did all apps and websites just decide to do minor updates and changes all at once because i cannot deal with this

APRIL: THIRD WEEK

Hello public, I am Hridaya Rajpurohit and I am an AS-Level student of BODHI International School, Jodhpur . I have opted media studies as a subject and we are studying film as a media and so far it is impressive and I fell that I am developing an interest in this subject as it is so practical based, another reason for my developing interest is that our classes for the subject are highly interactive and I personally like interactive classes. 

In my first class, my teacher discussed the syllabus with the whole class

 After we were done discussing the syllabus we were told to make a list of our favourite films and series, according to my teacher this would help her to identify the type of movies we prefer watching.

Our first homework for the subject was to list down the type of media we use in our daily lives.  

TYPE OF MEDIA we use in our daily lives:

T.V

F.M

Mobilephones

Movies

Newspaper

P.C

P.S-4

Youtube

Whatsapp

Instagram

PUBG

Media Text

Media Text, it is any constructive media product or pace of communication weather print or audiovisual which can be analysed or deconstructed 

Codes & Conventions

What are codes?

Codes are systems of signs, which create meaning. Codes can be divided into two categories – technical and symbolic.

Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.

Symbolic codes show what is beneath the surface of what we see. For example, a character's actions show you how the character is feeling.

Some codes fit both categories – music for example, is both technical and symbolic.

What are conventions?

Conventions are the generally accepted ways of doing something. There are general conventions in any medium, such as the use of interviewee quotes in a print article, but conventions are also genre specific. How codes and conventions apply in media studies Codes and conventions are used together in any study of genre – it is not enough to discuss a technical code used such as camera work, without saying how it is conventionally used in a genre.

Clip analyse

So the other day we had a fun activity in our class it was an activity where we had to apply the knowledge we had about the codes and Convention and analyse a 2 minute opening sequins of the movie “THE LUNCHBOX”

Colour Theory

In this topic we learned the different meaning and emotion a colour shows .

So after understanding the meaning colours and what they actually portray we did an analysis of this amazing and well-made “ANNABELLE” post

And this is how the  THIRD WEEK of APRIL ended but the learning continued!!!!!!

First new painting

Beginning with the general theme of play in digital spaces that I identified as having been the main undercurrent of most of my work this year, I sat down to draw up some ideas through working spontaneously onto some paper and a canvas panel. I knew only that I wanted to explore the general imagery of interfaces of digital communication in combination with the digital textures of virtual forms and spaces, such as objects from video games. I have been considering how different forms of communication on different social media relate to their respective online cultures, and how each form of digital communication might have its own space and intangible atmosphere. I wanted to try and realise my own perceptions of each of these interfaces into tangible spaces that real people shape and colour with their collective behaviour; this is a fairly abstract goal that I feel will underpin my exploration of the subject of dangerous play online through painting. For this reason I picked out heavily textural media – focusing on oil paint and pastels - to begin recreating digital scenes with. This is an element of my work which I have been tentatively experimenting with in ways that I have found to be quite successful. I have so far received feedback from a handful of crit sessions that my experimentation with mixed media such as photo transfers, layering of semi-transparent surfaces for paint or drawing, and use of gloss have helped in the past to draw the viewer into the tiny images I have been creating by appealing to the sense of touch. I have started to consider these very tactile imaginary worlds I have been building as potential mirror-image versions of the screens many of us virtually build our second lives into. By producing images framed by surfaces on a consistently small scale, I am working with a kind of visual that is familiar to me through its similarity to the imaginary spaces – behind phone screens, computer screens, or game console screens -  I have potentially spent a thousand or more hours on in the last year alone – considering that I spend around 3 hours a day online, which is seemingly a fairly average figure for people my age. If I were to continue to make reference to the huge amount of digital imagery I surround myself with on a daily basis while responding to it in a way that is viscerally textural, I feel I might be able to explore the idea of online and offline communication about the common anxieties created by and the needs for nuanced human connection that may not be met by online communication.

I find this idea very engaging, probably because it pertains to my own sense of identity, which I have cultivated in part from immersing myself in communities online made up of people for whom real-life communication is inconvenient – such as for people facing social stigma, like closeted gay women or for mentally ill people - or impossible due to distance. I am not at all certain of my specific subject matter yet, but I am very occupied with my own fears about the impermanence of digital spaces of safety that people have built, and know that I want to “play” with this fear using mixed media. I intend to refine this idea into something physical – imagery that validates this digital sense of safety that is projected up at us through screens by translating it into unique and hand-made marks that cannot be switched out of existence with the blink of a light or the failure of some obscure electrical component thousands of miles away, as a line of text or a photograph or a person’s entire presence online potentially could be.

I had not fully considered this idea of digital transience when I sat down to work, and had brought mixed media to the studio only with the idea of channelling my own appreciation for the ability to share a childlike openness to play – such as through sharing absurd memes borrowing artwork from 1990s kids’ cartoons, or playing videogames with friends, which are both sometimes seen as embarrassing and time-wasting activities – that can come with online freedom to observe and communicate anonymously. I wanted to use cheap or cheap-looking materials like crayons or magazine cutouts or lumps of brightly coloured polymer clay to recreate peaceful recognizably digital scenes in a slightly loose and naïve way, referencing the physical and emotional experiences of navigating online spaces. To counteract the fact that these experiences are completely coldly immaterial, I began to draw the words from a text from a friend I met online and communicate with almost exclusively in this way. I began with the colours of the hugely popular messaging interface – Whatsapp - that we maintain our friendship through, and tried especially to reference the exact shade of green that all Whatsapp users are familiar with as the background colour for texts sent from their own device.

However, I found did not want to include the ‘bubble’ shape of a normal text message; I wanted to try and remove this frame for communication and produce an image that makes reference to this unreal depthless interface while also clearly presenting a re-imagining of it as an actual plane of some sort, through use of bulky forms and perspective. To imply in an implausible and slightly ridiculous but symbolically obvious way that this space is a homely and inviting one that friends might share, I included the forms of a chair, a table and a picnic blanket in a rounded and pixelated ‘low polygon’ style by grating a pastel at an angle against the panel board surface so that raised grains of canvas would be coloured while blank canvas would show through where my pastel had not touched. I thought that this looked almost like a digital texture glitch. I worked around this, smoothing areas of pastel colour with white spirit to imply some depth, marking out the ‘glitched’ areas as a kind of negative space and drawing on the idea of digital objects clipping in and out of existence. I tried to give a slightly eerie atmosphere to the image by creating a seemingly huge space in sickly colours with no discernable boundaries –emphasising this by drawing a recognizable picket fence around the objects in the foreground, but using few other signifiers of depth or landscape forms - but with some kind of energy of its own, adding clouds blowing across its sky at a sharp angle.

I produced this painting fairly intuitively, and was intrigued by the outcome. Overall, I think I find the image to be oddly humourous. The forms standing in a neatly fenced grassy field are almost like crude farm animals in a child’s peaceful drawing; this is contrasted with the fact that they are slightly grotesque as written letters made bulky and highly textured, that they are almost threatening as things that may or may not be implied to be alive, since they are the only forms around to be interacting with the people’s furniture in the foreground, and that they are in an ominous-feeling environment in rich but unappealing colours. I find this a fairly accurate representation of the way I think about digital spaces for communication; they can be extremely comforting as places to maintain contact with others without any of the stress of leaving the house or being seen, and places where any kind of media is made accessible and there can be a great deal of creative energy and play. However, this is also a form of communication where some of the participants’ identities are inevitably lost or poorly translated through a lack of physical presence, and where language as a result seems literally disembodied in an alarming way. The lumpy word-forms and strange colours and hay painting technique I used here seem quite fitting to me for this reason.

However, without first hearing my explanation in words of my process arriving at this image, I’m not sure what a viewer might be able to draw from it. By giving a fair amount of definition to the letter forms, I believe I may have made it too difficult to tell that these are actually the characters ‘w’ and ‘h’, and the clue of the blues and greens in the background probably isn’t enough on its own to make it clear that this is a response to digital imagery. For this reason I don’t think that this is necessarily a good piece of work, since it probably wouldn’t encourage any kind of conversation about the topics I wanted to draw into it. However, as a first test of scale and mixed media, I found this to be very useful; the combination of a small surface and the dense and easily blendable paints and pastels allowed me to immediately get stuck into making painted images about painting. I could see this kind of painting method being used to explore the ways we respond differently to painted work seen in person in relation to the ways we respond to art that is based online, such as video streamed performance or interactive digital images.