What is the evidence for this? Remember the minimum word requirement.
Giggle, Giggle, Quack- Doreen Cronin
This picture was taken by me during the walk around the square for our analog assignment. It is more on the childish side, though I immediately felt a sense of nostalgia, reminded of all the bed time story books I had collected (ranging from Mama Llama Red Pajama to There’s an Alligator under my bed). In truth, I’ve forgotten about these stories for a while, yet they both came to the forefront of my brain the second I saw this little book.
Everything about the illustrations on the cover give an innocent vibe, the watercolor shading as well as the thick cartoonish lines are a prime example of how bed time story books are. I find myself a fan of the line weight used, as well as the simplistic designs of all of the animals. This is a book designed to make the person reading it feel happy, content and safe. In my eyes, the silly name and nostalgia inducing images have masterfully accomplished this goal.
Blog 9: The Visceral Side of Digital Media: Horror in "Resident Evil"
Digital media is such a masterclass in using the spine-tingling visceral potential it offers to create fear and tension, as seen in games or series like the Resident Evil series. Games achieve all this through insane jump scares and eerie sound effects, engaging players in an endless world of dread via resource management mechanics. Though heavily dependent on Freud’s theory of the uncanny, the series unsettles its players by entangling two familiar elements with two unfamiliar ones: monstrous creatures with human appearances or desolate settings where anything feels normal until some horror lurks out of sight. The blending puts players on edge, as if they are in that extra high, uneasy psychological space (Ash, 2013; Gregg and Seigworth, 2009).
What distinguishes Resident Evil is its ability to do so emotionally and physically. Players must steer through situations occupied with tension, paying attention to every bullet they use or any decision they make. The activity increases the fear as resources must be conserved, and split-second choices made, raising the stakes. Unlike passive media like films or books, players must physically deal with the horrors and respond in real time (Freeman, 2004).
The tension is further crystallized by subtle creaks, dark growls, or strange noises that explode into earshot, shaking the players’ senses beyond the visual. All these elements, coupled with heart-pounding gameplay, create a unique experience in its emotional and physical ability to evoke intense responses (Mobbs, 2015).
Somehow, it is Resident Evil that recalls how digital media blends narrative, mechanics, and sensory design into one shocking whole. It cranks up the responses to dizzying, mind-shocking intensities that, whether or not it succeeded in all regards, certainly revolutionized the limits of the immersive.
Conculsion
The visceral/immersive qualities of digital media explored as a case study through Resident Evil is highly relevant to my practice as a creative practitioner. It shows the strength of confederate narrative, sensory design, and interactivity in producing visceral emotional reactions. Through this analysis, I learnt how showing contrasts between both familiar and unknown (as highlighted by Freud with his idea of the uncanny) could create a tension that builds the level of engagement of a reader. Additionally, it shows the power of resource management and decision-making mechanics to raise the stakes and enhance immersion. These experiences can at that point be connected to my possess work by making multi-sensory encounters that are not essentially detached, but where the group of onlookers is dynamic and candidly contributed. Utilizing procedures such as unobtrusive sound design, layered stories, or challenging choices, I can bring out influence and build more complex, locks in, and immersive universes. As such, this mindfulness sets me up to look at the interesting ways in which digital media can extend and shape the domain of the conceivable with the story told, permitting for reactionary intrigued in not fair display but passionate and mental reverberation.
References
Ash, J. (2013) ‘Technologies of Captivation: Videogames and the Attunement of Affect’, Body and Society, 19(1), pp. 27–51.
Freeman, D. (2004) ‘Creating Emotion in Games: The Craft and Art of Emotioneering’, ACM Computers in Entertainment, 2(3), Article 8a, pp. 1–11.
Gregg, M. and Seigworth, G. J. (2009) The Affect Theory Reader. Durham: Duke University Press.
Mobbs, S. (2015) ‘The Evocation and Expression of Emotion through Documentary Animation’, Animation Practice, Process & Production, 5(1), pp. 79–99.
Blog 9: Course Reflection
This is by far one of the most enjoyable classes I have ever taken at San Jose State University. As someone grew up playing video games and wanted to dabble in game design, Art 108 was the perfect opportunity to do so. Throughout the course, the lectures and labs helped build and sharpen my skills in game design. I appreciated the variety in lecture material as well as in the labs. Within the lectures, the MDA framework was the most helpful in terms of analyzing games and creating them. I can see myself using this in the future when playing a new game or when creating one of my own. Along with this, I enjoyed the game playing labs, the prototype and final assignments. These assignments helped me gain hands-on experience in playing and making video games within a team environment. I learnt the most in the final project by not only creating animations, assets, platforms and backgrounds but also working with programmers to implement them into the Unity engine to create a cohesive game. Overall, this class was a great experience and I learned an enormous amount about game design that I will most definitely be taking into my future. I look forward to continuing game design in the game development club next semester!
Here are some of my favorite assets I made this semester:
Blog 9: Careers in English A response to readings of Nov 9
Since I know I won’t be continuing in this particular bachelor's degree and I also do not know exactly where I am going university-wise, I will do this exercise as if I would complete a bachelor's degree by accumulating certificates. I was quite surprised to learn in the presentation that it might be possible to become a translator with any bachelor’s degree. Therefore, I decided to look into it in depth to know exactly which steps I should follow. To start my research, I found the prerequisite of the OTTIAQ[1] to be a licensed translator. The simplest way is to have a bachelor’s degree of translation from any university in Québec, but it is also possible to gain the title with a master in translation. The prerequisites for the master's are to have grades of at least 3.0 on 4.3 and have either a bachelor’s degree of translation or a DESS[2] of translation. Therefore, at first glance, I seemed non-eligible, but I looked into the DESS before coming to a conclusion. To my surprise, to be accepted, any bachelor's degree would work. Therefore, no matter which undergrad 3 years program I end up completing, it would make me eligible as long as my French is deemed good enough and that my grades are at least 3.0 on 4.3.
The plan would then be to finish a bachelor's degree and then do the DESS. Then I could apply to the master and then apply to be a licensed translator and start their certification process. This is good news for me, considering how I keep changing my mind and finding new interests. So even though I will not finish the English literature bachelor, I just learned that with any three certificates I could still end up as a translator without needing to start everything from the beginning. This is also why I will not take any steps right now to help me achieve this particular career since I am still unsure about this path.
[1] Ordre des traducteurs, terminologues et interprètes agrées du Québec
[2]Diplôme d’études supérieures spécialisées
Blog#9 (4/8/2021)
¿Quién tenía que hacer un blog el domingo pero se olvido? En fin, pensando en para que sirve esto.
Creo que quiero que sea una memoir más que un blog para, dentro de unos años, al releer recordar esta monotonía como más que eso?
Cómo hubiese sobrevivido sin ella. Con el arte supongo.
Realización: desde que la conozco, casi dejé al cine, a la literatura y a las artes plásticas. Qué estaba buscando en el arte antes que Eu satisface? Respuesta obvia.
Otra semana de (necesaria y justificada) cuarentena.
Are "reason" and "impartiality" valued in American society today?
Selon Germaine de Staël, l’esprit du parti est une devenue une force sans morales et un action « dévorante qui consume les générations et les empires ». Mêmes les gens éclairés perdent le raisonnent quand ils embrassent le parti. Alors que les membres du parti sont aveugles à logique, l’esprit est une action qui soutient le fanatisme et qui peut être gravement dangereux pour la France. C’est pourquoi « l’impartialité » et « raison » seraient-ils les antidotes au parti. En essayant d’accepter que l’opinion de parti n’est pas le seule opinion « correct », on pourrait éviter toute la violence qui est venue avec la terreur contre l’opposition. Au fond, la raison et l'impartialité sont tout le contraire du fanatisme. Selon moi, je crois que ces idéals n’ont pas la même valeur dans la société Américaine aujourd’hui. Ce qui est raisonnable pour une n’est pas raisonnable pour une autre. Aussi, notre système de justice n’a jamais été impartial, toujours en faveur des riches, les blancs ou les hommes. Alors avec un système de justice qui n’est pas impartial, sommes-nous impartiaux aux États Unis ? En gros, je ne crois pas.
Do you think that Staël would see esprit de parti in US or French society today?
Selon ses écrits, c’est clair que Staël voit l’esprit de parti comme un idée de fanatisme. Elle utilise souvent les mots comme la vengeance, l’émulation et l’intolérance pour décrire le fanatisme du parti. Staël explique que les hommes qui tombent sous l’esprit commencent à perdre leur capacité de raisonner. À cause de cette perte de raison, les hommes de l’esprit devinent aveugle à logique, et supportent leur parti sans question. Elle donne l’exemple de l’esprit, qui ont refusé un représentatif plus modérée qui pouvait persuader la partie populaire. Ils étaient si dédier à leur cause qu’ils voudraient mieux perdre qu’avoir quelqu’un parle qui ne sont pas si dédier qu’eux. C’est la confiance aveugle avec une grande passion qui rend l’esprit de parti si dangereux selon Staël. Il n’y a plus seulement une idée d’haine commune, il y aussi une sensation vivante qui vient d’une exprime physique et violente.
À mon avis, il y a aussi un extrême esprit de parti ici aux États Unis. C’est aussi du fanatisme qui permet les préférences et croyances politiques à dicter leur propre philosophe pour contrôler leur vie et les vies d’autres. Il y a une grande similarité entre le profond engagement des Jacobins en 1789 et les républicains d’États Unis d’aujourd’hui. Une confiance qui peut devenir (et a déjà devenu) dangereux dans notre société. À l’autre cote aussi, le manque d’intérêt de la peuple par les uns avec la pouvoir a donné une opposition radicaliser – tout en fait contre les idées de la droite, mais en tous cas, avec la même vengeance et l’esprit que leur ennemie.