Flog #11

This week I was working on the last hack of the semester. It was hard for me to decide which hack I was going to make a beta version of because it had to be significantly better or different. I decided to work on Hack 3, UnDesmos because I remembered the comments and feedback I got in class about how I could make it better. I decided to build on the alpha and apply more meaning to the axes, as well as play around more with the affordances of Desmos to further make a claim. Some struggles I ran into while doing this hack was how I could not save my work. Usually, when saving math work in Desmos, it all saves, but with too many images it doesn’t save because of the bigger file size. I lost my progress many times if my page reloaded or the browser closed. Something I also struggled with was how long this project took, as I had to individually look for each photo in my camera roll, send it to my laptop, drag it into Desmos, and then format the picture. This entire process for one year of my camera roll took about an hour, so I wasn’t able to do the same thing for all 4 years. I wish I was able to do it for all years because I think it would have been interesting to see how I have grown, and what images I find important or significant, and which ones I don’t remember as well.

Hack #4: Remix – Artist Statement

My hack is called “Vote With Your Feed” a project that critically examines the evolution of political messaging in the US, particularly how campaign slogans and platforms have transformed over time to influence voters through emotion, media, and more recently social media algorithms. My central critique is how political messaging has evolved from collective persuasion to individualized algorithmic influence, showing how campaign slogans and election media targets the audience through algorithms and user generated content. Throughout time, political communication has become increasingly emotional, manipulative, and personalized. This project asks what it means to vote in this day and age. By pulling from historical campaign materials, archival media, and contemporary TikToks, I explore how the strategies of persuasion in US politics have changed.

This remix draws on footage and media from 3 distinct time periods: the postwar 1950s (the Eisenhower campaign), the late 1980s (the Bush “Willie Horton” ad and election night radio coverage), and the current decade (TikToks and 2024 campaign ads). It also blends two different media types, video and sound, to reveal how forms of voter influence and engagement shift depending on the tools of the era. My remix breaks the rule of using 3 source materials, and I justify this rule break because today, everything is digitized, hence video and sound are more compelling. Other forms of media such as print and text, do not have the same engagement, reach, and worldliness that video and sound do. I decided to only use video content such as the poll places, past election campaign ads, events in the political sphere, as well as TikTok clips in order to emphasize the effect of modern political media. By using videos as the main form of media, I am able to focus on exemplifying digital media at its purest form. I remixed this hack to jump cut back and forth between different time periods and campaign videos, as I cut videos in different parts and mismatched combined them together.

To show how political influence has evolved, I juxtaposed archival campaign materials with modern media. The 1952 “I Like Ike” ad, an orchestrated and cheerful jingle promoting Dwight Eisenhower designed for TV audiences, marks a turning point in American politics as it is catchy, cartoonish, and optimistic, emphasizing personality over policy. Its jingle was mass consumed, and mass approved by citizens, setting the standard for all future campaign marketing. These kinds of slogans like “I Like Ike” built mass persuasiveness through communal identity and optimism through simplicity and repetition.

In contrast, the 1988 “Willie Horton” ad reflects a darker, more manipulative approach to persuasion. The Bush campaign used fear to shape public opinion. While “I Like Ike” sought unity, this ad weaponized difference, and narratives of crime, fear, and national identity were constructed and spread through mainstream media. The shift in tone between these decades highlights how American political discourse moved from optimism to divisive. Through tapping into fear, racial tension, and trauma, this campaign successfully provoked emotional response and votes.

Finally, the Trump MAGA ad from 2024 shows a return to grand catchy slogans (ex. Make America Great Again) and uses nostalgia and anger. Rather than persuasive logic, it’s almost entirely emotional. When I contrast this ad with modern TikToks, including those supporting Trump and Kamala Harris, I found a dynamic where politicians no longer need to persuade mass audiences. They target algorithmic spheres with niches such as Trump supporters and Kamala supporters. Engagement and virality have become new metrics of political success, and Trump even gives credit to TikTok for his election success.

The TikToks I selected range from user generated political propaganda, funny memes and compilations, and other random clips that have come across my for you page during the election. This reflects how political discourse can be turned into trends and performance. The Kamala TikToks, for instance, use popular sounds and dance trends to portray her as “relatable,” while Trump’s TikTok edits lean into personality or funny compilations. While mediums have evolved from TV ads to short form TikTok videos, the nature of the campaign ads remain the same, which is to persuade. It is interesting to look at how especially in this election, campaigns heavily use digital social media platforms, creating content that feels authentic and personal, but can at times distort or oversimplify the reality of the world or candidates.

The purpose of this hack is to show how persuasion changes based on media platforms, such as simple and catchy jingles to algorithmic videos. In my opinion, “I Like Ike” was designed for everyone, and on the other hand MAGA memes or Kamala TikToks are algorithmically curated per user. I am critiquing how the voter experience has shifted, from showing up as a participant in a democratic event (1960s polling footage) to being influenced and persuaded well before voting begins, through algorithmically curated content that blurs authenticity, identity, and manipulation (2024 TikToks about the election). In this remix I have mismatched the clips to go back and forth between each time period, capturing the evolution of political candidates, their campaigns, as well as TikTok memes that adds layers of irony, sarcasm, and humor in a more serious sphere. This transition shows that democracy today happens through for you pages, arguments in the comments, and user generated content.

What inspired this was the current state of US politics and how many people say that politics is just entertainment.  This remix suggests the platform that politics have and use now is media, as more than ever, campaigns are curated and targeted. TikTok brings humor, anger, and relatability, which changes traditional campaign strategies into a loop of viral content. This shift can be seen through the juxtaposition of the videos from different time periods. By placing historical media alongside TikTok videos, I aimed to highlight this shift in how the desire to persuade the audience has not changed, rather the use of platform. The feedback loop of TikTok prioritizes quick reactions, not fulfilling arguments. This dynamic changes not only how voters engage, but how candidates craft their image. It is interesting to think about the motivations behind each post. Another interesting notion was the idea of remix as recovery. I have never seen many of the archival footage from past campaigns, and by giving these materials new life, I did what this assignment calls “the beauty of second use”, and these sources are historical evidence, reused in a different context.

In conclusion, Vote With Your Feed is a media remix that investigates the evolving scope of political persuasion. By drawing on campaign materials from 1952 to 2024, polling place footage from the 1960s to today, and viral TikToks, this project challenges the viewer to rethink how voting, influence, and performance intersect in modern life remixing the old with the contemporary. It is a remix of history, emotion, and algorithms.

Citations:

1960 B/W A voter placing his ballot at a polling station, Getty Images, https://www.gettyimages.com/detail/video/voter-placing-his-ballot-at-a-polling-station-stock-video-footage/mr_00060856?adppopup=true

CU, PAN, Row of voting booths, St. Marys, Ohio, USA, Getty Images, https://www.gettyimages.com/detail/video/row-of-voting-booths-st-marys-ohio-usa-stock-video-footage/85184111

Americans voting in an election, Getty Images, https://www.gettyimages.com/detail/video/americans-voting-in-an-election-stock-footage/1959111546?adppopup=true

Extreme close-up macro video of a ballpoint pen filling in a mail-in voting ballot at home for Presidential, Senatorial, Congressional, or local election, Getty Images, https://www.gettyimages.com/detail/video/extreme-close-up-macro-video-of-a-ballpoint-pen-filling-stock-footage/1762005219?adppopup=true

I Voted Today, Getty Images, https://www.gettyimages.com/detail/video/voted-today-stock-footage/2160034819?adppopup=true

Eisenhower ‘I Like Ike’ ad (1952), The Living Room Candidate, https://www.livingroomcandidate.org/commercials/1952

Bush ‘Willie Horton’ ad (1988), C-Span, https://www.c-span.org/program/vignette/bush-campaign-commercial/97662

Trump MAGA ad (2024), Donald J. Trump, https://www.youtube.com/watch?v=5OVOSIQOfpM

brett.tunechi, TikTok, https://www.tiktok.com/t/ZP8j2mGua/

tpaction_, TikTok, https://www.tiktok.com/t/ZP8j2SwVP/

yk000, TikTok, https://www.tiktok.com/t/ZP8j2SPum/

mxwlch03, TikTok, https://www.tiktok.com/t/ZP8j2Ajqx/

team.kamala_harris, TikTok, https://www.tiktok.com/t/ZP8j2kggM/

historyeditz, TikTok, https://www.tiktok.com/t/ZP8j2hNES/

1988 Election Night, Part 1, Dan Rather Journalist, https://danratherjournalist.org/political-analyst/election-coverage/1988-election/compilation-1988-election-night-materials/video.html

Flog #10

**Side note – I was scrolling through the flog page on the class website and for some reason my Flog 9 is empty there? Even though I have stuff written on that on my WordPress site?

Anyway in this week’s flog I will be talking about Hack #4 and my failed ideas so far. I was initially thinking of doing something similar to class last week where we talked about the Obama remix controversy. I then realized that I wouldn’t be able to add depth to this project because it feels more two dimensional. After steering away from this idea and images, I was thinking of something more video related such as remixing existing music videos, movies, or commercials. Three ideas stand out to me:

  1. Remixing music videos of songs that sound similar (inspiration from Gotye’s Somebody That I Used to Know and Doechii’s Anxiety)
  2. Beauty advertising commercials (inspiration from my senior comm studies thesis on beauty brand advertising and diversity and inclusion efforts)
  3. Creating something absolutely meaningless (what would I make? I have no idea)

I’m still working through these ideas to see what would best fit the “rules” of the remix and which rules to break. I was thinking of breaking rule #3 about having the remix have some sort of meaning, and instead create something absolutely meaningless. Then I realized, that in itself is creating meaning and is critiquing something. I feel like that could also be something I focus on as well, that juxtaposition of creating something so meaningless that it creates meaning. TBD on what I decide for my project but I guess y’all will see on Tuesday!

Flog #8

This week was a little hard to write my flog, as I feel like there wasn’t exactly something I was working on and was having trouble with. For this flog, I have decided to do a reflection on the things we have learned this week, which is copyrighting in different sorts of media. I found this interesting as I always catch on to similar sounding songs but never thought too deeply into it. I was never sure if that was allowed, they paid to use a similar beat, or was just outright copying it. After the activity in class where we had to compare two similar songs and see the history behind them and potential lawsuits, it got me thinking about other songs. One notable one which I have heard recently is the song “Anxiety” by Doechii (2025). This song has the same exact beat as “Somebody That I Used to Know” by Gotye (2011). I looked into this and apparently Doechii had sampled Gotye’s song and rapped over it, and then self-released to YouTube in 2019. A few years after Doechii released her cover, the rapper Sleepy Hollow used the hook from the chorus to make his own track of the same name in 2023. Doechii officially released “Anxiety” in 2025. What I found more interesting was that this beat is not copyright owned by Gotye. Most of us associate this beat with Gotye and “Somebody That I Used to Know”, but it actually is sampled from “Seville” by Luiz Bonfá, and the copyright for the song is held by Top Dawg Entertainment. It was interesting to look into this myself and see the artistry world and the connections between all of these songs.

Flog #7

9. What will the use of this technology encourage me to notice?

    The first question I chose to reflect on from Michael Sacasas’ “Do Artifacts Have Ethics?” was this one. I think the past 3 hacks have had a critical component of them that I am trying to address and tie into the bigger picture.

    Flog #6

    This week I was experimenting with Hack #3. I’m still working through two different ideas, one being on Desmos which is a calculator I used a lot in high school to do math calculations. The second idea is LinkedIn, which I have been using a lot in college for networking and coffee chats. I was having a hard time with figuring out functions for the Desmos idea, as it is a lot of trial and error. I was thinking of using it to draw art through writing functions, or use it to generate poems or something artistic, as Desmos is very calculated and mathematical so it would be a nice juxtaposition. I briefly moved onto the LinkedIn idea to see if that would work better, but since I do not know how to code well it was difficult to get the actual interface of LinkedIn to change. My idea is to turn the networking aspect of it into a dating formula, which is something I was even thinking about before this assignment. I feel like sending invites to connect, then asking for a coffee chat, and so forth has many parallels to online dating, and using such a professional platform for dating would also be an interesting juxtaposition. I think for changing the actual design and software Desmos would be a better fit, but thematically LinkedIn would be better, so now I am debating between these two options. I am still working through both of these ideas to see which one would work better and which one I would be able to successfully put together, but those are just some of my obstacles and thought processes.

    Flog #5

    So I have been working on my artist statement this week for Hack #2…and I still can’t seem to figure out how to add images into WordPress. I had a couple of images I needed to add onto my artist statement to document my process of my hack, but it still would not let me attach anything. It gives me the option to upload an image and when I do, it seems to go through. I then hit publish or save and go to “view post” and the image, as well as the description I had written for it, doesn’t seem to appear on the published page. I was going to add a screen shot here of this problem…but I don’t think I would even be able to attach that. I tried multiple different formatting methods as well as pressed all sorts of buttons and have even Googled for answers but none seem to be working. SOS!

    Hack #2: Critical Play – Artist Statement

    Uno – Inequality Edition

    This project is a critical play hack of the classic card game Uno, designed to highlight systemic inequality through altered rules. When approaching this project, the way Dunne and Raby reading encapsulated what critical design is and what it means to be critical resonated with me, as they quote, “critical designs are testimonials to what could be, but at the same time, they offer alternatives that highlight weaknesses within existing normality” (Dunne and Raby, 35).

    I applied this concept to Uno, where instead of reskinning an entire game, I challenged what it stands for in order to evoke thinking through design. I created this version where different players have different rules based on privilege. By assigning players different social roles such as: The Elite (Rich Player), Middle Class, and Working Class (Poor Player), this version of Uno transforms from a game of equal competition into a frustrating and thought provoking experience of unfair advantage and structural disadvantage. Inspired by Flanagan’s concept of subversive play (Flanagan, 10), this hack is an “intervention” that demonstrates how minor systemic imbalances add up over time, making success nearly impossible for some while others benefit from built in privileges. The game operates as a wicked problem (Sicart, 99) because there is no clear way to “win” for certain players, echoing real life economic and social disparities. The goal is to show how structural disadvantages (wealth disparity, racial and gender inequities, and other systemic injustices) affect opportunities and success in ways that are often unfair but normalized.

    In this edition of Uno, the Rich Player enjoys advantages such as ignoring penalties, discarding extra cards, and manipulating other players’ actions. Meanwhile, the Poor Player faces disadvantages, such as being forced to draw extra cards and following stricter rules. Even the Middle Class Player, who plays by mostly normal rules, occasionally experiences setbacks, which symbolizes the precarious nature of middle class stability in modern society. Each player is randomly assigned a role at the beginning of the game, such as: The Elite (Rich Player) who has advantages like skipping turns or reversing plays, the Middle Class, who plays mostly by regular Uno rules but has minor setbacks, and the Working Class (Poor Player), who faces constant disadvantages, making it nearly impossible to win.

    The game contains modified rules such as:

    • Rich Player Advantages:
      • Can play two cards at once
      • Can ignore Draw 2 or Draw 4 penalties
      • Can “buy” an extra turn by discarding any two cards
    • Middle Class Player Rules:
      • Plays by normal Uno rules
    • Poor Player Disadvantages:
      • Must always draw an extra card when drawing any penalty card
      • Can only play one card per turn, even if they have multiple playable cards
      • Cannot call “Uno” on their last card unless they roll a die and get an even number or flip a coin and get heads

    The game also introduces thematic rule changes, such as:

    • “Taxation” Rule: Every few rounds, all players lose their best card except the Rich Player, who thus, gains an extra advantage.
    • “Bailout” Rule: If the Rich Player is losing, they can redistribute the burden by forcing someone else to draw additional cards.
    • Justification: The Rich Player must defend their advantages by saying, “That’s just how the system works,” reinforcing the normalization of inequity.

    These mechanics create a dissonance (Sicart, 96) between the expected fairness of a game and the frustrating reality of systemic barriers.

    The intent behind this hack is to evoke frustration, unfairness, and critical reflection. Players in disadvantaged roles often feel the effects, experiencing real time injustice as they struggle against unbalanced rules. This frustration is similar to but not to the same degree as real life experiences of economic inequality, where rules appear neutral but actually favor the privileged. This allows players to tangibly experience the struggles that many people in this world face. Some players may even resist or attempt to break the rules, an act of interventionist play (Flanagan, 11), mirroring real world protests against unfair systems. Others may justify the game’s unfairness, highlighting how privilege can feel “natural” when one benefits from it.

    By modifying a simple, well-known game, this hack transforms Uno into a tool for social commentary, illustrating the often invisible forces that shape opportunity and success. Uno: Inequality Edition is not designed to be “fun” in the traditional sense, but rather to provoke discussion, discomfort, and critical thinking about fairness, privilege, and systemic injustice. This modified game forces players to experience the frustrations of systemic inequality firsthand. The Rich Player dominates with advantages that seem minor at first but stack up, making the game unfair in ways that reflect real world disparities. Meanwhile, the Poor Player struggles under disadvantages, which mirrors how marginalized groups often face extra hurdles in everyday life. This disrupts the fairness of the game, highlighting social inequities in a simple but frustrating way. Overall, this hack takes the game of Uno a step further, forcing the players and the audience to dive deeper into underlying meanings and truly reflect on the current state of the world. It is hard to fully understand and be empathetic from just reading about issues online if you are not personally affected by it, but this game aims to put people into these shoes and experience these disparities and provoke thoughtful discussions about its implications.

    Here is an image of the Rich Player Turn where they are able to discard 2 cards.

    Here is an image of the Middle Class Player where they are playing by the normal rules.

    Here is an image of the Poor Player where they have to draw an extra card on the Draw 4 card, highlighting the perpetuated injustice and how they are unable to ever reach a certain level because they keep getting set back.

    The result of this game play shows how the Rich Player is consistently in the lead, the Middle Class Player following, and then the Poor Player is struggling. These modified rules highlight this critical game play, allowing players to feel what it actually feels like to be in this position in the real world.

    Flog #4

    This week I was working on my Hack #2: Critical Play. I initially had the idea to modify the American Girl Doll Fashion Show Game to make claims about ideal beauty standards that little girls are exposed to at such a young age. I was also thinking of making claims about the stereotype that only girls can play with dolls. I was inspired from class where we modified Passage and SG and I decided to make the characters into two women instead of one man and one woman. We also decided to modify the red heart into a rainbow heart instead. When attempting this, I had a difficult time finding modifiable games online.

    I then decided for a more traditional game that would have lot of websites that provided codes to modify. I went with a Pac Man mod, where the more Pac Man eats, the bigger it gets until it explodes. I was thinking of touching on themes of capitalism and greed. I spent many hours on Google and looking at different codes on Github, which made me realize my coding days were long over (sophomore year). I thought this would be an interesting concept to pursue, but coding is very difficult especially for a more intricate game like Pac Man in comparison to Passage. I downloaded different codes online and modifying them in Python, but none of them seemed to create my desired effect.

    Lastly, I decided to go for a more classic, physical game, Uno. This one I did not have much trouble with except for figuring out new rules in order for it to make a critical statement i wanted.

    Flog #3

    In class on Thursday we played the game Passage and then experimented with modifying it. It was interesting to see how such a simple interface and a simple game could hold so much more meaning about one’s life passage and experiences. It was cool to see the characters find, or not find love, pass through obstacles, and age as they continued down the path. When initially playing the game, SG and I realized how it was a male character that was taking initiative of the journey, and decides whether or not to find the female partner. This relates to the DiSalvo reading for class, where it talks about adversial design, which is designed for the purpose of critique, creating discussion, and contributing commentary. For our modification we decided to go off that idea of adversial design and change the characters of the game. Instead of the man finding the woman, we initially decided to make the woman find the man. We then took it a step further to change it to a woman finding a woman, to make a statement about LGBTQIA+ and the current political issues. This part was pretty straight forward as we only had to change the file names. We then decided to modify other parts of Passage such as the heart that appears when a relationship occurs. Instead of the traditional red heart that pops up, we modified it to a rainbow, to again, represent LGBTQIA+. This is where we ran into an issue, however, where we were not able to get the modification to transfer to the actual game. We used both Gimp and Photoshop to see which would work better, and then exported it as the correct file. Even after several attempts we still could not figure out how to get our modification to apply to the actual game.