Friday, December 14, 2012

Recent Readings

      The book Popularizing Research acknowledges expanding the use of academic research beyond the conventional book form. Editor, Phillip Vannini has accompanied the book version of Popularizing Research with a website. These two uses of media are to enable the potential for research to reach new audiences with internet.                             
     The media examples from contributors of the book are exhibited on the website. The website offers the chapter contents of the book with the inclusion of a referenced video, audio, or imagery. As seen on the website for Chapter 3, Sturgis 2.0 Crafting a Filmic-Web Dialogue, by Carly Gieseler who's media sources were presented with her project on the legendary Sturgis Motorcycle Rally. Sturgis 2.0 webpage includes Gieseler's film and links to additional Sturgis websites. These other links indicate other  potential quick accessibility to other perspectives on the Sturgis Motorcycle Rally for viewers to explore beyond Gieseler's. 
     Since the introduction of the book mentions the Popularizing Research website it extends the ideas of reference points beyond the medium of the book. The website is a beginning to the investigation of media and the presentation of the mediums of media to include and reach new audiences.  

Sunday, November 25, 2012

The Collection Project and Social Media’s Role

             This blog post is reflecting on a year’s time of using social media resources as a source for public access to the collection project. The website presenting the collection project, the blog associated with the background of my studio art practice, and various social media internet sites will be acknowledged in the accessibility to the information pertaining to the collection.
             The website is the internet source of exhibiting the collection. The website presents the collection in a couple of varied ways. An example of this is the video portion of the collection and the two video format arrangements on the collections web page. The first video format is presenting the newest additions to the collection themes and the second video format presents the collection themes in their entirety. These two formats offer the viewer options in viewing the collections as their schedule permits and based on continuous visits to stay updated on the collection’s status. The website offers information on the collection with a written statement, background information on the artist (myself), and current images and text documenting the physical locations  of restaging opportunities.          
            The collection project is publicly accessible through the website. I offer links to other social media sites for viewers to share the collection, via the internet, with their choice of a social networking group. The other form of information that is accessible on the website is the background information of the
collecting process. My experiences and process of my studio art practice with the collection project is documented in the social media form of a blog. A direct link to the blog is available on the website.
            The blog offers public access to the background information of the collection project, such as research, my experiences in the development of the collecting process, and events that pertain to the collection. The text and images document the continuous process while engaging in the use of the observational processes and visual documentation between the fine art disciplines and borrowing of anthropological methods.
            The access to internet links with my texts and images represents a wider source of resources for my collecting process. Hypermedia presents an opportunity of open-endedness to fieldwork and the structures of ‘finished’ written or visual conventional ethnography.[1] The blog shows my development of knowledge and the process of the reinterpretation of the knowledge over time and experience with the project. Besides my subjective experience using the blog, it has open access for the viewer of the blog to explore these wider resources, such as links or my experience with material culture methods within my studio art practice.  
            My blog and the website are linked to my Google+ account. A current blog post can be publicly displayed on Google+. The public access refers to posting information on the Google+  site and their members can see my postings. Another social media site I use is Facebook. I have a link on my website to the collection’s Facebook fan page. 
            Of all social networking sites I have available on my web page to follow the collection, I will refer to Facebook for a current example of the absences to the public availability of the status of the collection. A recent change in Facebook’s fan page policy has made me inquire about the future use of this style of pages. The changes began with Facebook altering the News Feed of posts and status’ by prioritizing those who have the most activity or “Likes.”[2] At the end of May 2012, according to an article on Socialfresh.com, Facebook launched a “pay to promote a post” policy to reach a greater percentage of the fans following a page. The Socialfresh.com article states that this promotion is part of a beta test, and there are reports of the feature not being available to pages with fewer than 500 fans.[3] My Facebook collection’s page is in the initial stages of developing a following.  I have no intentions of paying for marketing promotions of my “collections” project, since the social networking page was intended to promote an online social interaction with the recent additions of the collection and not intended as a brand-marketing tool.
            A recent article in Adweek states that Facebook is offering a “Pages Only” News Feed that will post the pages a user has “Liked.” This is after Facebook responded to their member’s request that they want to see the pages they were connected with.[4] This does not insure that all posts from fan pages will be seen. That is still a matter of uncertainty, which is dependant on how many fan pages the user is following and the number of post by those fan pages per day.[5] I will acknowledge there are subtle changes occurring, while Facebook is altering its features and testing new marketing strategies.
            During my experience and research of using the Facebook fan page, my investigation has been focused on the public access to those who are not Facebook members. Yes, the fan page can be seen on the internet without logging into the Facebook site, but there are absences of what content is publicly available. The page cannot be interacted with; for example, I use the “ask a question” feature in correspondence with my recent addition postings. This information is accessible and stored within the Facebook online structure. The other information that is within the structure is the responses to the posts. The history of those responses cannot be seen without logging in to the site. As my page develops it would be convenient if it had full public access for those viewers who are interested in using the information available for future media or material culture research.
            Tim Berners-Lee refers to the social networking sites as silos of information. He argues these site pages are on the web, but the data is not accessible or easily transferable to another site. Berners-Lee article references the web’s initial concept of having universality along with the threatening presence of sites becoming central platforms on the internet.[6] It is common knowledge that Facebook has this presence on the web. The recent article I referenced from Adweek indicates Facebook does respond to their members’ needs of accessing the information they requested on the site, but there have been no future developments of universality of the site.
            I do not have current plans to cancel my Facebook fan page. With my review of this one year time period of employing social media as a source for public access to my collection, I have realized that either my blog or my website needs to have other forms of social interaction with the collection. This will indicate if I need to continue to maintain the other social networking pages on Facebook and Google+.  My blog is currently also connected to another central platform of the internet, which is Google. Diversity in communicating the “collection” project is key for an openly accessible idea that works around the central internet platforms. My research on media forms will continue as well as signing up for other software projects that sponsor networking sites with open standards.   

 
Watch Tim Berners-Lee talk at the 2009 TED conference about restructuring the web for linked data.  

 
To View my two social networking pages that were mentions in this blog – 

Thursday, November 15, 2012

Disruption in the Coupon Collecting Process

      In the month of October for a two week period I did not receive the packet of ad circulars that is delivered weekly by the postal service. This packet contains the majority of local grocery store ads as well as fast food restaurant coupons. Since I am relying on my local mail delivery and newspaper for my collecting process; I will need to document the absences of this time period on the October 2012 archive sheet. Documenting this information is not about how the totals for the month were altered, but an uncontrolled disruption in the collecting process. The total for the October 2012 segment of the Coupon Collection is 1813.

Tuesday, October 30, 2012

National Print Media Transition

 
            This blog post is using the current transition in news media to present the divisions within a community’s accessibility to media sources. As of Wednesday, Oct 6th the New Orleans Times-Picayune newspaper print publication is only three days a week. [1] This was due to the news organization’s economic conditions and a transition to increase frequent internet access of daily news.
            I referenced the anticipated cut backs of the print edition of the Times-Picayune newspaper in my Tuesday, June 26, 2012 Local and National Print Media Observation blog post. In my recent research for up to date enews articles reporting on the “digital transition,” I have come across an article, The Fight to Save The Times-Picayune, posted on the Best of New Orleans website that highlights the summer protest to save a daily “printed” paper for the city of New Orleans. The article mentions the social media internet sites and rallies used in attempts to save the Times-Picayune and to support the laid off staff of the paper.[2]  
            The article outlines a possible insight of how the newspaper owners, Newhouse Media, planned to implement change with a model that was tested on other city newspaper organizations they owned. Since the model “worked” for the Ann Arbor News in Michigan with no community outrage against the three-day a week print version newspaper, the template was adapted for the other Newhouse Media papers, including the Times-Picayune.[3]
            I wanted to acknowledge this template concept, which tends to be considered for any national newspaper. The first city to test the template was Ann Arbor, Michigan, which obviously has different demographics than the city of New Orleans. My own observation from the articles and following past articles of the New Orleans Hurricane Katrina event in 2005, is that the New Orleans community’s experience with a print version of a newspaper should have been considered more carefully by the Newhouse Media. During the aftermath of the Hurricane Katrina, the staff of the Times-Picayune not only followed through with local investigative news reporting, they supplied a local print version of the newspaper, bringing facts to the devastated community.[4] This print media object, the newspaper, was a symbol for a continual daily routine in a time of need for the city and it’s residence. 
            The Fight to Save The Times-Picayune article has an absence of mentioning a certain portion of the New Orleans community, the residents who do not have regular internet access. This portion of the community was mentioned in the earlier articles I refer to in my June 26th blog posting that referenced lower income and older citizens who would have limited access to local news within the transition.[5]  Websites and social media networks are presented in the article as part of the process to protest the transition of the newspaper, but no alternative ideas are presented for those citizens in the community to gain access to local news.
            The internet provides the availability of information for individuals in the community beyond a news organization’s website. The internet company Google has begun a program to offer lower income areas internet access. The sign ups have started in Kansas City, Missouri. A New York Times articles states, “Convincing residents of the importance of Internet access — to apply for jobs, do research, take classes and get information on government services — was one of Google’s primary challenges here.”[6] These challenges and understanding of a community’s past and present social, political, and cultural environment are instrumental in the process of overcoming the “digital divide.” To find out further details of bridging the digital divide in Kansas City, KC Currents hosted a roundtable discussion for their area. This discussion highlights the library’s role within the community and the strengths of the Google Fibers program as well as the future unknowns of the distribution of digital media. 
             The digital divide is on of the many elements that contribute in the current transition of print media culture to digital. The Baton Rouge Advocate newspaper has listened to the a portion of the New Orleans community who voiced a need for a daily print paper and started to print a daily edition in New Orleans.[7] The service from another news organization fulfils the void for residents who do not have regular internet access to the local news. There are still absences present within the New Orleans community for future accommodations or initiating alternative means for internet access.  


Sunday, October 7, 2012

Print Object Observation

Newspaper Coupon
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            A coupon that was collected from a recent postal mail circular that contained local area retailers’ savings coupons is the subject for the print object observation. The coupon represents two aspects of print media culture. The first is very obvious; it is a print media coupon. The second is the content of the coupon that is a discounted price for the local Sunday paper.
            A local delicatessen is offering a $1.01 savings from the $3.00 price of a Sunday paper. The coupon displays a reminder in a blue circle graphic, “Don’t Pay More!!” Besides the graphic being an implied marketing ploy, the statement is a reminder of the recent newspaper price increase.
            For this week, I consider this coupon an interesting find for my coupon collection. This print media coupon presents a discounting method for another form of print media culture (newspapers) and demonstrates an act to keep print media consumption happening during the transition of medias and the current US economic conditions.    

Thursday, October 4, 2012

Art and Anthropology Projects

           Today on RadioTimes with Marty Moss-Coane there was an hour radio program devoted to the meaning of objects (stuff) in everyday living. I am sharing this radio program as an example of cross disciplinary research of objects, while using a form of visual medium to present the project’s concepts. Marty discussed the topic with two gentlemen who are integrating this concept of material culture with their current projects in relation to art and anthropology.
            A photographer, Foster Huntington, and an anthropologist, Anthony Graesch, are both implying a form of ethnography, while using different methods to interact with their subject matter (people in relation to their objects). Foster Huntington uses social media, a blog, to initiate a dialog along with people submitting visual and written information on their objects. Foster begins the dialog with a posed question, “If your house was on fire, what would you grab as you ran out the door?”
The submitted information is categorized and presents the person's objects as priceless possessions.
 To view the variety of objects visit The Burning House blog.
            Anthony Graesch followed 32 families in the Los Angeles, CA area. His co-authored book, Life at Home in the Twenty-first Century, is a visual ethnography concerning present day relationships that are formed with accumulation of objects.  For a summary of Life at Home in the Twenty-first Century visit ISBNdb.com
            Visit whyy.org to listen to more details on each of the projects. 

Sunday, September 23, 2012

A Year of Collecting...


Coupon Collection

             September marks one year into the collecting process, which has brought development to the scope of my collection. My interdisciplinary practice contributes to the approach of the methods employed for collecting and managing of the collection. The documented management of the collection indicates longevity within the act of collecting through academic and experiential research. Outlined below are some of the main areas that I am reflecting upon during this one year time period. This occasion to consider these approaches demonstrates other future progression of knowledge and forms of presentation for the collection.



·     Methods and Interdisciplinary Practice
            The material culture methodologies that I employ to form and manage my collection have evolved over this year. The preliminary research of objects and the corresponding roles used within my observation research, “fieldwork,” persuades the forming of the visual ethnography methods employed. As each collection developed, alterations to these methods were made with consideration of experience and research. Currently, I am working on an essay from my perception as artist using the visual ethnography methods. The interdisciplinary approach will reflect on the challenges of borrowing material culture methods and the work process of using these methods instead of a completed project. This offers further investigation of the use of interdisciplinary practice within the fine art discipline and my personal collection project. 

·     Exhibits and Restaging
            The coupon collection was displayed from June 4 – August 17, 2012 at the Newark Free Library (Newark, DE). This is the first restaging in a public institution that invites proposals for private collections to be presented to their library patrons. The images and the exhibit statement can be view on the website. Future opportunities to restage the collection have been proposed to several different venues of public institutions. I am currently waiting for responses.  

·     Accumulation and the Archive Process
            Accumulation throughout the year of the video segments of the collection made me consider the website presentation of them. As the accumulation of the video clips lengthened the video playing time, I took into consideration the viewer’s time in viewing them. The collection is presented with the most recent additions of the collection along with each of the collections in their entirety to offer options for the viewer.  These video clips are archived separately, because of future possibilities of restaging beyond my website presentations. 

Interaction With Color
·     Inquiries
            Inquiries for subjects along with documenting the social interactions between them (people) and objects are a continual process. There have been indications were the inquiries reach fruition, such as the luncheonette owner and his hand operated industrial can opener. These inquiries to participate in the ethnography process have been proceeded with posting on internet community classifieds and word of mouth through personal network affiliations. The challenges with working through this process of making contacts are tolerating the spam emails received from the classified websites that have no outcomes and to accommodate scheduling needs for everyone involved in the process. 

  
Mouth Collection
Can Opener Collection
Screwdriver Collection



           

Friday, September 14, 2012

Transition in National Print Media


Mail Clip Art

            This observation of print media’s transition is from recent e-news articles that are reporting a shift in the means of distribution of printed retail advertising inserts. The business deal from a leading direct-mail company is relevant to the transition in print media culture and the future of my coupon collection. This acknowledgment of an aspect of print media culture’s transitional process contributes to the printed coupons longevity.
            Valassis Communications has a business partnership with the United States Postal Service (USPS). The deal is aimed to increase Valassis’ mailings of ad circulars by a million pieces of mail within the next year and is estimated to bring $15 million dollars over a three-year period to USPS.[1] Valassis Communications is one of the leading corporations in the marketing service industry as well as a distributor of coupons. The company deals by means of postal mail, newspaper, and internet.[2] The transition in the print media culture, especially with newspapers, has contributed to the Valasis Communications business deal with the USPS.
            The e-article Newspapers and the Postal Service, Both Struggling for Survival, Wage War on Each Other in the Tech&Trend section of the International Business Times focuses on the similarities of newspapers and USPS. Both have struggled to adapt to electronic communication, and rely heavily on advertisers for an income source. As the article’s title expresses, a tight market has placed these traditional allies of print media in a position to become competitors. Newspapers and the USPS share an advertiser driven model that has maintained an income and provided services, for next to nothing, that have provided a communication source for Americans to stay informed and connected.[3] Newspapers have not shifted to be completely online because of the revenue from advertising circulars in the Sunday editions.
            The attention to the advertisers needs was referred to in my blog, Local & National Print Media Observation on Tues. June 26, 2012. I specified an NPR interview with Times-Picayune reporter, Mark Schleifstein and his mention of the “unknown” with the transition in print media culture. He relates these concepts of the unknown not only to keeping an audience with the new products (internet base), but also the effect of keeping the advertisers happy with the new products. I continue in the June 26th blog post with my Print Media Coupon as Artifact essay that sites a 2008 MSN Money article that about 75% of coupons are issued in the Sunday paper as well as grocery and drug companies that have no plans to stop printed-paper coupons until consumers further use of the e-coupons. My references not only related to Schleifstein’s comment, but also the business deal between Valassis Communications and USPS. The agreement not only produces a well-needed revenue for the USPS, it provides Valassis Communications with a distributor that is focused on print media content.
            The Newspaper Association of America (NAA) is stunned with the deal that will create an “anti-competitive” environment, according to the International Business Times article. The newspapers will lose advertising dollars to the competitor (USPS) with the direct mail service.[4] The New York Times e-news article ends with a post office statement that the deal will help with the mail service and not harm newspapers revenue. The statement continues with the ad circular that is distributed by the mail service would be from national retailers and would not include ads from regional or local advertisers.
            With my experience of receiving coupons in the postal mail and through my local paper, there is a dissimilarity of the type of distribution that is mentioned in the New York Times article. These categories of national and regional/ local retailers are implying a “cut and dry” idea of division between newspaper and postal mail delivery. I receive three styles of ad circulars or coupon base content from my postal mail delivery. I do receive a Valassis Communications style ad circular each week, which is its consumer brand RedPlum.[5] RedPlum presents a packet to my area of local and regional grocery store ads as well as national and local restaurant coupons. Other distributors of local business coupons are the Clipper magazine, which is an ad booklet, and I receive an envelope of savings from ValuPak. The envelope contains single printed sheet ads with local coupons to use in my local county within my state. I would estimate that I receive as many local coupons from the postal mail as I do with my local newspaper. This dissimilarity from the postal service statement in my area could have many contributing factors. Such as the postal service direct method of distribution of print media and my local paper raising the price of the print edition. These are assumption since my research has not gone in the direction of local business means of advertising.  
            The Valassis Communications business deal with the USPS is a demonstrated act toward the longevity of the print media coupon. Since I receive a Valassis Communications style ad circular I will look for any new inclusions to the style I have been receiving for a year. This deal brings new questions to the newspaper industry for the products they will be offering to their advertisers. The deal contributes a new insight to the print media culture transition. Currently for the collecting process of the coupon collection this is an indication of another transitional point beyond the visual image of a print media coupon and a QR code.
           
             
           

Monday, August 20, 2012

Print Object Observation


             The print object observation is of zines that are exhibited at the University of Delaware Morris Library's First Floor Exhibitions. The exhibit’s content presents the zine’s social, cultural, and political interactions from the late 20th Century to the transition of its form in present day. This content of the exhibit, Zines! Self-Publishing Youth Culture, Then and Now, is displayed with two types of book forms: the zines and the traditional form of published books.
            Zines are a form of self-publication, which are created and printed cheaply usually from a copier machine. A zine is a printed object that documents and is used as a forum for distributing various aspects of sub cultures. Zines tended to be most widely distributed in the 1970’s through the late 1990’s.[1]  
            In the exhibit, use of the zines during these specific decades is presented with publications that examine the artistic medium such as Stephen Duncombe’s Notes from the Underground: Zines and the Politics of Alternative Culture and Liz Farrely’s Zines. The highlighted social, cultural, and political aspects of one type of sub culture that employed the zine as a forum of self-express is from the 1990’s Riot Grrrl movement. The Riot Grrrl movement was out of frustration with the mainstream perception that women held positions of marginal importance in subcultures, for example, the punk music culture. Young women embraced various forms of creativity and activism strategies to publish work based on their own life experiences. Zines became a form of printed communication for this movement, which offered women control over publishing content and distribution that wasn’t relying on mainstream media.[2] Two examples of zines, No Snow Here and Figure 8, from this Riot Grrrl movement are on display.            
            The “now” element in the title of the Zines! exhibition focuses on the transition from print media to social media as a forum of self-expression for sub cultures. Today zines are still being published, but the Do-It-Yourself (DIY) aesthetics from the culture of zines are influencing the internet-based Indie Industry. These cyberspace publications of self-expression are also presented in the exhibit with publications, such as Kaya Oakes’ Slanted and Enchanted: The Evolution of Indie Culture.
            The exhibit, Zines! Self-Publishing Youth Culture, Then and Now, offers several concepts of how the zine has offered a print media forum for sub cultures as well as the transition in print media culture. 

Wednesday, August 8, 2012

The Coupon Collection



            The tally for the July Expiration Group of the Coupon Collection is 1229.
To view each segments tallies visit the Coupon Collection page of the website.
            The restaging of the Coupon Collection is on display at the Newark Free Library till August 17, 2012. If summer travels are in the proximity of Newark, Delaware USA - please inquire about the library’s hours and locationTo view more images of the Newark Free Library restaging of the Coupon Collection please visit the website.
Remember there are several social media options that are available on the front page of the website to stay updated on the recent addition of the collections and public access to the collections via the internet. 


Image is of the bottom shelf displaying the November 2011 Expiration Group of the Coupon Collection.

Monday, July 30, 2012

Roles within the Ethnography Stages


             There are several roles in the process of presenting the social interactions between people and objects during the ethnography stages. This final blog post for the July series is not intended to portray the observational methods in the anthropology and fine art discipline roles. These discipline roles will be addressed in my methodologies essay. My focus is on the roles within the ethnography process and the transition of the roles and methods during my collecting process for the collections project. 
            The beginning observational methods, as in ‘fieldwork,’ have objective and subjective dichotomies. I acknowledge these dichotomies, which are parallel with the crossing borders of the anthropology and the fine art discipline.[1] Beginning with the aspect of the subjective I will keep with the intended focus of the blog as mentioned. I am personally from the current Western Culture and engage with objects from it. The objective of the project and the purpose of the use of material culture methods in my collecting process are to perceive how fundamental the interaction between a person and an object is to consistent consumption in the material world. Since I do not engage with all the objects from Western Culture, I am inquiring with others who have experience with objects that I am not that familiar with. This aspect of the collecting process is where the different roles emerge with the stages of my ethnography process. 
            The general progress of my ethnography stages within my research and practice are observation, first stage recordings of observations and experiences, and staged recording of the social interaction. The observation and first stage recording are overlapped with note taking, research experience with the object, and understanding the details of the experience from the social interaction. When I am observing my own interaction, I am in the dual role of the participant of the ethnography process as well as the ethnographer. Referring to Sarah Pink’s proposal of rethinking participant observation of a multisensory experience, she states, “Thus the notion of ethnography as a participatory practice is framed with ideas of learning as embodied, emplaced, sensorial, and empathetic, rather than occurring simply through a mix of participation and observation.”[2]  In my dual role I am focused on the bodies interaction with the object without an environment. The roles of participant and ethnographer are integrated because of my experience with an object and through the ethnography, revealing of knowledge concerning the sensory experience and the stages of the interaction.
            The dual role experience offers a reflexive process developing ethnographic knowledge[3] for the second role. The second role is the ethnographer. This role occurs singularly when I am observing a participant other than myself performing the social interaction with an object. Observing, note taking, and interviewing are the methods employed before the staged recording of the social interaction with the participant. A current example of employing the role of ethnographer with a participant is demonstrated in a July 2012 recent addition video clip to the Mouth Collection. The observation was of a gentleman smoking his tobacco pipe. I have no experience with a pipe except that I can visually identify the object. My experience with the reflexive process pertaining to ethnographic knowledge contributes to my interviews and observations to stay focused on the participant’s body and the object. These questions refer to the sensory experience and the bodily movements of the social interaction. The participant’s verbal description and physically displaying the movements brings an understanding to the documentation of the staged recording. For example the pipe smoker described his movements with his pipe in hand as being slow and in short lengths away from his mouth. This understanding of movement of body and object established the framing of the clip to have a close up representation for the restaging process.
            The roles in the staged recording process range from videographer, performer, and curator. Currently, the one role that changes within this process is the performer aspect. I am the performer when I am the participant/ ethnographer of the ethnography process. The consideration for the presentation of the documentation (video clip) of the performers role persuaded me to restage the recording process. To restage a social interaction implies enabling me the ability to tightly frame the video clip and remove the environment. This approach brings a visual focus to the verbal and written description from the first stage of recording of the observations. 
             I am not acknowledging these roles as pseudo characters to contribute to my creative process, but as ‘working’ roles within my art practice to develop knowledge and exposure to multiple perspectives.             
            To view the clip and the July 2012 Recent Additions of the Mouth Collection please visit the website.


[1] Arnd Scheider and Christopher Wright, Contemporary Art and Anthropology (Oxford: Berg Publishers, 2006), 24 - 27
[2] Sarah Pink, Doing Sensory  Ethnography (London: SAGE Publication, 2009), 63 - 64
[3] Ibid 63

Wednesday, July 25, 2012

Presenting Social Interactions in the Form of a Collection


          The collection themes were considered by using my academic and experiential research of the social interaction between a person and an object. These themes evolved from ‘fieldwork’ and observations of daily activities with objects. I am interpreting the collection themes with the context of present day consistent consumption in the material world. My reference of the material world is objects of the western culture.
            Currently, there are four themes in the collection, represented with the medium of video. These themes were considered from the functionality of the object, possible daily use in present day society, and the role of the body interacting with the object. The collection themes are as followed with a brief content description.

            - Screwdriver Collection
The Screwdriver Collection visually represents the use of a singular object to carry out multiple tasks.           

            - Can Opener Collection
The Can Opener Collection visually represents the tangible and intangible work processes to open the lid on a tin can. The tangible work is the result of the main outcome, to open the lid of a can. The intangible work is the knowledge of the process to use the tool to open the lid.

            - Interaction With Color Collection
The Interaction With Color Collection presents the role that color represents within specific types of activities, characteristics of an object, and the human body as an object.

            - Mouth Collection
The Mouth Collection visually represents the dual functionality of this body part with individual consumption of substance and interaction with objects.

            These themes are the initial stage of my collections, which are presenting the types of social interactions between person and object. I am grouping the social interactions by a detailed element of a multisensory experience. These groupings are organized and exhibited on a monthly recent addition basis on my website. Social media is the medium for the main viewing area of the collections in the intangible public domain.
             I view the social media in offering flexibility in presenting a collecting process that I consider to be a continual act. I have considered the intersection of the methods used to contribute to the medium of video that is used to present the social interactions between people and objects. The analysis of these intersections of methods, such as observations and forms of written documentation, implies the details of each social interaction range in elements with the multisensory experience. An example of the range is the Screwdriver Collection tends to have no visual representation to taste, where the Mouth Collection has a direct link to taste. Considering this analysis, I am presenting one collection theme to group the multisensory and the symbolic of an object within the Interaction With Color Collection. As the collection develops as a whole with recent additions the obvious analysis is how will these methods contribute to future additions and themes of the collections. Since my analysis is largely based on my own interactions, I would like to gain knowledge from this current analysis to provide an understanding and continue the process of documenting others with their objects and social interactions.