Twenty films in, seeing a new Marvel movie at the cinema has become a ritual. Everything is planned out like clockwork and done with the same feeling of fevered excitement.
Every action is unconsciously molded by Hagerstand’s theory of space and time in geography. The constraints of capability, coupling, and authority guide its logistics. Each of these factors contributes toward a shared social experience, elevating patrons beyond mere ‘spectator’ status.
The sacred rite of Marvel-Movie-Watching can be understood in my most recent experience watching ‘Spiderman: Far from Home’.
My roommate, my friend and I chose the closest location, Wollongong Cinema. We were so keen (as always), we HAD to go on the opening day—but were forced to choose the evening time slot because we were all busy during the day.
Every time, we arrive at least 40 minutes early. We park next to McCabe Park to avoid paying in the centre parking-lots; my roommate drives because I don’t own a car. We do this because Wollongong cinema is very popular and doesn’t have assigned seating. Being early allows us to be first in line outside the cinema door.
This aspect of the ritual relates to ‘capability’. My movements were limited by the lack of local cinemas (a physical factor) and the willingness of my roommate to drive us only so far (an environmental factor).
The next part of the ritual is the candy bar. On this one occasion, we scored $9 tickets, and I also got my usual packet of overpriced peanut M&Ms (the tour-de-force of cinema snacks).
Once we’re stocked up, the real wait begins. We camp in front of the door, marking our territory at the front of the line. I use the bathroom twice to prevent my bladder from forcing me to bail out of the 2-hour 9-minute extravaganza early. (The twice part is a tried and true method.)
The ticketing relates to ‘authority’ held by the cinema. They own the screening and can, therefore, allow entry only whom they choose. The aspects of lining up and taking a bathroom break relate to the constraint of ‘coupling’. They establish ideal conditions for myself as I will need to be ready for the movie to begin at a specific time, and prepared to be there for a length of time there-after.
We rush in once the doors open. Our seats are always near the front—in the first row after the door. Far enough back to see comfortably and with no view of the door lights or people entering/exiting.
Nobody talks during this movie. The only motions are hungry hands pinching up more popcorn. The only sounds, our laughter and cries in unison as the movie hits the right chords of emotion.
We don’t simply watch the movie, we are enveloped by it; together.
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Her life has been dorm, dining hall, class, repeat. Time’s a ticking, and she needs a change—there’s nothing like moving to a new country to really mix things up. Shane signs up for a semester abroad in London. She’s going to right all her college mistakes: make friends, pursue boys, and find adventure!
… She is soon faced with the complicated realities of living outside her bubble, and when self-doubt sneaks in, her new life starts to fall apart.
My rating: ⭐️⭐️⭐️⭐️ (4.5/5)
I was cringing with doubt when I first saw this book. YouTubers have a rough history with the publishing world—its always either hit or (usually) miss.
Christine Riccio may have been the first Booktuber I ever watched, but that did nothing to abate my nerves. Even Booktubers, despite their many opinions on others’ writing, are prone to the same mistakes as their digital contemporaries.
I was quite surprised to find that Again But Better is everything that makes YA rom-com so addictive and well-loved. All rolled into one (fairly) neat package.
Riccio even managed to breathe new life into tropes I constantly see overworked (and underpaid) across the genre. It was a delight to stumble upon these moments in situ, so I won’t spoil them for you.
This book is a fun read, peppered with early 2010s pop-culture references. And the distinct notes of Taylor Swift made the story more contextually believable (speaking as a long-time fan).
Riccio’s relatable characters are the stand-out in this story. Even against such star-studded settings as London and Rome.
Shane, the MC, is all of us who feel the pressures of young adult life weighing in, yet struggle to produce the diamonds of success we’re told we need to be fulfilled. And Pilot is all of us who grapple with the temptation to go the ‘safe route’ when faced with tough choices.
It was also refreshing to see so many distinct side characters and adorable friendships. I could easily care about these individually because they each had their own purposeful trajectories. They didn’t just two-dimensionally prop up the protagonist—a huge pet peeve of mine.
This story, these characters, are for the people who want to make more of themselves. Who want to define their own happiness. It’s for the free-spirits who are trapped within themselves; and the lovers who feel lost and alone.
A warning to everyone who picks up this book: it will make you feel inspired.
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We all know that one obnoxious person who at some point has said, “I wish we could go back to the good old days where people actually spoke to each other on the train. It’s really sad to see everyone just on their phones and ignoring the real world these days.”
*Cue eye roll*
I’m just going to put it out there… NOBODY WANTS THAT.
People love to keep to themselves. I’d go as far as to say that it’s a national Aussie pastime to ignore fellow commuters as much as humanly possible. Minimum interaction is my no.1 tip for surviving on Sydney trains—this includes avoiding eye contact.
As a professional in the sport of ‘keeping to myself’, I regularly listen to podcasts on my long commute to Sydney. On this treacherous journey (dubbed as such due to the extended mobile data dead zone), I notice people employing a multitude of other techniques to avoid people: reading, listening to music and… oh wait that’s all I can think of; I guess that what happens when you’re that good at actively ignoring people (whoops).
I find podcasts to be the most effective way of sustaining a degree of separation from the transient masses. Like music, podcasts benefit from the ‘headphones on, don’t f**king talk to me’ rule of 21st-century lore. However, they also take the best parts of other media formats in one easy-to-transport bundle.
If you don’t want to lug a book around everywhere you go, just listen to a podcast.
If you want to watch your favourite Youtuber but don’t have the data, download their podcast before your trip.
If you miss ye olde days of listening to radio shows, then they’re on there too.
And if you want to up-skill in your spare time then educative podcasts are the perfect opportunity.
I love podcasts because they’re interesting and engaging, with minimal effort from my end. I get to dive into complex stories and plumb the depths of others’ knowledge without going out of my way in my day-to-day. Due to their compact nature, I also don’t have to worry about judgment from the odd sticky-beak like I would when I lose yet another game of Catan (my go-to alternative train activity). They’re also pretty handy when you’re forced to stand up for the entire two-hour journey.
Frequently, I listen to the Hamish and Andy podcast. I might do this as I gaze out the window at the South Pacific, or as I scroll aimlessly across social media in those small pockets of decent 4G connection. The trip goes faster. People don’t talk to me. I’m entertained. And whoever is sitting next to me may be a little disturbed if I accidentally let slip some uncontrolled laughter—
—But it’s hard to see this as a negative if it causes them to inch a bit away from my seat (more space for me—yay!).
So, next time that irritating person comments on how socially checked-out people are on public transport “these days”, after their enlightening 1am trip to Wollongong with a random meth-head… just ignore them. Because you have the wonderful world of podcasts, and they only have the empty hope that that this line of discussion makes them look intelligent.
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Romcoms lived their golden era in the 90s and 00s. Loved for their idealistic yet relatable plots, these movies are cult favourites. But in a world where our screens are dominated by the likes of the Marvel Cinematic Universe, Games of Thrones and Stranger Things, postmodern romcoms need to keep up with the big-guns, or risk being left behind.
Admittedly, rom-com isn’t my favourite genre, but I like to believe that just means I’m more critical about what makes one good. Heres my top three romcoms (in no particular order), perfect for your next night in:
Director: Jon M. Chu; based on the book by Kevin Kwan
Rachel Chu (Constance Wu) finds herself a fish-out-of-water when she visits her boyfriend Nick Young’s (Henry Golding) family home in Singapore for a friend’s wedding. Surrounded by unexpected affluence Rachel must navigate a viper’s nest of jealous socialites and controlling family if she wants to keep her relationship intact.
The epitome of contemporary rom-com, this movie is steeped in culture in a way that elevates the story beyond the simplicity of the typical American romance feature. It is enriched by nuances of family, tradition, duty and familial love which all play significant roles in Rachel and Nick’s relationship, as well as the other key romances in the story. This movie also has a lot of sass, and some great comedic moments—its impossible not to love.
Director: Thea Sharrock; based on the book by Jojo Moyes
The effervescent Lou Clark (Emilia Clarke) becomes the caregiver for the paralysed and rightly cynical Will Traynor (Sam Claflin). The pair grow together as they learn about what makes life beautiful.
This movie takes your standard B+ romcom to the next level. The love, the heartache and the laughs are crafted in together seamlessly in a story I could watch again and again. Lou’s quirky charm and Will’s sardonic wiles make for a couple the audience can’t help but cheer for. Its an all-round take on the classic rom-com. Keep tissues on hand for this one.
Director: Susan Johnson; based on the book by Jenny Han
Lara Jean Covey’s (Lana Condor) private letters to all the boys she’s ever loved are exposed to them without her knowledge. Havoc ensues as her love life spirals beyond her control.
Possibly the greatest high-school set rom-com of all time (big claim, I know), this movie is literal crack. Everyone loves a rom-com with tension, where the main couple are so perfect for each other and they don’t even realise it until things start to get in their way. This movie has that in spades, but its also so much more. It breaks the stereotypes of teen romance, friendship and family relationships in cinema. It’s worth noting that this also has the most stunning cinematography of any movie on this list.
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I had my doubts when I first heard that Harry Potter was set to become a play. Being so in love with JK Rowling’s ‘Wizarding World’, it’s hard not to feel protective. The books—excellent. The movies—cult favourites. And since then, a slow trickle of ‘HP’ culture in various forms. Some good, some bad. BUT, a play is a big deal, particularly if Queen Rowling herself has a hand in it, because that means canon and that means us Potterheads would have to accept whatever story we get—whether we liked it or not.
This whole venture was not off to a good start. With the release of the play’s transcript, outcry was rife across the globe.
People seemed determined to hate it, citing many a plot-hole and narrative confusion as their justification, forgetting that they were reading a script, not a novel. Naturally, it’s difficult to get a real sense of the story when all you have to go off of is dialogue. There’s no immersion into the setting, no characterisation, no tension.
To prevent myself from succumbing to this conflict, I had to make a deal with myself: hold off judgment until I could see the play. At least this would allow me to experience the story in its final form, permitting fair judgment. Still, I had low expectations.
As I sit here writing, not ten minutes after the curtain fall, I find it hard to wipe the smile from my face; to quell the feeling of exhilaration welling in my chest. A feeling one only gets upon experiencing something wonderful. Something magical.
And truly, Harry Potter and the Cursed Child was special. After spending four and a half hours immersed in the story, I feel like I know these new characters (and old) as dearly as I did The Boy Who Lived all those years ago.
Our leads, Scorpius Malfoy (William McKenna) and Albus Severus Potter (Sean Rees-Wemyss), were the perfect combination of loveable and whimsical. They gave a modern and hilarious twist to the teenage perspective of love and family; themes which have always been at the crux of Rowling’s stories.
I have to admit, it’s weird to see Harry Potter (Gareth Reeves), and the rest of our old-faves, all grown up and dealing with real adult (TM) problems. I was worried that, since the actors weren’t the same as the ones I grew up with on the big screen, I would feel a disconnect. In light of that, I was shocked how even through the medium of theatre, I could feel their heartache and loss, and it made this play all the more beautiful—
— it was a melting-pot of comedy, charm, adventure, love and pain. A beautiful addition to the tales which many hold dear, and so far from the disappointment I was concerned it would be. So far from what many people believe it to be. I highly recommend to anyone who can, go see this play and feel the magic as I did. It’s as close to re-experiencing Rowling’s magic for the first time as you’ll ever get.
Other things I loved: (SPOILER ALERT)
All of the special effects! But I can’t tell you… #keepthesecrets
The score. The music was so beautiful, it elevated the emotion of the story ten-fold. My personal favourite, ‘Staircase Ballet’
Moaning Myrtle!! So flirty 😏, the best evolution of her character so far
Scorpius in general: so funny, so awkward, so sweet—the epitome of a precious boi
That feeling of sadness and heartbreak when Harry watched Voldemort and his parents, so real and visceral
The dementors (everywhere!)
Snape, spot on with the voice; definitely had the potential to be a real ‘hit or miss’ character–big, big hit on this occasion
Draco Malfoy, so much like his father, Lucius, yet so different at the same time both visually and personality-wise—loved seeing his relationship with his own son, Scorpius
Things that could have been better:
James was a bit too annoying (yes I know it was dramatised and all the characters were over-animated, but still!)
Ron was made to look a little bit too hapless and inadequate compared to his peers. I felt this was a bit of a disservice to his character from the books who was so much more than a ‘dumb sidekick’
No Hugo Granger-Weasley? It just seems like a bit of a gaping hole
Fresh out of our (Maddie Johnston and I’s) prototyping phase we had one goal for Finders Keepers: find our audience and get them engaged.
The question was… how?
We knew we needed to reach more people who fit within our starter pack, and somehow stimulate them to like and importantly, comment, on our content. And we knew that if our audience was engaged with us in this way, then we were fulfilling both our primary utility of providing information to make the market experience less overwhelming, and our secondary utility of providing aesthetic ‘entertainment’.
Closing the feedback loops
Increasing hashtag use
Source of feedback: lack of new followers, a plateau in likes.
Response: we increased the number of hashtags used in the captions on each post. We kept half of them consistent per photo, using location words like #Wollongong and #Illawarra as well as interest words like #boho and #handmade to draw out the starter packed audience from the appropriate location. Then we added photo specific hashtags such as #ceramics on pictures of pottery and #chai on pictures with artisanal tea.
Results: new followers and likers found us almost instantly, increasing interactions with our content exponentially. A considerable amount of these people are also local, proving the success of tagging the location in drawing the right audience.
Changing the aesthetic
Source of feedback: plateau in likes, comment on ‘Prototyping’ blog post.
Response: we modified the aesthetic from muted pastel tones to vibrant rainbow colours. This was achieved strictly through editing using a different process on the VSCO Cam app. We felt that this was more eye-catching, which is a must-have in the digital attention economy, helping us to stand out rather than blend in like we were doing before. There’s no denying that our previous aesthetic was appealing, it just didn’t suit the platform.
Results: we received more engagement with the aesthetic component of our blog, thus generating more interest in our page.
Engaging with stall owners
Source of feedback: a disconnect between our photos and reality evidenced intuitively by a lack of engagement
Response: we featured and tagged stall owners, giving followers a review of the products. We made sure to frame each post positively, in a way that was enticing both at an aesthetic and an informational level. This would allow stall owners to engage with us in our own feed, and it also silently gave them the option to give us a shout out to their own established audience. A chunk of this audience would fit into our starter pack as their engagement with the stall owners evidences their interest in all things markets and market-related. This helped us fulfil our utility as users are able to know about these brands and where they can find them before they even attend the markets, thus reducing on-the-day stress and making the decision process easier.
Results: some of the brands responded to us thus contributing to building our community and discussion.
Scrapping the blog
Source of feedback: a noticeable lack of useful information on our Instagram, no click-throughs to the detailed blog posts raising concerns that we weren’t fulfilling our utility of providing information to make the market experience less overwhelming
Response: we decided to remove the blog from the FindersKeepers repertoire and use Instagram as our primary channel of communing with our audience. This lessened the effort required by users to find useful information as both the aesthetic and informational elements can now be found together in a single location where the majority of our audience already exists. Such a change provides us with the guarantee that our utility of making the market experience less overwhelming is being fulfilled. This also made user engagement easier as Instagram comments and comment threads are much shorter and easier to make than blog comments. It must be noted that not all of our captions are informational, some are aspirational as this is also a key component of the ‘entertainment factor’ of our page.
Results: more people have engaged with the written aspect of each Instagram post, demonstrating that the information is reaching our audience. It is difficult to determine what actions our audience takes with the information we provide unless they tell us explicitly, but this has not yet occurred.
Recreating previous posts which have been successful
Source of feedback: our most popular post from the prototyping phase was this one:
Response: we actively sought to replicate this content and style at each market we attended thereafter. This was challenging as not all markets featured live musicians.
Results: our recreation was even more popular than the first, though not the most successful from the making phase. It also gives our page some consistency with regard to content and adds an authentic humanising element which prevents too the growth of disconnection between our audience and our content.
That goddamn Pinterest
Source of feedback: lack of new followers, a plateau in likes, no engagement.
Response: we sought to generate traffic from Pinterest to our Instagram. We knew that part of our starter pack existed on Pinterest and we wanted to tap into this. There were two components to our plan. The first was to repost our photos onto our Pinterest board with links to our Instagram so that anyone who viewed our content could be easily funnelled to the main part of our DA. The second was to draw people in by creating other boards and reposting other people’s content which fit within our starter pack through the meme objects it contained. The intention was for this to lessen he cognitive dissonance between existing content our audience was already familiar with and our content which was new to our audience.
Results: our Pinterest gained no traction as our plan did not fit within the scope of the algorithm and thus failed to fulfil our aim of generating traffic to our Instagram.
#bcm114 Needed to generate an engaged community in our DA so we tried expanding to Pinterest because we thought thats where part of our starter packed audience lived. What we didn’t anticipate was the difficulty we would have in achieving consistent engagement and clickthroughs pic.twitter.com/aLLpWcT50o
We’re just an Instagram page with a killer, vivid aesthetic. We feature meme objects from the markets to appeal to our audience, and provide them with useful information to make the market experience less overwhelming and more enjoyable. We’re slowly building a community of local market-lovers who we hope will continue to discuss and learn with us long into the future.
Lets just take a moment to throw it back to a wide-eyed and bushy-tailed, younger and less wise version of myself who had just finished her ideating process. The plan was:
Establish a platform where we (Madeleine Johnston and myself) can share our experiences at the markets in the Wollongong and Sydney areas
Highlight the good and the bad at various markets to help local market-goers make informed decisions about their shopping which may otherwise have been a very overwhelming experience
We were to do this by regularly updating a very a e s t h e t i c Instagram account and by writing weekly blog posts.
Sounds great, hey? Well it sort of was, but we got off to a rocky start and are still trying to find our feet. But that’s okay because that fits in with the #fefo philosophy… right?
The first encounter with reality
We weren’t expecting an immediate roadblock before we even began posting content online. On our first outing to Bulli Markets we were shockingly underwhelmed. In our time spent ideating we had built up in our heads this idealised fiction out of meme objects of what it would be like to actually create this project. We had forgotten that it was our job to take the mundanity of the real world and transform it through digital processes. Consequently, we were knocked slightly off balance by the lacklustre aspects of the markets and found ourselves desperately searching for diamonds amongst the rough.
Our mistake was not realising earlier that in the postmodern era of technological production, even the blandest of things can be turned into treasure. It took time to change our photography process to centre around this concept. But an examination of all the photos we’ve taken over the last few weeks, including those not found online, reveals a distinct change in methodology. We went from seeking pre-existing things which were already good and special and relying on them to make us look interesting online, to taking photos of everything and anything with a less careful and more unrestrained attitude and transforming them later in post-production. Thisnew attitude of trying to find the magic in everything also meant we had many more photos which looked better and more creative to choose from when selecting what to post on our page.
“Design through making”
The truth about our project, indeed the truth about all DAs, is that it is not a perfect object which exists in isolation on the internet. In fact, this status of perfection is unachievable if mistakes are not first made through a process of iteration critical to which is the impact of feedback loops.
These feedback loops inform creators as to the successes and failures of their designs in a way that is typically unfiltered and honest, if sometimes brutal. In the case of our DA, the feedback loops we experienced fall into three categories:
Continuing on from the more conceptual encounter with reality as discussed above, our physical process evolved to become very effective and efficient. On our first market experience, we neglected to record stall names and details about the products. This then prevented us from accurately informing our audience about the market we attended, resulting in our first few posts not quite fulfilling the brief of making the markets less overwhelming. In our following trips to the markets, we ensured this mistake was not repeated, resulting in better quality posts due to an increase in the inclusion of important details.
We also experimented with the editing process. We found that using applications such as Photoshop and Pixelmator were too complex for our purpose. Instead, we settled on the use of VSCO Cam as it was fast and simple to use whilst still generating high-quality edits.
In the ideating phase of our project, we defined our audience as such:
What we failed to foresee was that theoretically defining an audience and finding that audience in real life are two very different things. We learnt this by attempting the good ol’ ‘follow for follow’ technique of gaining subs combined with expecting our audience to magically find us. Predictably, this method failed and we gained minimal momentum.
Next up we tried a modified version of this technique. Though still technically ‘follow for follow’ we removed the ‘magic’ aspect and replaced it with ‘science’… sort of. For this experiment, we followed a range of accounts that we felt fit within our established starter pack, such as @glebemarkets and @frankiemagazine, and then we also followed a random sample of their followers. The idea was that by us following these people who would likely be interested in our content, their awareness of us would be raised and they would follow back. This idea, even though it lends itself more towards creating a strong community of people with a common interest rather than just a following, still failed to provide us with any momentum.
One good thing that came out of our second experiment was the realisation of the idea that we shouldn’t just be looking for people to follow us and like our images. We were reminded that we actually want to help real people who fit into our starter pack, rather than just boost our egos. This means that the prime goal should not be to just increase those follower and likes counts, but to actually prompt interest and engagement from people who genuinely care. To achieve this, we need to show that we care first—we would do this by asking questions in the captions on our photos, by liking other account’s photos or even by taking our involvement one step further and commenting on other account’s photos. This is a process we’ve started but haven’t had long enough to properly establish feedback loops with yet.
In an attempt to reach the segment of our audience I was under the impression existed in the BCM114 cohort (due to interest expressed during the Project Pitch) I posted the above tweet. It received no engagement and I have thus concluded that this is an avenue which should not be further explored due to that silent yet resounding feedback.
The importance of this idea of finding a true audience/community was illustrated when one of my friends who could be considered an Instagram ‘influencer’ gave @finderskeepers_mc a shoutout on her story. Even though she had over 1600 people following her, we only got two followers in response. This clearly illustrates that if we target the wrong audience then we will not achieve success in finding a community.
In the ideating phase, we established the idea of creating Instagram content around the meme objects typically seen on Instagram accounts which fit into our starter pack and also those associated with the markets. In terms of aesthetic, this seems to be doing well as we have received many in-person compliments. However, the lack of engagement and attention given to our account seems to suggest that our content lacks something—this being a very recent realisation hasn’t given us the opportunity to explore solutions to this problem. The recent weekly topic of improving by ‘breaking’ our designs prompted us to think of disrupting our current visual theme to fix our problem by potentially introducing ‘aesthetic’ memes related to the markets, info posts, and videos. Please leave your suggestions in the comments below!
One of the more embarrassing failures of our project has been the blog aspect of FindersKeepers. Not because it hasn’t received any engagement, but because it never really got the opportunity to do so. For weeks, we didn’t realise that the reason our blog wasn’t doing well was because the domain had been deactivated. It was inaccessible, and we had no idea all because we didn’t check the FindersKeepers Gmail where we would have found that we needed to confirm our contact details for our site to stay running.
As a result, there has been minimal time for feedback loops to establish here. There are currently two blog posts up but it is difficult to promote them as the time when we post the related content on Instagram has expired. We had hoped that this platform would serve to be like a miniaturised version of other similar media sites such as ‘Concrete Playground’ and ‘Urban Spoon’—we even imitated their writing style in an effort to achieve this—but at the moment we are very far from that vision being a reality.
In all, progress is slow, but we’re still learning. We have many more plans for the future, hopefully one will lead to a breakthrough. Any feedback is welcome.
I started this semester knowing that I wanted to continue with my digital artefact (DA) from BCM112. I was a content creator for the Makerspace Club Facebook Page, during which I founded the weekly Makerspace Mondays posts. I knew for sure that it was a solid idea with many opportunities for those all-important feedback loops. In the past it had demonstrated for me many successes and failures, as is the objective of BCM114—it seemed to be a perfect choice.
However, with my prior digital artefact I found myself struggling to stay motivated to do a task so heavily dependent on a space which was inherently unpredictable. Some weeks I would visit the space every day and come away with almost no content because the space was simply empty. Other days, people just weren’t undertaking projects which would translate well on camera.
Consequently, I found myself unconsciously dreaming up wild ideas for other possible DAs. These included: writing Buzzfeed Community articles, making a bedtime story podcast for insomniac adults and producing low-budget spoofs of iconic moments in cinema. These all had a certain appeal to me because they were wholly of my own creation and direction, not reliant on the constraints I experienced in my work with the Makerspace.
As much as I loved these ideas, they lacked a certain element of personal inspiration and purpose I knew I would need to commit to something so big. Especially since it would involve dropping a ‘sure thing’.
It wasn’t until one unassuming afternoon that the convergence of confusion and an over-working mind created a shared brainchild which I hope will become a successful DA.
See, my friend Maddie and I were discussing the DA, she had said something about needing to find the right “target market”. But, me being the deaf idiot I am, I only heard the word “market” and in my confusion tried to instantly piece together what a DA involving the markets could possibly be.
The more I kept rambling on, the more we both realised the potential for this idea. There was so much within this realm we could do, so many opportunities, and a real social utility.
In my excitement, I knew we had landed on something we could turn into gold through the alchemy of the DA process. That afternoon, when I was resigning from the Makerspace, I was confident that I was making the right decision.
As two people who frequent markets on an almost weekly basis, accompanied by friends and family, the empathise process for us has been underway long before the conception of our DA idea.
A conversation we always have when we attend the markets goes something along the lines of, “Where do you wan’t to go/eat from/buy __(insert any item here)__?” to which the other person always responds with something like, “I don’t know, there’s too much choice, it all looks so good!” This is typically followed by a lot of aimless wandering as well as ‘oohs’ and ‘aahs’ over all the wares on offer. A lot of time is wasted before someone proclaims the words “I give up” and tentatively orders something from the nearest stall.
We’re both personally familiar with this overwhelming feeling induced by the markets, and have heard people, countless times, wanting to either give up early or just “get in and get out” because of the chaotic enormity presented by the markets. In fact, it’s not uncommon to hear people wishing for an easier experience.
We want to establish a platform where we can share our experiences at the markets in the Wollongong and Sydney areas. By highlighting the good and the bad at various markets, we can help local market-goers make informed decisions about their shopping. The best way to share our message is through a blog and an Instagram as these afford us an authentic, yet idealised persona in conjunction with aesthetics and accessibility.
Shopping at the markets can be an overwhelming experience. Simple questions such as which markets to go to, and which stalls are the best, have answers that are challenging to find without first making mistakes in choosing where to shop. This produces waste as a result of a distaste for the product and also wastes the consumer’s money which would be better spent elsewhere.
Our DA aims to aid in this process. It will enlighten people as to the best places to shop for what they want, and will also illuminate some hidden gems which might once have been ignored.
At this point, we have so many great ideas we want to pursue that we start to worry we’ve lost the true essence of BCM114: FIST—fast, inexpensive, simple, tiny. So we brainstorm some more…
In formulating our identity as a market guide, we explored the digital meme objects associated with the markets. We investigated Instagram pages from food bloggers; from brands which have stalls at the markets; and from the individual markets such as Glebe Markets and the Newcastle Flower Markets.
Some of the most repeated and remixed meme objects include: bright colours, quirky/unusual food, street food, handmade goods, recycled and vintage fashion, cloth bags and flowers. There is also a lot of colour saturated images with a shallow depth of field; the frame often includes someone holding an item in their hands with their body unseen.
Incorporating these meme objects in our DA is critical to progress as they already have established association chains in the schema pre-existing in the minds of our target audience. This will mean an easy acceptance and appreciation of our DA by our audience, and will also result in feedback that enables us to better fortify our image.
#bcm114 Don’t worry if your DA idea ‘has been done before’. Existing ideas already have memetic value/power through the associative chains attached to meme objects—and what are memes? Little bits of cultural information REPLICATED and spread from mind to mind pic.twitter.com/HHpI6Squbg
We mapped out our target audience by combining the type of person we associate with the aforementioned meme objects with the traits of people we have physically observed at the markets. These ‘real life’ people tend to be women between the ages of 18 and 35 who are environmentally conscious, enjoy organic and gourmet food, support local brands and are into the Indie or vintage ‘scene’.
The persona (branding) of our DA will be formulated around these meme objects and this target audience. By incorporating these elements we are able to appeal to our narrow audience in a way that presents an idealised and ‘aesthetic’ market experience whilst also remaining grounded in perceived authenticity.
Take a look and tell us if you think that so far we’ve been successful in achieving this.
If you want to support our DA follow us on Instagram at @finderskeepers_mc . Our website will also be up and running soon.
Robert Entman suggests that “to frame is to select some aspects of a perceived reality and make them more salient in a communicating text.” That means, to choose key parts of something’s identity and piece them together to create a story which highlights those particular desired aspects. This process enables audiences to make sense of the media they consume based on their own prior understandings.
In this way, the perceived identity/reality of something can be changed if the framing is altered—if different parts are chosen to be highlighted.
We all know Harry Potter to differing degrees. I’ve chosen to re-frame it based around this meme, and the idea that Harry Potter is too ‘dark’ for children. The elements I have changed and introduced (made salient), when compared to the original, portray a new identity. The movie is the same and yet, if my poster was attached to it, Harry Potter would likely be preconceived as another crappy kids movie from the mid-2000s with bland characters and a boring plot line. This is largely due to the audience’s existing schemas of kids/low budget/early 2000s/magic movies.
How would you have felt about the Harry Potter movie franchise if it was originally branded in my style? Let me know in the comments!
In 2017, this Ultra Tune advertisement was aired Australia-wide. It racked up no less than 357 complaints, one of which described it as a “disgusting portrayal of women pandering to a supposed male sexual fantasy about dumb sexy women having a water fight.”
The advertisement was found by the Advertising Standards Bureau (ASB) not to contravene the Australian Association of National Advertisers (AANA) code of ethics. This is in spite of its clear violation of section 2.4 of the code which prohibits images which are “highly sexually suggestive and inappropriate for the relevant audience… [and] not relevant to the product or service being advertised.”
The Ultra Tune ad particularly emphasises the women’s jiggling buttocks and wet shirts.
These elements, amongst others, strip the women of humanising traits until their only defining feature is their sex appeal, conflating them with objects. An act which is both degrading and exploitive. It is the textbook definition of sexual objectification.
In response to backlash about the depictions, Ultra Tune CEO Sean Buckley commented that, “Women can jump up and down all they want but they’re not our target audience”. He notes that, “the ads work brilliantly” for their target market consisting of “95%” men who he claims “make the automotive decisions”.
What key issues need to be considered?
What Buckley fails to realise is that in being so successful with using sex to sell his company’s services, he is fortifying many social and psychological problems now ingrained in our society.
Advertisements such as the one from Ultra Tune, relentlessly propagate and normalise the notion that women are in real life what these images portray—sexual and superficial objects which exist for the pleasure of being seen and not heard; that women’s prime and only purpose is as a tool for male arousal.
Women consequently feel pressured to find validation and respect by trying to fulfil these unrealistic sexual and bodily standards.
Women’s Health West remarks that failing in this pursuit often leads to women having a “negative body image” which “can have serious implications for women and girl’s physical and psychological health status, as it is associated with the development of eating disorders, depression, self-harm and suicide.”
It should be noted that in 2018, one year after the release of the Ultra Tune advertisement, the AANA code was updated to specifically restrict the objectification of people. In essence, the portrayal of “sexual appeal which is exploitive and degrading” in advertisements now comes with greater risk for advertisers.
What are the implications for practitioners?
Its a situation of being stuck between a rock and a hard place. Advertisers need to weigh up their social responsibility with their responsibility to do their job effectively. They must ask themselves if there is a better, more empowering way in which they could sell their product. A way which would benefit both their work and society equally.
It is important for advertisers to consider that empowerment sells quite well. Adweek conducted a study in which it was found that, “Women ages 18 to 34 are twice as likely to think highly of a brand that made an empowering ad…” It is likely that these favourable thoughts were converted into a multitude of profitable purchases as Forbes asserts positive perception gives brands an edge in the market.
Who wouldn’t feel good about a brand after watching something like this? >>
We stand with women around the world to make their voices heard and their presence known. To bring them front and center, today and every day. Join us as we say #HereWeArepic.twitter.com/cN2Ik6bZU8
In an ideal world, advertisers would empower as much as they objectify women in real life. Sadly, given the nature of business, the most universally important answer to the question, ‘If ‘sex sells’, why should advertisers avoid the sexual objectification of women?’ is: ‘because of the new risk—resultant from the updated AANA code—now involved in presenting objectified images in advertising… and perhaps because of a little guilt.’
If you’re an advertiser and you want to avoid the depiction of sexual objectification then you should consider this checklist written by Brian Niselin, and consider it carefully…
…because if you’re not a ‘be the change you wish to see in the world’ type of person then hopefully you at least have a ‘try not to f*ck everything up’ kind of philosophy.