Mystery Box Reflection

Mystery Box is my latest installation which is intended to expose the frustration of the audience when placed in an interactive gallery and told not to approach or interact with a mystery box. Using non-physical barriers such as signs, tape and the stigma of touching other’s work, the audience is put in a mind space of questioning intention and their own actions.

Response to the work was overwhelmingly positive. Having experience various levels of frustration experienced by the audience from anger to nonchalance. The audience also varied in their interaction. I witnessed total refrain, extreme hesitance, determination and uninterrupted physical contact with the piece. One of the greatest pieces of positive feedback was the perception of how the art work only became effective because of the casual and interactive nature of the gallery it was show in. Had the piece been featured in a space where interaction was not encouraged, the responder stated that they would not find the work interesting at all.

My work’s intention was mostly achieved. Ideally, the piece would capture a wider audience and record the reactions of the participants. To achieve this, I am thinking of adding audio incentives within the Mystery box, either via Arduino and speaker or via bluetooth and using pen and paper, as well as a time-lapse camera to capture the reactions of the audience. This will hopefully create a longer lasting meaning to the piece in being able to qualitatively study audiences reactions within the gallery space.

Another issue with the piece is that some participants were not desired by the signage and proceeded directly to opening the box. Though I can not force audiences in to any specific state of mind, I can add factors which cause the piece to deserve more reverence. The two major changes aesthetically that I would like to shift is having the plinth be more decorated, either with a cover or lights, and to introduce a surface within the marked off area such as a rug to further alienate the space.

Overall these are minor changes and are easily achievable by the due date, I am stoked that I had this chance to test the piece seeing as it relies so heavily on the reaction it gains from others.


Closing Time 2017

And here it is, my final blog post of this semester. After 13 weeks of research, production, analysis and crying I’m ready to hand in my final projects. This final instalment will look in to my reflection in producing my “Love Letter to Analog Photography” analysis of the medium’s relevance ion 2017.

Though much of this reflection is going to analyse how i ended with the lecture topics in my research, It is important to also look back on my communication on my progress throughout this semester. Sadly, this was an element I found myself unable to fully produce. The final report, though cohesive in its argument and conclusion, was for the most part a mystery throughout its inception. Had I known the target audience for my piece, and dressed said audience in my blog then the project would have been for naught. The analysis of film photography’s relevance was as much a look in to how important the medium was as to who the target market for this technique was. Which is why my posts one the matter have been sparse and vague.

As aforementioned, this post also seeks to analyse my engagement with the lecture topics in regards to writing my major work. Notes open these topics include:


Curiosity was the core driving force in my research topic selection. Analog photography is my greatest passion and I am aspiring to turn this hobby in to a profitable business.


However, researching such a subject infers a level of subjective analysis. I note this in multiple occasions within my final report. Stating my aim in not forming a bias, though alerting the audience to the inevitability of a subjective analysis in my quantitative research.

Socially responsible research design

This topic takes up an entire chapter in my report. Working with focus groups can raise many ethical dilemmas which I noted and resolved before proceeding with primary research.

Critical judgment

Regardless of my aspirations as a film photographer, I set out to accurately define the influence of the medium to businesses in 2107. This meant being critical towards the craft and forming unbiased conclusions.

respect, Integrity, negotiation and flexibility

These were all values which I exhibited when working on primary research. I showed respect, negotiation and flexibility by changing the recording structure of the focus group, while showing integrity through my privacy statement before commencing.


I tried to structure this report in a creative manor to engage wider audiences. The avid use of screen grabs and other people’s photographic work helps move the narrative forward in an engaging and more exciting manor.


De-cyphering and analysing primary and secondary qualitative data is where I showed the greatest level of insight.


Was the only topic I lacked in. Outside of the required blog posts, I kept most of my work hidden from online audiences. Only discussing my work in class. This was because of the shifting in my project’s conclusion as my research grew.


Though this is a piece made for use by businesses and artist alike, I feel the homeliness of the report grounds itself in professionalism. Structure, analysis and transparency are all ways I expressed professionalism within my work.

If i was to further this research, I would put more emphasis on other formats such as 120 film and motion picture film. I would also look further in tot he current state of analog film, exploring events such as Fujifilm halting production and Kodak pushing for more movies to be shot on film. I exercised precision on this report so as to deepen the research in to the specific motive of the piece and to open up the possibility of further research on the matter branching off in to these other facets.

The Big Z

Zines, as of late have seen an overhaul from DIY counter-culture micro mags to an exploitable marketing technique (Arnold, 2016). The most influential of these “Big Budget” zines would be Kanye West’s Season 2 Look-book. A calculated and dry approach to a previously handmade medium. This motion towards the clean, the crisp and the easily available is what I aim to challenge with “Digital killed the Analog Star”.

Yeezy Season 4 (West and Nickerson, 2017)

In keeping with this more aggressive, pointed approach to my digital artefact, I have also decided to make my message more direct. Though it would be easy and inclusive to involve digital and analog artists within the zine, I felt like the message of analog artistry maintaining relevance would be more direct if I were to include sole analog artists. This both cuts down the book and makes it more categorical.

Through much digging, I have discovered 3 core guidelines to producing a Zine. Note that these are not “Hard and Fast” rules, rather they are vague outlines as to what could easily be identified as a zine to an objective viewer. These guides are:

  • A small-circulation, self-published, and often inexpensive medium – Zines are the epitome of the DIY publication. The easiest way in which to distinguish it from comic books, magazines, booklets and other literature is the raw, handmade nature of the medium. I plan to execute this in a way that challenges the modern deliverance of the product by making it using my own two hands as much as possible. The plan for production is to print off each aspect individually (photos, text, borders etc.) then photocopy them in to the final product. this helps keep with the traditional formatting of zines in the 70’s (Perkins, 2012).
  • The 70’s Zine, though not the roots of the medium exploded within the punk scene and is the most renowned format of the medium to date (Perkins, 2012). It is a model I would find much comfort in appropriating to express the nature of analog art forms. Incorporating elements of punk, skate, surf and street imagery, This zine is planned to resonate with my fellow youths, inspiring a movement towards analog art tools and consumer mediums.

    Screen Shot 2017-04-28 at 9.25.39 am.png
    (30 Rock, 2013)
  • Tactility is an important aspect of the zine, though often abandoned in the 21’st century, a physical copy holds truer to both my message and to the zines of the past. taking from issues such as “Artificial Insanity”, “Assault with Intent to Free” and “Endless Struggle” without disregarding the Riot Grrrl zines of the 80’s such as “Bikini Kill” by using as many dated techniques as possible (Oyler, 2014).
    Illuminati Girl Gang issue #3 (2016)So, with these characteristics in mind, I decided to venture in to a layout which would, in much the same way that the above imaged IGG did, harken back to the roots of zine culture while still maintaining a 21st century feel. So without further ado, I will attempt to outline the zine layout in words.

I am hoping to print the final copy of “Digital” on a 120 GSM creme paper, giving it a rustic hefty feel. The front cover will have the title of the paper printed using alphabet stamps with a photo underneath. within the cover will lie a quote from polaroid “Ideas in ink, photos in print”, with the table of contents on the accompanying page. From there I plan to mix the artist series up using various photos to collage their work with photos of their medium and themselves creating the art. This will be accompanied by a one page analysis and interview on the artist about their medium and why analog tools are so important. This will then close the zine with a collage of all individuals involved with hand written final note from each artist. I plan to scrapbook this on folded A4 paper (turning he zine into an A5 format) and then scan and do a final print.

Deciding to turn the zine in to a purely primary research work was an important part of maintaining the zine’s integrity as a medium. Though I will outline many secondary sources in my final report, the zine is not the place to incorporate such details. until next time, Dan out!

Screen Shot 2017-04-28 at 10.04.18 am.png
Assault with intent to fire (1970’s)


Arnold, C. (2016). A Brief History of Zines. [online] Available at: [Accessed 27 Apr. 2017].

30 Rock. (2013). Directed by T. Fey. Las Angeles: NBC.

Oyler, L. (2014). Top ten zines. [online] Dazed. Available at: [Accessed 27 Apr. 2017].

Perkins, S. (2012). Approaching the ’80s Zine Scene: The Counterculture and the Underground Press. [online] Available at: [Accessed 27 Apr. 2017].

West, K. and Nickerson, J. (2017). YEEZY Season 3-4 Zine. 1st ed.

Progress Report BCM212

Greeting analog enthusiasts, It has been a while since I have referred to you win a written platform but what better time than the now!

This post is here to outline the progress that I have made on the research report I have mentioned in previous episodes of Dan on the Bus.

The report is a device for artists and businesses alike to deduce the viability of analog practices in photography and videography as a marketing tool in 2017. Thus far I have deduced various companies which utilise the medium as a brand aesthetic. These brands mainly fall within the spectrum of surf, skate and street fashion brands. These brands resonate well with many youth markets and use the medium as a nostalgic tool aimed at the “Hipster” demographic. My next step in producing this report is the conduction of a student based focus group. This group will hopefully outline the various strengths, risks and nuances of the medium in layman terms.

This report will ideally be useful for artists hoping to break in to the photographic industry using old fashioned tools and businesses to decide whether the medium is right for them. until then, I am hoping to get at least one more episode of the DOTB series so keep those eyes peeled.

D Out!

Film is Undead

I’ve got some pretty strong beliefs on what the state of analog photography and movie making in the 21st century is. The “not dead but not quite alive” nature of modern day analog adds to the craft: grungy, costly, addictive and tedious. It is an art form that I am furiously dedicated to and believe adds a real tact to both mediums. Keeping film from the grave, one snap at a time 🤘🏾#filmisundead

I utilised two basic editing styles in order to convey my beliefs on the nature of film. I began with the carving of occult imagery over the found footage. Pushing the grungy culture that so readily utilises this decomposing format. I then projected the clip twice to enforce the imperfections in the finished product, the slips, rate and minor differences in the two runs of the footage really ads to my concepts. I expanded on this by slowing, and in some cases repeating the jittering of the 16mm film sliding on the projector sprockets.