.

the algorithm is how you navigate the different groups on tik tok—it's like Charon guiding you through different social groups (the well known high school lunch/break montage)

the algorithm knows what you want to see before you realize it—your time and attention is its currency and its lifeblood lmao wtf is this

straight v alt (cc tumblr), deep, science/booktok, witchtok, spiritual tik tok

ongoing research project: ties to Dada/Pop art, Edition: MAT, multiples, duplicates, replicas, series and copies. mass reproduction, mass remixing, culture of annoyance/being mentally tired. early precedent is faxlore. copypasta, -pasta.

rethinking compression, fidelity, and feeling

Global Generation Loss: Compression & Complexity in Computing Systems

The act of translating the world's complexity into a computable format and structure inherently leads to compression: in which the territory is compressed into a map. This is why Facebook presents us with such a tragically lame abstraction of the richness of human social life.

At small scales or with narrowly scoped "translations", this is actually fine. Accounting software is a good example of this, as is music production software. Even email seems to be ok.

But at scale, any computing system that interacts with the wider world - such as a global transportation system (Uber), a home-based hospitality company (Airbnb), or egalitarian content delivery system (YouTube) will be forced to see its map interface with the territory. The results are never good.

Have you seen what happens when you take a screenshot, print it out and scan it back into your machine? Maybe not much at first, but over time more and more artifacts - noise - will appear. It's called generation loss and eventually, as entropy gains an ever-increasing foothold, nothing will be left but this digital gibberish. This is what happens with these computing systems at scale. As these systems enter into a cycle of ingesting and translating (compressing) the world's complexity, they then output their distorted model for the world to deal with.

leslie liu

3 MONTHS AGO

DELETE

generation loss and noise is the desired effect and atmosphere of gen z toks. compression and performance

Alex Singh

3 MONTHS AGO

@leslie liu Is it also the desired, default effect and atmosphere members of gen z have, generally?

leslie liu

3 MONTHS AGO

DELETE

i'm not sure. i think because gen z humor is so absurdist ("stonks", surreal memes, copypasta) glitched visuals and deep fried audio is what logically follows when people make videos. this definitely isn't applicable to everyone, but i think the popularity of lofi music ("24/7 chill hip hop beats to relax/study to) is a sort of longing for something more analogue in such a digital age

leslie liu

3 MONTHS AGO

DELETE

what's interesting is if you look to cottagecore tik tok & even some folks' instagram stories, that vhs/90s quality is reconstructed/edited in using grain/film textures (there's an insta filter that does this).

Volumetric Notation

Bernard Tschumi, 1987

“How to deconstruct opera and architecture so as to 'think' their concepts and simultaneously to observe them from an external and detached point of view? How to devise a configuration of concepts which is systematic and irreducible, that each concept intervenes at some decisive moment of the work? How to question the unity of a building without re–course either to a composition of articulated and formalised elements or to a random accumulation of isolated programmatic fragments? To play on limits without being enclosed within limits? To relate to other operas while referring only to one's own? Juxtaposition We have therefore abandoned traditional rules of composition and harmony, replacing them with an organisation based on breaking apart the traditional components of theatre and opera house and developing a new 'tonality' or 'sound'.

No more artful articulations between auditorium, stage, foyer, grand staircase; in–stead, a new pleasure through the parallel juxtaposition of indeterminate cultural meanings, as opposed to fixed historicist practices. Functional constraints are not translated into a composition of symbolic units, but are extrapolated into a score of programmatic strips, analogous to the lines of a musical score, each containing the main activities and related spaces.”

→ degraded/low effort, spiraling into lofi/bizarre: Dada as precedent

→ mass meme production:

→ comparing with art history

→ tik tok/yubo landscape

This is the start of a beautiful thing. Say something nice, or share a cat fact.

organicfossil Snoovatar

hi, i'm researching YTPs and saw your seinfeld ytp from 2015. was wondering if you'd be open to sharing your process making YTPs?

Sep 3

Dorian_Ye Snoovatar

Sure thing! I'm working atm but I can write something up for you later this evening

Dorian_Ye Snoovatar

Okay, so the Seinfeld YTP was definitely unique in the sense that I didn't make it in my usual YTP style, which especially at the time was more heavily edited and less meta. Interestingly enough though my videos did evolve over time to have less trippy video effects and more of a sense of purpose to them, sorta like the Seinfeld one. It was almost foreshadowing where I ended up taking my style later down the line.

But as for my process for making YTPs: Nowadays, it starts with an idea I'll get seeing a video somewhere and thinking of some way to fuck it up. I use Sony Vegas, though I do plan on learning Adobe Premiere/After Effects soon too. I've got a folder on my PC for all of my YTP projects so I'll start by collecting files I wanna use in the video. Next comes the editing - One element of my style that's always been there from the beginning is sentence mixing, which is usually where I'll start with a source. Lately I've been using longer/wordier sources, so what I'll do first is make a transcript of the entire video, playing it in slow motion and typing up every word that's said by every character. That way I can quickly find words & sounds that I need for sentence mixes. From there, I'll start cutting things up and forming the words. Along the way I might do some text & graphic stuff, but for the most part, the sentence mixing takes first priority and I'll go back to add text, effects, etc. afterwards. I'll normally go over the edits several times to make sure everything sounds and feels the way it should, and sometimes this will spur new ideas to put in on top of the already existing ones. After enough fine tuning the video's done & ready to upload!

Also, it's probably worth mentioning that I'm stoned at least 70-80% of the time I'm working on videos. Weed just has a way of bringing new ideas out and propelling inspiration (aside from when it just makes you wanna fall asleep lol).

But yeah that's a general overview of how it goes I guess! Anything else you wanted to know about?

Sep 7

organicfossil Snoovatar

ah thanks so much for such a thorough explanation of your process. i wonder if you're still drawn to deep fried stuff/trippy video effects when/if you're watching other people's videos? is there a balance to find between vfx/warped audio and the meaning/how meta it is

Sep 12

Dorian_Ye Snoovatar

I think it's all up to each YTPer's individual style and what they deem to be funny or interesting or whatever the goal of the video they're working on is. I've found over time that I've started to grow tired of videos with just constant sex jokes and feel that, especially if I pick up Premiere/After Effects, I can start to add in more of the effects element of it that I'd reduced over the years and really get to where I want to get editing-wise. But again, everyone exceeds for different reasons: you've got guys like FlyingKitty or AwfulFawful who would excel on how precise and impressive their effects were, and you've got guys like NoisePuppet whose videos are just 90% sentence mixes, but when creators play to their strengths and go in to their projects with intent, good things happen.

*tired of MAKING videos with just constant sex jokes - These have always been the funniest parts of YTPs to me and I'll always love them in a sick sort of way but I've already done them so much already I think I want to try something different

Today

organicfossil Snoovatar

thank you for this—haven't been able to get back to this research project & rereading what you wrote, truly appreciate your insight!!

Misc notes

Mark-making

Graffiti (asynchronous) in ue, bathroom stalls

Narrowing it down

→ degraded/low effort, spiraling into lofi/bizarre: Dada as precedent

→ mass meme production:

→ comparing with art history

→ tik tok/yubo landscape

>> library based? Archive?

>> University archive: (special collections) 60s student protest materials

>> flyerbombing (protoest, make your own/diy) → political memes? Deep fried alt right

>> how ideas spread/grow popular

>> finding a time-specific collection of things

(archival work?)

Degraded quality/multiples/youtube memes

Edition MAT Kemper wustl

(NYT: cultural vernacular/currency)

Reader is in on the joke

Think of who to interview

Tellart (providence, RI)

 https://www.artnews.com/art-in-america/features/brad-troemel-memes-criticism-1202673085/

https://www.youtube.com/watch?v=oYAl_epMLRA “Bee Movie Trailer but every time they say bee the audio gets worse” “Bee movie but it keeps getting faster every 0.0002 seconds”

“bee movie but every 'bee' is replaced by "Barry B Benson" and every 'Barry' is replaced by "BEEEE!!””

art/glam memes

Roblox meme museum

https://nyulocal.com/when-memes-meet-art-two-decades-of-memes-at-the-museum-of-the-moving-image-ed44aba67028

lofi/cursed/abstract/surrealist? Memes (absurdist)

Instagram accounts for ref

Mark.succcerberg

Memehubcommunity

Ironic.mp4

Sponge.pete

Youtube poops > spongebob/cartoons, deep fried + trippy + absurdist

https://www.youtube.com/watch?v=3MnrAw8Icfs

https://www.youtube.com/playlist?list=PLaEEZIrDr1Yh5y9jWEXlT6sFgOpnA-Q1Q

Absurd??

Bass boosted: https://youtu.be/dKWaIheDiFQ

vaporwave/lofi/bill wurtz/jack stauber

earrape

https://www.youtube.com/watch?v=MTkhrosH8xw

https://www.youtube.com/watch?v=S5L3JwHiGp0&list=PLB48rOQm3HAE-XRjvSyk0uqdBEDs1fu3d&index=114&t=0s

https://knowyourmeme.com/memes/sites/r9k

https://www.youtube.com/watch?v=FbLdTQ-_-SA&list=PLB48rOQm3HAE-XRjvSyk0uqdBEDs1fu3d&index=112&t=0s

https://www.youtube.com/watch?v=mUZiUC-kHj8&list=PLB48rOQm3HAE-XRjvSyk0uqdBEDs1fu3d&index=1

Surreal entertainment channel: https://www.youtube.com/channel/UCChWvNbRQYQ5fj1Nj3RQu8Q

Ft: https://www.youtube.com/channel/UCChWvNbRQYQ5fj1Nj3RQu8Q

https://www.youtube.com/watch?v=03o5BPPOEbo

https://www.youtube.com/watch?v=txsowcrOuyQ

Deep fried aesthetics take on an absurdist, bleak tone. I want to analyze deeptok & heavily edited media to understand how and why we (≈gen z) gravitate to noise. Drawing on Andy Warhol’s silkscreens of Marilyn Monroe and the Tuna Disaster as an example of this.

Glitch aesthetics are tech friendly—they embrace errors and bugs—Zalgo’s sprawling, almost bacterial structure is post-human. It reminds me of fraktur and black ink tattoos (grindesign for instance) in its vertical, long & piercing letterforms. (+ suffixing & prefixing via “vertical building” to evoke the appearance of a digital virus)

Meme depreciation doesn’t necessarily correlate to distilled meaning. Often the more warped the content is, the greater the absurdity and so the deeper the relatability (though it does follow the uncanny valley graph, sort of, since reactions to the deeper parts of deeptok are usually something like “this is scary but I feel safe here”).

Focusing on two types of noise: one feeds into the culture of annoyance and being mentally tired, the other something more monstrous, something more apocalyptic. The former embodied in Instagram comedy & bigger Youtube channels, where people take successful Vine formulas and stretch them out to a minute—fast paced clips, screaming, dead horse tropes/worn out stereotypes, hypersexualized imagery, threats of violence, a lot of cheating—and presumably packaged for an older audience though these accounts’ followers often skew younger (around twelve to early teens). All this noise feels like a highway system where billboards/pop ups advertise extreme experiences (when extrapolated, they revolve around money, sex and being online).

The second sort of noise is the pull of the unknown, the fascination with the macabre and the extraterrestrial. (banana rotate by Mirabeau Studios & on Tumblr & another Jojo themed version) Through this distinctive visual/editing style people look to feedcrafting as a way to construct and define their personality: the perceived division between “straight tik tok” and “alt tik tok,” the countless -tok subcommunities as well as the “my friend: ‘did you see Charli’s new dance?’ my fyp: ” all point to an unexplainable resonance with deep fried visuals.

===

Deep fried aesthetics take on an absurdist, bleak tone. I want to analyze deep Tik Tok and heavily edited media to understand Gen Z’s penchant for noise: this is a type of noise that not only feeds into a culture of annoyance and being mentally tired, but also hints at something more monstrous and apocalyptic. References include Andy Warhol’s silkscreens of Marilyn Monroe and the Tuna Disaster.

====

Glitch aesthetics are tech friendly—they embrace errors and bugs—Zalgo’s sprawling, almost bacterial structure is post-human. It reminds me of fraktur and black ink tattoos (grindesign for instance) in its vertical, long & piercing letterforms. (+ suffixing & prefixing via “vertical building” to evoke the appearance of a digital virus)

Meme depreciation doesn’t necessarily correlate to distilled meaning. Often the more warped the content is, the greater the absurdity and so the deeper the relatability (though it does follow the uncanny valley graph, sort of, since reactions to the deeper parts of deeptok are usually something like “this is scary but I feel safe here”).

Focusing on two types of noise: one feeds into the culture of annoyance and being mentally tired, the other something more monstrous, something more apocalyptic. The former embodied in Instagram comedy & bigger Youtube channels, where people take successful Vine formulas and stretch them out to a minute—fast paced clips, screaming, dead horse tropes/worn out stereotypes, hypersexualized imagery, threats of violence, a lot of cheating—and presumably packaged for an older audience though these accounts’ followers often skew younger (around twelve to early teens). All this noise feels like a highway system where billboards/pop ups advertise extreme experiences (when extrapolated, they revolve around money, sex and being online).

The second sort of noise is the pull of the unknown, the fascination with the macabre and the extraterrestrial. (banana rotate by Mirabeau Studios & on Tumblr & another Jojo themed version) Through this distinctive visual/editing style people look to feedcrafting as a way to construct and define their personality: the perceived division between “straight tik tok” and “alt tik tok,” the countless -tok subcommunities as well as the “my friend: ‘did you see Charli’s new dance?’ my fyp: ” all point to an unexplainable resonance with deep fried visuals.

===