K.I.S.S.

My website of choice is http://www.thisissoon.com/   (found courtesy of google). It’s pretty cool if I might say. What makes it cool? I’m glad you asked.

Right off, the color scheme is unusual. When I think of websites that I’ve visited in the past, I am haunted by the overused blue and white theme, or some series of cool colors. This website is brown!

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How exciting of a color, not really, but stay with me. The fact that the creator of this website chose brown tells me that they are a risk taker, and if they are bold enough to choose this color, I will be bold enough to scroll through their website. Also, the color is warm enough that I don’t feel threatened by some neon color and need to grab my shades out of my car. *Side note: the random text on the side tells you what page you are on through words and a graphic*

More on the color scheme of the website, there isn’t really one scheme as far as a background theme, each page has its own color. What remains consistent throughout the website is the contact information colors as well as highlighting certain features in yellow. See below (my cursor is over casestudies in the navigation pane):

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What I would like to highlight about the website other than the scheme or lack there of, is the amount of content on each individual page. The content is a healthy balance of text to picture, maybe even heavier in regards to pictures. The content is additive, either explaining the picture of emphasizing what is being shown. Below is a brief example from one of their cast studies:

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In all, this website keeps its concepts simple. I think that is what I appreciate most about it, in no way did I feel that I was overwhelmed with information. The pictures kept my attention and were placed interestingly enough that it wasn’t a block format for anything.

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What I want to take away from this site is the level of sophisticated simplicity they have. In the past my websites have been simple but had no pizazz to accompany my content.

 

Things I found out after I wrote this/Other things I think are cool about this website:

(left) The home screen changed with the time to something different

(right) This is their loading page. The dash blinks.

There is a subtle color scheme on the case study pages, the background color compliments the pictures but aren’t overbearing taking too much attention away from the pictures.

Photoshop DIY-It’s Layers to this

This tutorial will teach you how to add a custom background to images with a transparent background. For this tutorial, I am starting with an image already saved in my computer – the ever appropriate graduation cap.

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The tiled background is an indicator that the image is only the cap and nothing else. Should there have been a background, the checkered background would be a solid color.

Step 1:

Capture21`From the toolbar on the left, first you want to select the Mixer Brush Tool. Then from the overhead toolbar, you want to select the Oil pastel option. Capture3

You will notice that the color I am using is already selected and visible in the square on the overhead tool bar.

 

 

 

 

 

 

 

 

Step 2: Here is where you will add the layer.

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From the overhead toolbar, select layer -> New -> Layer

 

The new layer will show up on the bottom right hand corner. Notice the new layer is transparent.

 

Step 3: Fill in the layer

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Here is where you can make a judgement call about how much/little you would like to customize the background. For the purpose of my tutorial, I just want a solid background, so I filled in the spaces around the image.

Step 4: Switching the layers

If you notice in step 2, the new layer will default as layer 0. To change which image is on top, simply click the layer you would like to move and drag it to its new location. I dragged the layer with the cap to the top of the list.

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Notice that layer 1 reflects the changes I made to it within its thumbnail.

You now have the following image. Happy Photoshopping!

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Rolling Text

Today’s DIY is all about rolling text, typically called credits.

Step 1: Open Adobe Premier Pro, and create a title still.

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Step 2: Once you are content with the text and placement on the screen, you are going to scroll over to your roll/ crawl options. (Circled in red)

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These settings allow you to change the settings as you please to get the desired rolling text you would like. For the purposes of this DIY, I am going to create a typical credit like roll of my text.

Step 3: Adjust settings to fit your needs as a creative visionary. How you choose your setting will determine how fast/slow your roll will happen. I have chosen to start the text off screen and end off screen, should you unselect either, the text will start/end in the position that it initially is set when you type it. The ease-in/ease-out is where you choose your timing for the text.

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Step 4: Once content with your text settings, drag the title from the project panel to the timeline panel. Voila, you have created your very own rolling text.

Here is an example of the finished product – https://vimeo.com/205329188

 

I’m basically the female Tom Brady

As much as I hate to say it, the New England Patriots have won another Super Bowl.

*Insets yawn for dramatic affect*

Sidenote – I am extremely salty because:

  1. The Cowboys should have been in the Super Bowl (this will be my sentiment every year they are not a part of it).

AND

    2. It would have been supercalifragilisticexpialidocious to be able to say that I went to the same college as a NFL head coach who won a Super Bowl.

So, what does any of this have to do with archiving? A lot. According to the readings and working definitions we have established, an archive has the ability to accomplish a number of things, three in particular: documenting an event creates an exchange for the subject being documented and the person documenting it (for archiving events without direct person-to-person exchanges, the wording of my statement changes, but you get the idea), the process of archiving affords just as many opportunities over time for people viewing the archive as it pays homage to the event, and archives make an unbelievable or unfathomable idea possible because of the proof.

Here at Salisbury, I am a football manager – that means I basically the Tom Brady for collegiate athletes – I (in addition to a few other people) make it happen! I document more than enough film for roughly 125 players (not including coaches, professional staff, family, friends, other institutions that are sent the film, and the people those institutions make the video available to) to be able to recall their lives at their prime and share their stories, not the stories we hear all the time, but the stories about the players who make everyone else’s success possible. Their film = the physical archive.

For someone who is not interested in sports or could care less about our football program, I sound like a groupie, which to a certain degree I am and very proud to be, but the exchange that Larsen alludes to when archiving the moment is true. When the team wins a game, I feel the same excitement as if I was on the field with them, when all I really did was position a camera and brave the elements for the perfect shot. Without me, their success would be impossible, meaning their stories would never be told.

With regards to the amount of people my work reaches, it goes to show how important archiving is. At a team meeting, our head coach played film from his prime, back in 197? maybe early eighties. The people recording their game probably intended for only the team to study and learn from the film (I will not be able to go into a discussion about the technology between then and now, but I’d be happy to discuss elsewhere). By archiving it, years later, students who were in the same position as our head coach are able to learn how to execute on the field. As long as Salisbury University has a football team, coaches and players will be able to pull from the archives and learn how to be better players than those who came before them. So me sacrificing ten hours a week to record drills will mean more to future generations than I will ever be able to imagine.

Lastly, it’s like when an elderly person tells you something you refuse to believe without evidence. So, when your grandfather pulls out a picture of him winning a bodybuilding competition and all you ever know is a beer belly, you appreciate the archivist (I know this has nothing to do with football, but stay with me).

It is in those moments when archiving moves past the idea of a museum housing old documents, or any depiction of a physical archive. Archives are living, breathing, systems that allow for so much discovery that is still to be appreciated.

*Salisbury University Football after winning the 2015 New Jersey Athletic Conference Title game against Frostburg State University. If you look to the left of the picture, that’s me – The Female Tom Brady*

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A Time to Remember?

“All that Freud says is that we are receptive to an analogy between the two types of transgenerational memory or archive (the memory of an ancestral experience or the so-called biologically acquired character) and that ‘we cannot imagine [vorstellen] one without the other’[SE 23: 100]”(Derrida 27). A lot, right? But doesn’t it make sense. Allow me to present this sentiment in a different form:

Most families these days have a group chat, in said group chat a bunch of things can transpire. For example, my family likes to share pictures – screenshots (Yes we will screenshot you too), memes, pictures we just took, really any still image we can find that we thought worthy enough to introduce to the group. Recently, my mother started sending old photographs of my immediate family to the group, to which my response was “Are you cleaning or going through pictures?” (She was supposed to be cleaning her room.)

The old Girl Scout cookie box that has been sitting underneath her TV for years collecting dust represents the “archive”. The photographs are “the other.” Without the physical representation of the moment in history, it would be psychologically impossible for me to recollect – I hesitate to use remember because instances in an archive do not necessarily come from the person viewing the contents of the experience, but from the transgenerational memory referred to in the opening quote, but we will explore the irony of this as well – falling asleep in a car seat even though I was the person who physically did it.

Where the concept of archiving becomes muddied is when the archive becomes self-destructive in itself defeating the purpose it was intended to have in the first place. In a basic sense, the archive is supposed to become a museum of a moment in time. However, the authors lament “In an archive, there should not be any absolute dissociation, any heterogeneity or secret which could separate (secernere), or partition, in an absolute manner. The archontic principle of the archive is also a principle of consignation, that is, of gathering together.”(10) Basically saying (referring back to the instance of my family’s group chat), if the box and its contents can be considered an archive, likewise the text message transcript is also an archive. The consignation of these two archives recreates the archive, now comprised of text and image, that have no connection what so ever when examining the context of it’s contents. Furthermore, within that new archive are smaller, possibly infinite (depending on the amount of space in a phone) archives that are associated with specific instances, not necessarily a collective ideal.

All of this goes to depict that the structure and definition of an archive is circumstantial. If examined closely enough, an “archive” (quoted because it is now an ambiguous concept) is defined by the experience one is trying to perceive. The medium through which the archive is presented also changes the overall experience of the archive. Had I physically been given the pictures my mother sent to us, I could examine the picture: how it was developed, the weathering of the image, the coloration which can present another history, the writing possibly on the back, and so much more. Experiencing the image through technology limited me to only see a digital reconfiguration of the image and not the archived history that went along with the picture.

All this being said, I now give you a chance at the pen: Knowing that an archive has different mediums and an ever changing definition, how can one fully experience the contents of an archive in the way the author intended? I also challenge you to consider, was there ever an intended experience an author wanted when they created the archive?

*Here is the picture in case you were wondering. Bria circa 1995

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