VideoString

Self Criticism:

As an artist, I set out to create a stimulating environment in which users can explore the syntagmatic way in which verbal language is used, and consider how that translates into a rise in pictorial time-based media. By substituting video clips for words, it quickly becomes clear that these multi-textured real-world representations are not paradigmatically isolated in the same way as individual vocabulary words are in spoken or written language. Because each video clip can potentially represent an array of individual words, and each individual word can be represented by one of an array of different video clips, the VideoString program illustrates that pictorial time- based media cannot be successfully used or interpreted in the same syntagmatic fashion as written or spoken language. Pictorial communication operates under a unique system, and the boundaries of this system are still being explored. By noticing the conflicts inherent to the correlation of word use with a pictorial, natural video representation, users can start thinking about how pictorial, image-based communication is currently used, and consider how it’s use may change in the future.

The VideoString program does a good job frustrating people with unpredictable pictorial interpretation of written language. When the user writes a poem including the word “produce” as a verb, for example, the program may seemingly misinterpret the word by displaying a version of produce that has been generated by its use as a noun, for example a grocery shelf stacked high with vegetables. When the video clip associated with a word presents itself in a manner contrary to the user's expectations, it causes frustration. This frustration causes people to think about why their natural lexical understanding of language did not lead them to predict this kind of inconsistency, or mismatch. As a result of this difficulty, the user may then more deeply examine his/her understanding of the way verbal communication functions.

These inconsistencies will ideally lead people to not only think about how they would represent a word pictorially, but it may also lead them to actually submit their own video interpretations into the array of possibilities. As this process advances, the palette of interpretations associated with each word increases. Rather than each word being represented by a single video or perspective there are suddenly numerous perspectives for how each word is represented. This is one of the most exciting aspects of the VideoString project, and as it catches on, it will be a successful, innovative way to inspire creativity and cause people to think about the difficulties and strengths that come with visual communication.

VideoString’s interface is built upon the metaphor of Magnetic Poetry. Traditionally, Magnetic Poetry is a collection of small word tiles that can be arranged upon any magnetic surface. These tiles have been prevalent in the public domain for a little over a decade and are visible enough in mainstream culture that the interface, more often than not, is already familiar to potential users of the program. Traditional Magnetic Poetry is associated with casual, low-pressure amusement, and the allusion to it in this program generates a familiar environment that makes people feel at ease. Even users who don’t realize there is a video function involved will have fun creating messages with the word tiles and, should they eventually discover the <Play> button, will simply be entertained in a whole new way.

The design and layout of the program is simple, with clean lines and bold colors. This interface encourages users to feel safe the program environment. Aesthetically, the VideoString program fits in quite well with other existing flash applications. I tried to make the interface familiar on as many levels as possible to lessen the chance of intimidation for an inexperienced user. For this reason, I used the magnetic poetry metaphor, the <Play> button, and the familiar menu items across the top. I intended for the user to feel comfortable enough to participate, and to be surprised only by the resulting video, not by the intermediate delivery platform.

The program’s primary shortcoming is that the volume of words spread randomly across the screen is overwhelming. It can be difficult not only to locate an exact word but to also find a general class of word such as a noun or a verb. The difficulty finding words hinders the initial user experience, by frustrating users with an irrelevant issue. In an attempt to achieve an unbiased display method, I was hesitant to categorize or organize the words. Instead, I decided to create buttons that, when pressed, bring a random word from a particular category (ie: nouns, verbs) to the front of the screen. This compromise allows for a finer degree of user control, but maintains the basic, unfiltered state of the representation.

It is my experience that many contemporary flash programs do not allow you to manipulate video, despite the fact that video playback has become commonplace. VideoString gives the user more control over playback and goes about it in a unique way, by allowing them to indirectly select video clips by word association but denying them the power of selecting a specific clip.

The familiar associations of the interface grant users a sense of comfort while they explore this promising medium for communication. Users are not allowed to simply play with the program because it forces them to consider the meaning of each word they select. The volume of word tiles could be modified and I may choose for the interface to simply display a random selection of words each time the <Shuffle> button is pressed rather than maintaining a consistent vocabulary throughout the experience. Despite this difficulty, the application creates a unique interface that allows users to not only communicate verbally but to, essentially, compose video poetry without any training or overhead. Because of the uniqueness of its functionality, I think the project is successful and I am excited to see it to the next level.