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Gemma San Cornelio & Antoni Roig, Universitat Oberta de CatalunyaTransmedia Literacy - IN3 –UOC, December 10, 2013
BEING LUCKY.TRANSMEDIA AND CO-CREATION PRACTICES
IN MUSIC VIDEO-CLIPS
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SUMMARY
1. Background2. Framework research on creative practices and participation in
new media3. Objectives4. Case study: PV Nova’s Evolution of Get Lucky5. Methodology6. Analysis and results7. Conclusions and further research
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BACKGROUND
The recording industry under a continuous pressure to re-invent itself (Sterne, 2006; Bull, 2007; Jacobson, 2010; Magaudda, 2011)
• First cultural industry where specific technocultural changes are experienced: file sharing, mobility, remixing practices, streaming services, etc.
• Changes in the materiality of music : need to introduce added value and adapt to emerging practices of consumption.
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BACKGROUND
Connection with our previous and current research in creative practices and participation in new media:
• CREATIVE research project, funded by MICINN (HAR2010-18982)
• Modding practices and co-creative communities.• Fanworks.• Participatory production (transmedia, filmmaking)• DIY video production• Music and participatory practices
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• Social networking (myspace, facebook…)
• Collective financing
• Open licences and remix
• Personalization of music experience
• Multimedia/Transmedia/Interaction/Apps
• Calls to collaboration (Co-creation) in processes:
• Lyrics
• Crowdsourced Music videos
• Album personalization
• Fan Contests (versions)
• Social experiences in music listening (i.e. Soundcloud)
• Contributing as a performer or a composer in a collective endeavour
• Arrange and perform versions of yet unreleased tracks
BACKGROUND
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OBJECTIVES
- To identify the participatory dimensions of a music video project with transmedia qualities.
- To analyze the aesthetics of a crowdsourced music video project.
- To consider the role of remix practices as a form of literacy (Manovich, 2008; Lessig, 2005)
- To analyze the features of playful re-appropriation of pop history through co-creation: connections to different notions of cultural nostalgia.
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Case study: EVOLUTION OF GET LUCKY
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Case study: EVOLUTION OF GET LUCKY
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Case study: EVOLUTION OF GET LUCKY
Project timeline
Open Call
10/06/2013
Call deadline
10/07/2013
Remixed video
5/08/2013
Interactive videoLinear edited music video
Linear edited music video
Annotated sound fileDownloadable file
Game-like experience
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Case study: EVOLUTION OF GET LUCKY
“Evolution of Get Lucky” as a participatory
project:
- Pre-defined rules.
- Creative visual freedom
- Open call with a tight deadline.
- Notion of “experience”
- No decision-making.
- No contest.
- Linear and closed edition process.
- Sense of belonging
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• Project analysis focusing on the actors’ perspectives
• Considering the set of videos received
• Analyzing the ones selected for the final cut
• Looking at most successful decades
• Aesthetics analysis /cultural references
• Interviews with the artist and participants
• Comments and feedback in sharing platforms
METHODOLOGY
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- Closed proposal, personal project of the artist (iconic)- Crowdsourcing in video (not in the music)- Publics participation (137 videos in total, 38 selected videos)- Most successful decades (more videos received): 1960, 2020
(followed by 1950’s)- Nostalgia and projection to the future.- ‘Retro music’ connected with the years that followed IIWW
(Reynolds 2011)
ANALYSIS AND RESULTS
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- Aesthetics uniformization in both decades: 60’s identical videos with psychodelic references, nature and hippies. 2020’s abstracted, post-apocalyptical and excessive use of image filters). Only 2 of them were selected for the final cut.
- 70-80-90 are the less successful decades, but the videos sent capture the musical clues present in the audio track.
- Musical base remix influences visual interpretation, more than the cultural and musical references regarding a specific decade.
- The absence of local cultural (French) references.
ANALYSIS AND RESULTS
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- Collaborative aesthetics are not necessarily connected with fragmentary or differentiated interpretations.
- Nostalgia and visions of future seem to be equally motivating cultural interpretations.
- Crowdsourcing connected with remix cultures can be used as a powerful tool in literacy, e. g. in terms of stylistic assignments.
- Exploring motivations for participants in crowdsourcing can help modelling successful experiences.
CONCLUSIONS AND FURTHER RESEARCH
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Questions?
