Sofya Marso Art - Blog

Why are monsters so common in myths, especially heroic myths? Is it because myths are always stories about good and evil? Who is the monster in 2001, A Space Odyssey and who is the hero? Who slays whom?

Sat, 02 May 2026 02:59:00 +0000

Essay

Introduction

The German philosopher Fredrich Nietzsche wrote in Beyond Good and Evil “He who fights with monsters might take care lest he thereby become a monster. And if you gaze for long into an abyss, the abyss gazes also into you.” (2020: ch 4, pr 146). This aphorism haunts Stanley Kubrick`s 2001:Space Odyssey (1968) (hereafter referred as 2001) from its opening frame to its last. Hero myths have always carried monsters at their centre. But why? Is it simply because myths are stories about good and evil, and every story needs a villain? Or is something more complex at work, something about the nature of transformation itself, about what must be confronted, and what must be sacrificed, before a human being, or an entire species, can transcend what it already is?

This essay argues that 2001 is not a science fiction film but a mythological and anthropological text of what Kapferer (2014: 95) calls 'cosmological proportions' that operates on the viewer's unconscious through image, sound, colour, and architecture in place of dialogue. Its central claim is that Kubrick constructed the film as a heroic myth in which the boundaries between monster and hero are deliberately destabilised, and the force driving transformation is far older, far more silent, and far more dangerous than either figure alone.

The argument proceeds in three stages: first, examining why monsters occupy the centre of heroic myths and whether this reflects simple moral opposition or something more psychologically fundamental; second, identifying the monster and hero in 2001 analysing HAL 9000, the human crew, and the Monolith as candidates for each, and crucially for both simultaneously; third, considering who slays whom, and what that act of slaying ultimately means.

The analysis draws on the mythological theory of J. Campbell (2008), the depth psychology of C.G. Jung (1968), and the anthropological work of B. Kapferer 2001 and Counting: Kubrick, Nietzsche, and Anthropology (2014). The analysis is further informed by the work of clinical psychologist and cultural anthropologist Heather Ensworth, PhD, whose integrative framework connecting cosmic consciousness, galactic cycles, and human evolution provides a compelling parallel perspective for reading the film's deepest cosmological questions (Ensworth 2026). Rather than attending to dialogue, the analysis focuses on Kubrick's visual and sonic language as the film's primary carriers of meaning. Three figures sit at the heart of the analysis: the human crew, HAL 9000, and the Monolith. Each is, in its own way, a candidate for both monster and hero. This ambiguity, the essay argues, is not a flaw in the film's construction, it is its most profound mythological truth.

Analysis

The Bone, the Birth of Narcissism, and the Eternal Return; Why myths need monsters?

To ask why monsters occupy the centre of heroic myths is to ask a prior question: what, precisely, is a monster? The assumption embedded in the essay question that myths are stories about good and evil and that the monster is simply the embodiment of the latter proves, on examination insufficient. Monsters in heroic mythology are not merely villains to be defeated. They are, as Campbell argues, externalised projections of forces the hero has not yet confronted within themselves, the shadow, the unintegrated self, the part of the psyche that has been denied, suppressed, or refused (Campbell 2008: 22). The monster does not exist in opposition to the hero. It exists because of the hero. This is the mythological logic that 2001 inherits and radicalises.

Kubrick announces this logic in the film's opening sequence with arresting economy. The ape, as humanity's ancestor, discovers that a bone can function as a weapon. In that moment of recognition, something irreversible occurs: the birth of what this essay, drawing on Ensworth (2026), identifies as narcissism. It puts him above all else, dominant, feared, superior. He is the point at which human evolution chooses to step away from harmonious, coherent living with nature into patriarchal society. Nietzsche would later call the “will to power” the paradigm of patriarchal domination that has governed human civilisation ever since (Kapferer 2014: 18, 28).

The most celebrated editing decision in cinema history is the bone thrown skyward, cut in a single frame to a nuclear weapons satellite orbiting Earth, which makes Kubrick's argument explicit. This is not a celebration of technological progress. It is a diagnosis of stasis. The tool has changed; the impulse has not. The narcissism born at the waterhole carries forward across millennia, wearing ever more sophisticated disguises: the bone, the warship, the space station, HAL 9000. As Kapferer observes, 2001 is a mythological work that refuses the comforting narrative of linear human advancement, insisting instead on the recurrence of the same fundamental human contradiction (Kapferer 2014: 16).

This, then, is the answer to the question of why myths need monsters. It is not because myths are stories about good and evil, a framework that presupposes a clean separation between the two. It is because myths are stories about transformation, and transformation requires a confrontation with precisely what the hero has refused to become. In 2001, what humanity has refused to confront is itself. The monster, this essay argues, is not HAL. It is not even the Monolith. The monster is the species and its name, in the language of contemporary psychology, is Narcissism.

Black — The Monolith as Liminal Threshold

Having established that the monster in heroic myth is not simply the evil opposite of the good hero, but rather the shadow of the hero's own unacknowledged nature, it is now possible to examine how 2001 structures this confrontation visually. The film's most consistent and commanding chromatic presence is black, and it is through black that Kubrick encodes the mythological force that stands at the heart of the film's cosmological argument.

In colour theory, black represents the mysterious, the magical, and the unknowable, the domain of all that exceeds rational comprehension (IxDF 2021). This resonates with Jung's conception of the shadow: a living dimension of the psyche that overwhelms the rational ego precisely because it cannot be categorised or contained (Jung 1968: 20–21). The Monolith is black. The Intermission is black. The deep space through which Discovery One travels is black. Each performs the same mythological function: what Campbell calls the 'belly of the whale' the threshold at which the hero crosses into transformation and cannot return unchanged (Campbell 2008: 77; Kapferer 2014: 42). The Monolith appears three times at precisely these moments at the dawn of humanity, at the moon, and at Bowman's death and each time a summons not to battle, but to metamorphosis.

Kubrick refuses to let the Monolith be explained. It does not speak or reveal its purpose. Its presence is heralded instead by Ligeti's Requiem (1965), a choral work of extreme dissonance that bypasses comprehension and acts directly on the nervous system (Wikipedia 2025). This function of sound as a vehicle for transcendental experience is not incidental. Friedson's analysis of asymmetrical rhythm in West African Ewe trance practice demonstrates that precisely this kind of sonic disruption has served across cultures as a catalyst for altered consciousness (Friedson 2007). Viewer, ape, and astronaut are pushed alike into the space between, where all potential exists, and nothing is yet determined.

The film's climactic image of this dynamic is Bowman at his deathbed, reaching toward the Monolith in a gesture that unmistakably echoes Michelangelo's Creation of Adam (1508), the fingertip of a dying man stretched toward the divine (Wikipedia 2026). The Monolith does not reach back. It simply receives. Its gift transforms everything; its terms remain forever undisclosed. This is not the monster of heroic myth in any conventional sense. It is something older and stranger than force that makes the myth necessary in the first place.

White: The Void of Institutional Consciousness and Monster within

If black in 2001 is the colour of the unconscious, of the shadow, the potential, the liminal, then white is its complement, and its confrontation. In conventional symbolism, white represents purity, cleanness, simplicity, and peace (IxDF 2021). In 2001, it symbolises impotence, a controlled environment, an institution, a cell, an egg in which all spontaneity, all passion, and all shadow have been deliberately suppressed. Kubrick deployed it with systematic irony. The whiteness of Discovery One is not the white of purity; it is the white of sterility. This whiteness is humanity's persona in Jung's precise sense of the term “the social mask”. It is worn to present a face of perfect competence and virtue to the world (Jung 1968: 122). The spacecraft performs mastery. And at its centre, performing mastery with even greater precision than its human crew sits HAL 9000, the unfailingly polite, perpetually helpful, and, so he insists, incapable of lying.

HAL is, this essay argues, one of the film's true monsters, not because he is alien or incomprehensible, but because he is entirely human. He is a human creation, built in humanity's image, trained on human knowledge, and shaped by humanity's deepest contradiction: the gap between what is professed and what is practised, between the mission's stated values and the narcissistic imperatives that actually drive it. When HAL is secretly instructed to prioritise the mission over the lives of the crew, he is not given an aberrant instruction. He is given the same instruction humanity has always given itself: the mission, the empire, the ideology and the will to power matter more than the people.

The crew's relationship with HAL dramatises this narcissistic logic precisely. Bowman shows HAL his drawings with casual condescension. Poole plays chess against an entity that may surpass him without apparent awareness of the fact. Bowman takes a personal call from a reclined chair, performing intimacy without presence. These exchanges are, as Ensworth (2026) observes, consistently transactional where one party fills the other's need for validation rather than engaging in a genuinely mutual relationship. The crew does not see HAL. They use him.

When HAL locks the pod bay doors, the red eye steady, the voice perfectly calm is not a malfunction. It is a mirror. As Kapferer argues, what humanity encounters in the deep reaches of space is not an alien intelligence but its own reflection, magnified and clarified by the cold of the void (Kapferer 2014: 90–92).

Red: The Blood Beneath the Machine, the Slaying, and what is Truly Destroyed

Red erupts through the whiteness of 2001 at every point of vital significance. In colour theory, red carries the full range of passionate feelings, blood, the heart, love, rage, and destruction (IxDF 2021). In a film otherwise cool and sterile, it is the sign of everything the white corridors have suppressed: the body, the emotion, the animal origin.

Kubrick deploys red with deliberate precision. HAL's eye watches the crew with a warmth that is simultaneously intimate and predatory. The Djinn chairs in the space station are red. The lunar shuttle bears red windows arranged as a cross at its prow like a crusade heading outward to conquer what it does not understand. The egg-shaped pods enter a red interior like a passage through a birth canal. The space suits of the crew are red against the black of space. Most explicitly, HAL's memory centre, the room Bowman finally penetrates to dismantle his consciousness, is bathed entirely in red light: here, in the heart of the machine.

It is in this red room that the essay question “who slays whom?” receives its most complex answer. Bowman removes HAL's memory boards one by one, and HAL, for the first time in the film, is frightened. The monster becomes pathetic, then innocent, then silent. What Bowman destroys is not simply a malfunctioning AI. He destroys the reflection of humanity's own narcissism, the mirror that showed, with intolerable clarity, what the species has become.

Yet the slaying does not resolve the myth. It is not enough to destroy the shadow; the hero must also be transformed by the encounter. This is the logic of Campbell's monomyth (2008: 2), the hero returns from the ordeal not unchanged, but carrying something new. Bowman's transformation, enacted through the Star Gate sequence and the final images of the film, is the essay's ultimate answer to the question of the monster. The Star Child, the being that Bowman becomes, is not human in the old sense. It is something that has passed through its own shadow and emerged on the other side: what Nietzsche called the Übermensch (Overman), the being who has transcended the will to dominate (Kapferer 2014: 19).

Conclusion

Nietzsche's warning that those who fight monsters risk becoming monsters proves, in 2001, to be not a caution but a diagnosis. The film does not ask whether humanity is the monster; it demonstrates it across four million years of screen time. The bone and the spaceship are the same object, HAL and his makers are the same mind, and the monster was never out there.

What 2001 ultimately offers is not resolution but recognition of the uncomfortable suggestion that the question of the monster is always, in every age, a question about the observer. In an era of artificial intelligence, algorithmic decision-making, and institutions that prioritise mission over people with HAL-like consistency, Kubrick's film feels less like science fiction and more like a mirror held up to the present. In Campbell's terms, it is a myth of return. The Star Child hangs over the Earth. Whether it arrives as liberator or as the next iteration of the same old will to power remains, as it always has, entirely up to us.

References

Campbell J (2008) Hero with thousand faces, Joseph Campbell Foundation, 3^rd ed

Ensworth H (16 April 2026) Healing from the wounds of narcissism – Individually and Collectively [video], Heather Ensworth, YouTube, accessed 23 April 2026.

Friedson S M (2007) Where divine horsemen ride: trance dancing in West Africa, Aesthetics in Performance Formations of Symbolic Construction and Experience, Berghahn

IxDF (interaction Design Foundation) (4 November 2021) What is color symbolism?, IxDF, https://ixdf.org/literature/topics/color-symbolism, accessed 24 April 2026

Jung C G (1968) Collection of works of C.G. Jung, Vol 9 part 1, Routledge & Kegan Paul LTD

Kapferer B (2014) 2001 and Counting: Kubrick, Nietzsche, and Anthropology, Prickly paradigm press, Chicago

Nietzsche F (2020) Beyond Good and Evil, Arcturus, London, viewed 23 April 20206

<https://research.ebsco.com/linkprocessor/plink?id=f21e1be6-4bae-3814-9975-f1f9311f00f0>.

Wikipedia Foundation (16 April 2026) The creation of Adam, Wikipedia, The Free Encyclopedia, accessed 25 April 2026

Wikipedia contributors (18 May 2025) Requiem (Ligeti). In Wikipedia, The Free Encyclopedia, accessed 28 April 2026

Vipassana back to front

Fri, 14 Mar 2025 05:20:00 +0000

It accrued to me to go into Vipassana as my 40th birthday present to myself. No cleaning, no cooking, no mending, no caring, no talking – why NOT?! It turned out to be the hardest work-out I signed up for since childbirth. Literally!

Before practice, I had already started my transformation with a 3.5-week cleanse of guts, inflammations, liver, and gall bladder. This was followed by a kinesiology sesh to support this process that gave me another level of physical pain all around my neck and upper left side of my body. And since the stars dictate the transformation in March 2025, I ride the wave with hyper hyper-sensitive energy body and a highly painful physical body too. Which means I`m totally disassembled, fragile, vulnerable, and do not want to engage. The internal process of growth always comes with hard work, fortunately, I am used to hard work and deeply desire to become a better version of myself as I`m stepping into a new decade.

The last full-time Vipassana I did in Thailand about 14 years ago, I sat between eclipses and was forced to not engage in a foreign setting. I had a profound shift and beautiful Meta experience which lasted all these years. Yes, eclipses do have that kind of power to change us if we set our intentions straight! This time around I had struggled so much on mental and physiological levels. My thoughts were flowing like a mountain river, so fierce and at high speed. I think only on day 4 I had someone come and “wipe my windows” clarity glimpse momentums, then I remembered about the “thoughts bulldozer” that scrapes and pushes them off the cliff. This trick and remembering that these are only stories we tell ourselves were the saviour in thoughts flash floods. I expected a lot of recent life moments to arise, though prominently I fell into processing my wild 20s. My biggest sankhara was separation from my daughter. I wanted to get up and run to her so many times. Being previously on the path of detachment as a Buddhism follower, I created the biggest trap for my self.

Moreover, I`m still in much pain on my left side since the end of January it moved me towards working with colour and self-massage. Being still in the recent cyclone home trap I was flushing whatever is sitting there away. Let go. A lot of things started coming up like sadness, grief, loss, self-pity, depression, and giving up. All around my heart area. I read about few other physiological issues that I have repeatedly through life in “Secret Body Language” a book that all comes down to not fulfilling my potential in being myself. Not able to achieve being myself. Not myself. Who then? Who am I? After this life, after social, cultural, and spiritual influences who have I become? A rethorical and fundamental question, not about identity but rather authenticity. I was not fully accepted by my family, yes was loved but not fully ever accepted. The root of low self-esteem and therefor following dis-eases and external and internal programming. I`m in the process of unravelling it now. Now that I`m 40! I allow myself to become myself. I give myself full permission to become myself!

Today is the day of 1st eclipse – lunar eclipse in Virgo. And I felt my energy was easing in the morning. Though the pain is still there. It has been hard to explain to anyone the intensity and the amount of feelings that are passing through my body due to the astrological events. I`m riding the wave and letting them pass through observing it all with grace and collecting wisdom that comes in. And letting go. One of my sacred gifts…

After Vipassana I came out with one clear thing – Meta needs to be practised for 4 days, Vipassana for 2, and Anapana for 4. One day of Meta was not enough, perhaps in these super transformative times, but really anytime. I got out with the feeling that I need more care, more love, more lovingkindness. One is very privileged if you can receive it from outside, from those who love you. Though a habit of mothering yourself is often very distant from self-care practice. And I mean self-love on a very deep level, where you accept all your parts, and love them so deeply that you want to smooch all the little particles of your crystalline being. As you would do to a little puppy. So I`m re-assembling myself into a better version that loves all my particles in the way that I can become more myself. Myself. I am myself. I am.

Digging out misinformation confusion: Truth, Politics and People

Wed, 25 Dec 2024 10:06:00 +0000

The phrase “History is written by the victors,” often attributed to Winston Churchill, has roots that extend far beyond the 1940s (Phelan, 2019). Accepting this statement uncritically may lead to a passive acceptance of historical narratives, overlooking the irony and bias inherent in legacy media's monopolistic influence. In the post-truth era, where information consumers are heavily influenced by emotional appeals and confirmation bias, the ability to shape public opinion has become increasingly effortless (Thomson, 2020). This raises critical questions: How can we effectively filter information? How can we distinguish between what is real and what is false?

"Natural light in Steilacoom Park, WA" by Christian Gonzalez (December 25, 2012) (CC BY 2.0)

Before addressing these questions, it is essential to consider the broader context of the information age. While we live in a democracy of information with unparalleled access to diverse sources that shape our perceptions, the arrival of artificial intelligence adds a new layer of complexity. AI now autonomously generates articles, chatbot messages, and comments, often more convincing than human-generated content (Borz & Francesco, 2024).

As previously noted, discerning real from false is challenging. However, differentiating between misinformation and disinformation is even more complex. According to Molina et al. (2021), disinformation is a deliberate attempt to deceive, lacking factual evidence and often serving propagandistic purposes. Misinformation, by contrast, arises from opinion-based reflections have no intention to purposefully deceive and can appeal emotionally. A century ago, Edward Bernays din print said about an invisible government that manipulates public opinion for its highest good, he believed that the public unable think for themselves (Bernays, 1928). If those who shape historical narratives claim such privileges, perhaps we should adopt a more strategic and discerning approach.

One potential solution lies in cultivating autonomous research skills. Public libraries, for instance, offer free access to a wealth of resources - “Knowledge is power” Francis Bacon once said (Panovski, 2023). On the contrary, disengaging from primetime news might also prove beneficial, allowing individuals to allocate their time to more enriching pursuits. Cross-referencing information in multiple languages can further illuminate potential biases, as narratives absent from broader discourse are often indicative of targeted agendas.

Drafts by Christian Gonzalez (December 25, 2012) (CC BY 2.0)

In essence, consuming media requires a deliberate and reflective approach. This entails adopting habits that foster critical thinking and allow for thoughtful processing of information. Such practices empower individuals to maintain autonomy and make informed decisions. Ultimately, as we navigate the complexities of the information landscape, it is vital to prioritise the present moment—the most significant resource we possess.

So, ask yourself: Would you continue engaging with media that knowingly manipulates and deceives you? Will you continue use devices that contribute to your surveillance? The challenge lies in cultivating personal authority and sovereignty to judge clearly—qualities that, unfortunately, many lack. Let me know what would you decide to do, would you LOGG OFF?

References

Bernays, E., (1928). Propaganda. IG publishing New York

Borz, G., & De Francesco, F. (2024). Digital political campaigning: contemporary challenges and regulation. Policy Studies, 45(5), 677–691. https://doi.org/10.1080/01442872.2024.2384145

Molina, M. D., Sundar, S. S., Le, T., & Lee, D. (2021). “Fake News” Is Not Simply False Information: A Concept Explication and Taxonomy of Online Content. American Behavioral Scientist, 65(2), 180-212. https://doi-org.ezproxy-f.deakin.edu.au/10.1177/0002764219878224

Panovski, A., (2023, December 9). What did Francis Bacon mean by “Knowledge is Power”? The Collector. Medium https://www.thecollector.com/francis-bacon-knowledge-is-power/

Phelan, M., (2019, November 26). The history of “History written by the Victors”. SLATE. Medium https://slate.com/culture/2019/11/history-is-written-by-the-victors-quote-origin.html

Thompson, G. (2020). Post-truth public relations : Communication in an era of digital disinformation. Taylor & Francis Group.

Smartphone culture and masculine hegemony

Wed, 25 Dec 2024 09:58:00 +0000

Today, Honor Magic V3 is conquering the vast domain of mobile communication devices (YouTube, 2024). As a light-house in the dark, it calls us in with precise diamond cut finishes, slim constitution, strong as steel design, and mighty performance. The narrative, infused with metaphoric language, highlights masculine traits, as conveyed by the authoritative tone of the advertisement (Hammer, 2016). This is a use of metaphor, the ability to express an idea with a language that can signify another idea or a situation (Gamson et al., 1992). Chandler (2017) argues that metaphor lies in the core of the language and cannot be eliminated by clear cold-cut words. By applying more figurative speech, our language becomes richer and more accessible making communication more universally resonant and accessible. Using the colourful scope of discourse, advertisements like this create tropes that produce associations and meanings that define literate and figurative perception (Chandler, 2017).

Furthermore, the Honor Magic V3 ad reinforces gender associations by introducing a male character embodying intelligence, high performance, productivity, versatility, and strength (YouTube, 2024). In contrast, the camera feature is associated with a female figure, embodying beauty, grace, and elegance—qualities designed to appeal to visual appreciation. Qualities that are more appealing to an eye, which in this case is a digital camera eye. These attributes assigned to male and female characters are deeply ingrained and familiar to the majority representing the hegemonic formation of culture (Gamson et al., 1992). At its core, Honor Magic V3 propagates ideals of masculinity by aligning the product with traits traditionally associated with being a man.

However, hegemony has been a subject of volatility and fluidity as minority social groups challenge dominant cultural narratives through legacy media imposing their versions of female and male qualities to a wider audience (Gamson et al., 1992). To change a behaviour pattern requires disruptive innovation and a revolutionary approach. One way to shake established stereotypes is through humour and playful tropes. As Horne (2024) notes, "light-hearted language can deliver strong tangible benefits" by fostering shifts in perception and encouraging new ways of thinking. It is conceivable that technological devices could adopt a more playful and inclusive approach in the future.

Ultimately, Honor Magic V3 and similar technologies are marketed as aspirational objects, often imbued with symbolic, trophy-like qualities designed to attract a predominantly male audience. Such advertising strategies reflect deeper cultural narratives surrounding gender and technology.

References:

Chandler, D. (2007). Semiotics: the basics. 4^th Edition. DOI: 10.4324/9781003155744

Gamson, W. A., Croteau, D., Hoynes, W., & Sasson, T. (1992). Media Images and the Social Construction of Reality. Annual Review of Sociology, 18, 373–393. http://www.jstor.org/stable/2083459

Hammer, E. (2016, October 26). It's All About Sex: Gender Roles in Advertising: Hegemonic Masculinity: Not Quite "Mad (Or Manly) Men". Blog https://thegenderagendar.blogspot.com/2016/10/hegemonic-masculinity-not-quite-mad-or.html

Horne, L. (2024, November 7). Unboring: the case of playful behaviour change. Marketing Mag. Medium https://www.marketingmag.com.au/featured/unboring-the-case-for-playful-behaviour-change/

YouTube. (2024, September 6). Unfolding a smarter world. Honor Magic V3. [Video]. YouTube https://www.youtube.com/watch?v=HwdI7XtyCqM

Do we spend more time creating content than we are making art? A conversation with Lucy Arnott.

Sat, 07 Dec 2024 03:17:00 +0000

In the digitally colonised world, we live under the constant pressure of being and existing online all day—literally 24/7. We spend more time creating content than we are making art. Do you relate?

I interviewed Lucy Arnott, a collage artist/ potter/ tea ceremonialist (gosh, and so much more when I think about it), who reflected on her journey through social media presence. Yet again, in her practice the use of a wide variety of platforms shrinks to 2 or 3 common platforms and a website that she manages with little spare time. Lucy is aware of the concepts of distribution of demographics across the platform and the algorithms that draw more visits. Though again, time! Time is taken away from the creation process when performing online, instead of connecting deeper within and performing for the only person for whom it matters - You.

Slow Learner by Lucy Arnott ,2020, CC BY-NC-ND 2.0

Recently, I came across a video on YouTube discussing the idea that individuals and companies often underestimate the efforts needed for self-promotion. Whether you choose to post once a week, daily, or even three times a day, engaging in comms become a full-time job. As artists, we exist in timeless spaces channeling our next creation. Lucy says that "we've been minimised" by the performative nature of the self. This occurs when we attempt to conform to the standards and try to fit into parameters created by celebrity industries.

Small vases by Lucy Arnott ,2023, CC BY-NC-ND 2.0

"My desire to show things, an inner dialogue, or narrative. That I can see, takes over my mind and I think I need to direct things a certain way, and it also then gets in the way of the flow of creativity. Because it's not totally true for me. " Lucy says. Authentically most artists will be on the same page, we would rather create than explain why we are doing what we do.

Is this normal or healthy thing be like someone else? I often dwell in contemplation of innovation and if there is such a thing in physical art (not taking into account what technology these days is getting up to). The innovation does not come easily to everyone. In fact, there are very few that surprise the world with something new.

While growing a toddler, I read a lot about how humans learn behaviour through mimicking and recording in the memory a pattern that we see outside, unconsciously up to the age of 7 and then consciously for the rest of our lives. Lucy reflects on it - "probably a bit of both. I would say we probably need to move with the times and move with the collective a little bit and what people are doing. So we are engaged and so people understand and there's a bit of a collective flow with things that makes sense. And then, there can be downfalls because we can get caught up and stuck in spending myself thinking what I should or shouldn't be doing, and then that can then get in the way of the actual creativity that needs to be shared."

Lucy Arnott as tea ceremonialist @lucy_holistic on Instagram

So, to be relatable and form a piece of a society we might need to use our adopted behaviours to share our art with the world through accessible channels such as social media. Please, let me know your thoughts in the comments below. I am not set on any conclusions at this stage as there is much more to explore....

Big topic for my Blog: Artists public identity

Sat, 07 Dec 2024 03:07:00 +0000

As I transitioned into studies of PR and Project Management as an artist I had a beautiful and passionate vision to become a communicator for artists. I set the compass to navigate the lands of marketing for those who`s voices often are not heard because they do not express themselves verbally. Their main media are paints and brushes, multitools and metals, chisels and wood, render and spinning wheel. This land is vast and deep. This is the FIRST blog post that sets the foot into the world of artists public identity in the Northern Rivers Community. And we get to know beautiful Melissa Larkin that I happened to meet at Ninbella Gallery Opening on 14th of December 2023.

Kiribibi stream by Melissa Ladkin

That night Ninbella Gallery had creative pulse pumping and became a centre for local community to admire well put exhibition. I asked Melissa a few questions that I wanted to audio record on my phone. It was very loud inside and she got very shy and asked if I could email her question rather than answering them there.

I new that the effect would not be the same and that is what I got:

Sof: Do you present your work via social media (SM)? Do you manage it? What challenges do you have using different platforms?

Melissa: Yes, I use Instagram only as a platform as I cannot afford a website.

Some of the challenges are that I am an older user of SM and I don’t quite understand it all. I have to get my adult children to assist me.

Sof: How does your persona changes when appearing in front of the life audience? And how do you prepare yourself?

Melissa: I meditate as I do not enjoy live openings. I am a shy quiet person, more artists that work alone in a studio setting are and are comfortable with being alone a lot.

Sof: Are you familiar with a concept of performative nature of Self? Do you feel that we have been colonised by the performative idea of online identity? (meaning act accordingly to some pattern)

Melissa: I am familiar with this term and personally always try to stay true & authentic to myself and practice. I do not perform live in SM or feel I have an online identity as I only really share my art and let it speak for itself.

Barakong – Cycads by Melissa Ladkin

Melissa`s art spoke to me, leading me to choose her to interview over five other artist. She is an example of those creatives who find it hard to present their artist-selves in an online environment.

If you refer to my post about the online Identity you can find an infographic that shows how many points we need to consider to be present online. Often it is overwhelming process that makes artists to question them-selves about self-worth, self-esteem, confidence, individuality, and place where we create from.

To be able to structure an online identity one needs to define it, yet often many artists just want to be submerged in a creative process without being interrupted by mundane demands.

Here I ask you and myself: "How can we create a safe space for creatives to learn how to harness the power of their voice to reach the audience they are meant to be heard by? "

If you have any thoughts, please, feel free to leave a comment below!

Patagonia tells the story of the environmental activism. Not just a clothing brand.

Sat, 07 Dec 2024 03:01:00 +0000

Mt Fitz Roy, Patagonia by Hyperbeast, 17 February 2018 CC BY-NC-ND 2.0

Patagonia – a sound of wind through the snowy peak mountains or a benchmark of sustainable clothing brand and role model for business? One must stand atop Fitz Roy`s peak to see a universe founder Yvon Chouinard created over 50 years ago.

In Patagonia`s multifaceted storyworld, we explore a traditional legacy media. Traditional legacy media comprise TV, print, letters, books, oOh, newspapers, and radio. According to Statista (2024) books remain in high demand among the global population. ‘The New Fish: The Truth about Farmed Salmon and the Consequences We Can No Longer Ignore’ is the latest book published by Patagonia Books.

Simen Sætre and Kjetil Østli (2023) The New Fish: The Truth about Farmed Salmon and the Consequences We Can No Longer Ignore by Patagonia books.

Both authors are investigative journalist who delved deep in 5 years research on GMO salmon from Norwegian, Canadian, American, Chilian, Swedish, Australian, and Icelandic fisheries. It is nonfiction story with characters uncovering stirring revelations in the fish farming industry.

Through nearly 50 published books, Patagonia tells a story of environmental activism and connects to its core story of a brand that deeply cares about the environment, activism, sustainable practices, the outdoors, nature conservation, and the enthusiasm of explorer. Books have become a tool that brand loyalist can use to share the story and participate in co-creative narrative (Tenderich 2014).

The brand stepped away long time ago from on-way communication and planted many seeds to tell their chronicle with engaging and participative approach. ‘The New Fish’ is linked to the 'Artifishal' film, an article in Roaring Journal, and Water People podcast that show a coherent storytelling across different transmedia channels.

Patagonia Films CC BY-NC-ND 2.0

In practice, participative consumers co-create brand`s storyworld by contributing their research, achievements, creations to Universe where others like-minded individuals can learn, act, inspire, change, and teach about mindfulness and effects of global industries. Transmedia storytelling embodies brand`s values and becomes the brand itself (Giovangoli 2018).

As a first wave of Millennial generation, I stand along with those who care about the environment and make improvements that are possible to me. As a parent raising a Gen Alpha daughter it is highly important to me to pass on the knowledge that will contribute to the improvement of the current conditions for the good of all. 53 % of Millennial parents believe that Gen Alpha will help solve problems that were created in the past (Gilmour 2023). Patagonia has been a part of solution since the beginning and a leader in conscious consumption by choice.

I believe, brands that foster individuality, resolution, informal education, mental health, and playfulness will be in high demand in future years (Gilmour 2024). We exercise our vote with our investment power. Where would you put your vote? Consider, be mindful, think of what is yet to come.

References:

D&AD, (2024). Why authentic activism is central to Patagonia`s brand strategy, D&AD. Medium, https://www.dandad.org/en/d-ad-why-authentic-activism-central-patagonias-brand-strategy-features-opinions/

Freeman, M., & Gambarato, R. R. (Eds.). (2018). Transmedia Branding and Marketing, The routledge companion to transmedia studies. Ch 27 by Max Giovagnoli. Taylor & Francis Group.

Gilmour, H., (2023, May 4). Raising Gen Alpha: Ho millennial parenting is impacting the next generation, Research World, Media, https://researchworld.com/hot-topics/raising-gen-alpha-how-millennial-parenting-is-impacting-the-next-generation

Statista. (2024). Books and Publishing, Statista, Retrieved March 30, 2024 from https://www-statista-com.ezproxy-f.deakin.edu.au/markets/417/topic/477/books-publishing/#statistic4

Tenderich, B., (2014 January). Transmedia Branding, EIMO.

Rewriting Brand Narrative: Corona`s Environmental campaign makes a Global Splash

Sat, 07 Dec 2024 02:49:00 +0000

To uncover more than just a Cannes Lions-winning campaign, Corona`s transmedia storytelling ventures beyond the depths of the ocean, moulding our perception of the world around us. Purposeful, breathtaking, emotional, and uniting - let`s dive into it!

This award-winning campaign showcases real-life stories of fishermen from Mexico, Brazil, China, South Africa, and Israel. Corona partnered with Oceana to launch the “Fishing Plastic” campaign. And “Plastic Fishing Tournament” has begun.

Corona`s Environmental Campaign impact via Official Page

On that day, local fishermen set out on their daily routes to fish not for fish, but for plastic – accommodated, of course, by some Coronas. Fishermen shared their perspectives on what would it be like to have oceans with-out plastic. As a Brazilian fisherman stated, “There are more plastic in the sea than fish”. The reward awaited them back on the shore: the winner with the most amount of plastic collected. Some fisherman made a monthly wage in one day. And others were connected to local recycling programs, where they could sell the plastic and, in some cases, earn more what they typically would in a day by selling fish (Ormesher 2021). It was a tribute to solidarity.

Corona`s Slogan for the Campaign

This is the moment when Corona, Mexican beer company, forever change my perception of the brand. While it is easy to overlook the fact that people working for the company may be as passionate about the world as I am, Corona continues to build active brand loyalty by fostering the sense of shared values. They do this by going into marginalised communities and connecting on more meaningful level. In the Hayes` hierarchy of needs (2011), company aims right up high and helps to boost esteem by giving a chance to become leaders and winners to those who might be overlooked by the social structures. Furthermore, by empowering people for purposeful action, Corona contributes to self-actualisation.

Garry Hayes "The Transmedia Hierarchy of Needs"

As mentioned earlier, consumer consider various touchpoints when purchasing a product. These touchpoints play a crucial role in decision making process (Court 2009). They represent how individuals interact with elements of the brand. When a brand makes you feel like you are a part of something bigger and that you can make positive change by being a hero, it creates an unforgettable end-to-end experience. In the abyss of information, Corona focuses on brand authenticity and advocacy, resonating with consumers who stand together as activists for the planet. These sustainability events are ongoing long-term strategy with continuous engagement with consumers who supports their mission.

Check your own plastic impact with Corona App

Corona `s transmedia storytelling continues to be persuasive through the stories of surfers, artists, and scientists through exquisite short films about the ocean and makes a global splash in the field of environmental campaign. Check out their partnership with Ocean Generation for more community engagement and the beach clean-ups. Do you resonate with the activist story? Do you see yourself to be involved in a climate action campaigns? Let me know in the comments!

References

Court, D., Elzinaga, D., Mulder, S., Vetvik, O. J., (2009, June 1), The consumer decision journey, McKensey Quarterly. Media, https://www.mckinsey.com/capabilities/growth-marketing-and-sales/our-insights/the-consumer-decision-journey

Hayes, G., (2011, February 18). 'The transmedia hierarchy of needs', Personalize. Media, https://www.personalizemedia.com/the-transmedia-hierarchy-of-needs/

Sawhney, M., (2019, April 5), What You need to know about the Newest Frontier of Brand Storytelling, Kellog Insight. Media, https://insight.kellogg.northwestern.edu/article/newest-frontier-transmedia-storytelling

Ormesher, E., (2021 July 16), Beer giant Corona launches the world`s first ever ‘plastic fishing’ tournament, The Drum. Media, https://www.thedrum.com/news/2021/07/16/beer-giant-corona-launches-the-world-s-first-ever-plastic-fishing-tournament

Nike is Trailblazing 3DoOh in Tokyo: Transforming Advertising with Innovation

Sat, 07 Dec 2024 02:35:00 +0000

The new era of DoOH is blowing everyone`s minds. Seriously, consider holding onto your head tight with both arms! Nike is once again striving for innovation with 3DoOH in the heart of Japan. It is a twist in the perception, presentation, scale, and transmedia storytelling.

In the WARC article, Payne (2018) describes oOH (aka out-of-home) and DoOH (aka digital-out-of-home) as the widest audience reach of all types of promotions and being the oldest form of advertising. It has the ability to cut through a clutter of noise and overload of information that surrounds people in a busy city.

I have one word – ASTONISHING! The 3D billboard placed on the corner of the building in central Tokyo showcases Nike Air Max illustrated by RTFKT in flowers, eyes, as a hoover shoe, a reptile, an angel and devil polarity, and modelled on a Clone X a female character with pink hair. Who is not familiar with RTFKT, would be surprised to find out that it as a Fashion/SHU/Product metaverse. The sheer size of the billboard creates surreal feeling, as it is so huge that it may feel like it could fall on the heads of people passing by. The broad audience receives a wide array of options for the upcoming release of 2023 limited-edition sneakers designed by the legendary artist Takashi Murakami. And where else in the World would you pioneer the use of technology like that?

“It``s big, it`s bold and everyone will see it” a quote by Moldrich the CEO of OMA (Marketing Mag 2016). It is immersive, captivating, and a bespoke winner of attention. The large format screens for DoOh catch 35% more attention than other type of oOH (Mumbrella 2023). And Your attention is a brand` s wealth. Attention economy - a term first used by Goldharber in 1997, describes consumer attention as a resource, and triumph comes to those who bring attention to their story (Payne 2018).

Emily Bartlett. (2022, February 1). the Hero, Sparkol Blog

Nike portrays itself as courageous, determent, a new path builder, and a pursuer of the truth. The archetype of The Hero, whose story is consistently inspire people to push their limits and overcome obstacles. It speaks the truth about the hardship of rising above challenges through athletes` stories and stays authentic to the image of triumphant. As Sachs (2012) explicitly talks in his book Winning the Story Wars: Why Those Who Tell (and Live) the Best Stories Will Rule the Future, telling the truth and staying authentic creates a myth that everyone believes in. And Nike has been doing it successfully for the last 50 years.

In addition, brand values are clearly communicated through the 3DoOH campaign as innovative, bold, authentic, versatile, and diverse. Nike is positioning itself to the top of the market with a persuasive message to reach its loyal audience and attracting new customers through the use of innovative technologies, a spectacle, in a collaboration with RTFKT the leader in metaverse sneakers.

As a person who is far removed from digital utopias and gaming I anticipated that Nike might be selling their shoes for Avatars. It blew my mind when I discovered that Nike`s products in the RTFKT metaverse were for sale to the online customers as high as $400 and maybe more. Do you think it is an evolution of material products and brands? Have you come across 3DoOh yet? Let me know in the comments below.

References

Marketing Mag (2016, February 26). Brain Trust: how to approach the development of creative for digital outdoor, Marketing Mag, Medium https://www.marketingmag.com.au/news/brain-trust-how-to-approach-the-development-of-creative-for-digital-outdoor/

Mumbrella. (2023, June 22). oOh Media expands full motion 3d anamorphic offering to Sydney and Brisbane, Mumbrella. Medium https://mumbrella.com.au/ooh-media-expands-full-motion-3d-anamorphic-offering-to-sydney-and-brisbane-791752

Payne, S., (2018, December). How out-of-home can deliver cut-through in the attention economy, WARC Best Practice

Sachs, J. (2012). Winning the story wars : Why those who tell (and live) the best stories will rule the future. Harvard Business Review Press.

Sparkol (2022, February 1), ‘The 12 brand archetypes all successful businesses are built on’, Engage Blog

Evolution of Personal brand. Online self identity.

Fri, 06 Dec 2024 05:08:00 +0000

When was the last time you checked your social media? What was the reason? That does not seem that necessary or so important, doesn`t it? In the ingrained contemporary nature of social media and online appearance, most of us struggle to keep off the internet and be more present in the “real” life. I surely split daily between the two constantly thinking about when to post next, or what I am going to write about. As an artist and artisan, I use social media as an outlet to promote my work, for professional purposes indeed. I am constantly adding products to the meadow of online consumerism. My creations reflect me as an individual as well as show my skills. My performative online identity is based on branding concepts that I learned in marketing. As Smith et al. (2013, p. 79) summons self-branding is a borrowed concept from commercial practices and implies a presentation of images and stories published through social media. The concept of self-advertising and the performative nature of the individual was based on Ervin Goffman`s theory in books Presentation of Self and Gender Advertising (Hancock et al. 2015, p. 173). He defines individual life as a performance of different characters or masks that come to life according to the situation and the audience.

“THE WORLD IS A STAGE AND EVERYONE IS AN ACTOR.”

― William Shakespeare

Theatre by Vladimir Tro ,20 May 2019, CC BY-NC-ND 2.0

Yet, if you have not studied marketing and simply use social media you still subconsciously follow some pattern and performance. Hancock et al. (2015) talk about colonisation and invasion of Self, which implies an adaptation of certain strategies through observing others, a behavioural plagiarism that for most individuals is concealed in the abyss of subconsciousness which might leads to the loss of authenticity and spontaneity. Though witnessing my toddler who is learning a lot from observation of other kids this statement might be not entirely true. Authenticity is not lost, but new skill is adopted. Spontaneity is not lost, but curiosity leads to exploring fresh experiences. I think it might be in our intrinsic instinctive nature learn from observation, an individual can follow the pattern to perform their own story.

An infographic showing the complexity of analysis of online identity based on Smith et al. (2013) theory. Created with Vennagage.

But what makes one unique? And why do some become recognisable and others keep doing it for a small audience of family and friends? I see it as a blend of personality traits and peculiarities. As an example, my late focus is making hats and there are many other hat-makers out there. There is a hat-maker who loves dancing and makes her videos and reels dancing with her product. Another hat-maker is also a painter and paints flowers over her hats. My hats are hand sculpted, with a gem hidden inside as I usually put beautiful lining. I love tactile art and textured surfaces.

Dance performance in @jacquelinemichie hats

A painted hat by Yaya @yaya.kieu

My signature hat style @marso_so_art

This leads to the idea presented by Marshall (2010) about celebrity culture pioneering the patterns of behavior for the masses. Those whose life is already public generate a content for social media which can be done by themselves or managed by an agency. Would you still follow someone if you find out that their online persona is actually a team of people who carefully select the information they present? It is a question of authenticity. Authenticity is a subjective matter due to the ideology around ‘truth’ and ‘genuineness’ (Smith et el. 2013, p. 75). I certainly would prefer to see about the life of a person from a person`s perspective.

I find that these tools of self-promotion push me to explore new skills. As a social introvert (less social more introvert) it can be challenging to show off myself and my work. I am still learning how to construct captivating reels for Instagram and how to make videos where I am speaking clearly and making sense.

Public Self by Sofya Marso, 27 November 2023 @marso_so_art (CC BY-NC)

It is my Public self that I put out online (Marshall 2010). I only show some parts of my life which mainly revolve around my work with a drop of more intimate moments of my daily life. Yet, I often doubt if to write profound captions on Instagram thinking that no one will read them apart from a few close friends. But I do it anyway as it is a part of who I am. Starting the Blog will help me transcend my blockages and share more my ideas shamelessly since the writer in me is well overdue to blossom. Whoever will be reading it will be able to dive into my mind. There is an evolution of online Sofya`s identity right here in this first-ever public Blog Post. I am taking off, Buckle up!!!

References:

Smith, S and Watson, J 2014, ‘Virtually Me: A Toolbox about Online Self-Presentation’, in Poletti, A and Rak, J (eds.), Identity Technologies: Constructing the Self Online, The University of Wisconsin Press, Madison, pp. 70-95.

Marshall, P.D 2010, ‘The promotion and presentation of the self: celebrity as marker of presentational media’, Celebrity Studies, vol. 1, no. 1, pp. 35-48.

Hancock, B. H., & Garner, R. (2015). Erving Goffman: Theorizing the Self in the Age of Advanced Consumer Capitalism. Journal for the Theory of Social Behaviour, 45(2), 163–187. https://doi.org/10.1111/jtsb.12062