User:Kazijnr/sandbox

Contribution A (Glitch art) (500 words)
In-depth analysis of “glitch art”

The word "glitch art" dates back to 1999 and was first used by Ant Scott who is recognized as a pioneer in the field of glitch art. From 2001 to 2005, he released hundreds of glitch images, which he labelled "still and animated" on his blog. Scott then proceeded to making a compilation in 2007 which comprised of twenty five(25) digitally rendered failures, of which he claimed his best 'pure glitch process,' however, according to Altman, the fact that genres are social and consensus-based constructs rather than set categories is underlined by "considering the glitch art like genres."

All examples of a glitch art are the fragile, technically based momentum of a material crack, conceptual or techno cultural breakthrough investigations and the recognized, standardized product that can make a glitch. It is useful to see the art of glitch as a category to cover a number of dysfunctional systems, Glitch art as a whole stresses clearly how mistakes are used as tools for handling evidence; It thus confuses signal to noise when the bug is already defined as a definitional precondition; As institutional basis for media practices, it is a regression to technological incompetence and if we continue to work now, this distorted imaging of pop culture is often used as a collective recognition of how increasingly technological activity in our everyday lives is acquired and as easy to be lost.

Glitch art in relation to pop culture

The author Rosa Menkman Glitch Moment(um) explores the duality of glitch art in pop culture, she claims regarding "glitch" cultural consequences, should be seen as a social force rather than a simple aesthetic trend, she emphasizes on the fact that when we come face to face with a glitch, we should be in a state of shock with being lost and amazement.(Menkman, 2011) states that a glitch is a “powerful interruption that shifts an object from its flow and ordinary discourse, towards the ruin of destructed meaning” and in modern times Glitch art has been compared to punk music as a movement. Despite its revival, the media were still challenged, which many had previously seemed unreachable: bright, perfect, and unrealistic.

Owing to its distortion, Glitch art is by nature mysterious, and marketers can choose to use it these days to raise excitement for their look. There is also a feeling of timelessness in the paradoxically combined being both new and nostalgic. It should be decided by brands that their audiences are not able to gain an esthetic glimpse of the disruptive and disruptive values synonymous with glitch art. This technologically advanced, rebellious, and largely progressive style of art has the ability to connect with an audience that is deeply moved by protest and counter-culture movements. One example is “Pokemon glitch zines,” which represent nostalgia through a warped lens of tech firms focused on imagination and transparency.

Rosa Menkman's Glitch manifesto may therefore be seen as a means to encourage artists to return to the roots of glitch art, as an exploratory mechanism, rather than being misled by the rising nostalgism of the glitch, but this could already be too late since the commodification of glitch has already begun.

Contribution B (“simulation” and “hyperreality”) (500 words)
Further analysis and breakdown of “simulation” and “hyperreality”

The term “Reality”, though others like Jean Baudrillard and Umberto Eco might define it differently, it still can be referred to as the state of things as they are, not as they might appear or be imagined. In simple terms when it comes to reality in the modern world, we all have our different views, perspectives or what we perceive as “reality” and sometimes it’s more self-satisfactory to create an escape from these harsh realities of life for example having a work, paying bills, and to be blunt, the certainty of death which for all of us could be true. We do not want to confront it, despite being repeatedly advised that we must. This is one of life's harsh truths.

Hyperreality is a form of social reality in which a reality is formed from ideas and produced or simulated from models or represented by relation to models. This is why every day, we choose to participate in reality simulations to save ourselves by getting away from this boring, depressing existence by going somewhere more exciting, stunning, inspiring, frightening, and generally more interesting than what we experience in our daily lives, let us take for instance when we decide to go out to eat in an Italian restaurant probably instead of having to come home to cook after a long stressful day,  we not only enjoy the food but also participate in the evening's theme. The interior design, which includes wall paintings, dim lighting, the scent of garlic all around, and even a chef or waiter with a thick large moustache, gives the impression that we are in Italy even though we are not. As a result, a simulation of reality is demonstrated. (Desmond, 2014) who researched “hyperreality” found a Greek mythology which focused on two artists having a competition to see who made the best painting. Zeuxis one of the artists painted grapes that were compellingly real to the point birds tried to peck them, his rival Parrhasius then asked Zeuxis to slide open the curtain on his work and glaze upon his work of art but when Zeuxis tried to do as told, he realised that what he believed was an actual curtain was actually a painting of a curtain.

These simulations are all around us and they keep growing in today's pop culture, Baudrillard, after close observation and analysis published his work in 1981 titled “Simulacra and Simulations” and Simulacrum (Simulacra), is inextricably related to his philosophy of “hyperreality”. The modern world, according to Baudrillard, is a simulacrum, in which truth has been replaced by fake representations to the point that it is impossible to differentiate between the true and the imaginary. In this sense, he made the divisive remark, "The Gulf War did not happen," emphasising that the "truth" of the Gulf War was conveyed to the world by media representations.

(Baudrillard, 1981), “It is no longer a matter of imitation, repetition, or even parody,” when it comes to postmodern simulations and simulacra. It's a matter of substituting real-world signs for real-world signs.” Since the idea of artificiality also needs some fragment of reality for us to be able to distinguish the deception, Baudrillard is not simply saying that postmodern culture is artificial. Rather, he argues that we have lost the ability to understand the difference between reality and deception just because we rather not face the harsh realities before us.

Response to my peer's Contribution A (250 words)
Advantages and disadvantages of social media marketing

When it comes to social media marketing there are some pros and cons or in a much simpler term, there are well-known benefits in participating or using social media as a means of marketing but there are also quite a few disadvantages. One known factor is the large database enabling you to reach a larger number of people or a significant amount of target audience, when you advertise on social media, you are selling to your consumers directly. As a result, the advertisements will speak directly to the target audience.

Humans need to be recognized positively, even though many of us will not believe it. Your future customers or specific target audience want to be seen, and social media allows them to do so. When marketing on social media the ads can be very affordable to both the audience and the marketer because almost every social media site allows you to create a new profile and sign in for free, therefore getting started is not a big investment or risk but that is if everything is done correctly. Attempting to do it without the help of a social media marketing expert, might also have you easily deplete your marketing budget.

Social media marketing should also be able to increase the inbound traffic on the website associated with your business, other few disadvantages of marketing on social media is that it is a long term investment so if you are expecting results in a short term then that might be much more difficult, and also studying your competitors' strategy would be easy but still puts your business at risk because your competitors can still study your business methods making it vice versa. It is also time-consuming marketing on social media because as we all know there is so much content and information on the internet and to put your business among the top search results a lot of time has to be put into making new content regularly to keep up.

Response to my peers' Contribution B (250 words)
3d animation Era

When going into animation one has to consider the basic fundamental types of animation one which is the classic style of animating which is the “2d animation” and the other which has more depth and is widely used in today’s world although the first 3d rendered movie was around 1972 and was done by Edwin Catmull and Frederic Parke both of which were students of Ivan Sutherland at the University of Utah, the clip they made only lasted for about six minutes and thirty seconds but during that time it showed an animated version of Edwins left hand to be precise and the first ever physically modelled human face created by Fred using computer graphics and a few years later in 1976 the clip was added to film called the futureworld.

From the period of 1984-2018 the Stop-motion animation gave way to what we now refer to as computer animation in the modern world. Both 2D and 3D animated graphics are used in modern computer animation and are then put into motion using either frame-by-frame or by a technique called rigging which in this context, refers to the method of constructing a 3D model's bone structure which is then used to animate the 3D model by manipulating it like a puppet and If the character's virtual skeleton was complete, the eyes, arms, and clothing were added to the frames, and thus the animation is made. The technique allowed for faster creation and rendering of films, as well as the use of animation not only for film and television entertainment, but also for brand storytelling and web series.