FMP

Information Overload summary

Posted on: May 6, 2010

WHAT is information overload

In a rapidly changing world

Too much information can make a person

Feel confused and anxious

HOW we deal with information overload

When people position themselves to receive too much information

They automatically recognise patterns

Building a framework of their experience.

Information overload becomes pattern recognition

WHY we deal with information overload

Choosing when to analyse a vast flow of information

Encourages the ability to make links and change one’s own condition

To understand and survive

(A few short sentences that describes information overload, and gets to the point).

Looking back at previous attempts to interpret information overload on the internet is proving hard (how to reinterpret websites, blogs, social networks CLEARLY). If I were to broaden the scope of information overload so that it included not just the internet but  information through our senses (digital and analogue) then presenting information overload to an audience is allot clearer!

The flashing images that I made seem to carry the notion of visual information overload; it didn’t necessary give the idea of internet information overload that clearly BUT it did prove that it was some form of digital overload through information, which started out as analogue photos and pictures, then digitalised to the rules on the internet:

‘A structural derivative of a parent compound that often differs from it by a single element.’

There’s no fixed rule, data has variables that’s interchangeable, for instance taking various photos/images, or humans or mass produced chairs, they are still not exactly the same, and they all go through the process of ‘wear and tear; constantly changing.

It makes more sense to use analogue  information that’s been digitalised to convey the message of what information overload is, why we deal with it and how. Using iconic images (ref short term memory and pattern recognition) iconic faces that demand an emotion like a smiling Albert Einstein, or a stern Tony Blair all through images can be used to simulate a similar experiment Balwin (1991) carried out to manipulate the observers emotions and experience. This reminds me of Shepherd Fairy whose works portrayed quite an oppressive but stylistic graphic design one of which was ‘Obey’. Even though the face isn’t recognisable as anyone (less likely to have an impacts in subliminal priming) it is still quite oppressive and stern, with the word obey.

Looking back at Godfrey Reggio’s Naqoyqatsi film, and how he presented iconic images to convey a meaning, is an element I want to keep in my project; backed up with how we recognise patterns from overloads and make some conscious meaning out of those links.

His distortion of image; inversion, negatives, blurring, fade in, fade out, gives the film a controlled, almost serious strolling effect. The time signature of the piece is in sync with the changing of scenes but Reggio does not change the scenes to the melody.

Just thought about how personal this message can be to a viewer, audience, or even participant. I’ve noticed in films and dramas that when a character shares something important or has some epic realisation about their relationships , the camera shot is take to a face close up, just seeing the mouth, nose and eyes.

What to do:

Time signature!

Looking at all video footage I’ve done in previous test, it would be interesting to apply Reggio’s timing the scenes to the time signature (4/4 is a typical time signature for most music).

Then add an iconic figure in random flashes within the piece.

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