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THE THEORY OF SOMA

PRINTED PยบSSESSIONS From Sand to Setting In a Drunken Haze MODA BlancO IMMERSION

THE THEORY OF SOMA g BY BRIGETTE CANTARELLA

SPECIAL THANKS TO m PAUL CANTARELLA SUMIT MALIK

PRINTED POSSESSIONS

MODA FILM

BLANCO VINYL

FROM SAND TO SETTING

DRUNK ON CHEAP WINE

IMMERSION

WHY

ARE

SENSES

IMPORTANT

SENSELESS

WORLD?

SOMA

#THEORYOFSOMA PRINTED POSSESSIONS Why is the print industry important in a digital environment?

WRITTEN g 09 : OCTOBER : 2020 @0800 HRS

BRIGETTE CANTARELLA THEORYOFSOMA

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PRINTED POSSESSIONS

WHY ARE SENSES SO IMPORTANT IN A SENSELESS WORLD? WE LOOK AT THE HISTORY OF MAGAZINES, AND THEIR FUTURE. The future of the publishing industry is unclear due to the ever-changing technological progressions in digital environments. More specifically, online magazines and social media have opened up an element of convenience and accessibility that print media cannot compete with. However, in this notion of convenience and two-dimensionality, the true beauty of the sensory experience a magazine can offer becomes unequivocal. The speculation of the socalled ‘death’ of the print industry is becoming harmful to the perceived luxury of the publication sector. Yet, the return to nostalgia and the emerging market seeking more considered and meaningful experiences is beginning to actualise the renaissance of traditional processes, with print media at the forefront.

Historically, magazines are societal reflectors; creating, reporting, and communicating current issues, trends, and ideas with an unparalleled sense of legitimacy. Print media plays a significant role in shaping the views of those who consume them and has offered people a stronger voice in society. The true scope of the magazine industry is ever-changing within its three main areas; consumer, trade, and organisation, within which it is almost impossible to recognise how many magazines are published each year. Yet, in this triumph of print media, there is an abundance of iconic publications that have emerged. Entire archives of magazines, like Playboy, have become somewhat of a collector’s item, and offer an insight into the progression of society through the male gaze, and then subsequently,

through female empowerment. Moreover, magazines captured a sense of rawness, and legitimacy that told stories with a type of emotive power that could not be captured through a screen. Tupac’s iconic interview for Vibe Magazine, whilst awaiting sentencing in 1995 holds conspicuous weight, as he expressed to Kevin Powell his fear for his life, which acted almost as a prelude to his death the following year (Powell, 1995). Magazines, printed and dated as they are, serve as timestamps on the state of society, and it is the weight of this concept that ensures the legitimacy of print. Thus, as we enter the era of “fake news” and overconsumption of media, the legitimacy of magazines is more important than ever. Fraser Nelson, editor of The Spectator wrote, “A big change is taking place in the market.

PRINTED POSSESSIONS There’s now too much writing online, and in an era of fake news, where you get your analysis from has never been more important. As newspapers and magazines are finding out, if you can publish writing that is consistently and significantly better than what can be found online, people will pay.” (Nelson, 2017) Whilst sharing media online promotes the circulation of information, the notion of waiting for the release of a heavily reviewed article, that has undergone a historical physical process to be sold to the consumer carries a sense of luxury and consideration that cannot be compared through digital environments. Thus the creation of iconic print media still maintains longevity. To stay relevant, magazines need to undergo consistent content revolutions, whilst aligning to their brand message, and the message of their readers. Historically, magazines were focused on literary articles, mostly fiction, which became popular with the rise of education and literacy rates in America (History of publishing, 2020). Yet, with the invention of technology, more specifically television, audiences lost interest in written fictional stimuli and was hooked on the narratives created on screen. Similarly to the progression from paper to technology that is hindering the success of print media today, the introduction of television

caused magazines to shift away from fictional content, to a more niche space of special-interest magazines. Thus, target audiences became more specific to the content, and communities of people were created. This suggests a cyclical culture within the print industry of regeneration in the face of technological advancements that continue to oversaturate the market. Yet, in the face of such fast progression to digital environments, it suggests that the only option to maintain in the cycle of regeneration is to converge to a digital format. Thus, extensive analysis on the “possible effects of the new digital medium upon the incumbent print magazine may help publishers prepare to face their electronic-based challenger,” in which one must consider the tradition and historical relevance of physically printing the texts. Whilst there is faith in the cyclical revolutions of adaptation that have become a pattern within the publication industry, we must consider what the underlying theme of this particular issue is. As we come more connected in society through our screens, what are we sacrificing outside our digital environments? The immediacy and instant gratification we receive through our screens have facilitated a culture of disconnect to the world

around us, and this can be translated directly into the way we consume media. We see headlines, not insights. We are flooded with irrelevant media with which we don’t connect. We sacrifice the sensory experience for the convenience of a screen. Yet, studies show that the generation with the fastest-growing consumer capacity (Mullen, 2020) are becoming less into the democratising world of technology, and delving deeper into meaningful experience. (Morgan, 2019) To exemplify this on a smaller scale, the rise of nostalgic trends plays into the return to slower, more meaningful lifestyles; film photography has had exponential growth, with the resurgence of film over the past 5 years seeing “57% of our responders returning to or trying the medium for the first time.” (ILFORD PHOTO Global Film Users Survey; The Results are In., 2019) Moreover, vinyl has seen a renaissance in recent years, which has instituted a whole generation of young vinyl DJ’s that are returning to this physical process to offer a more emotive and considered experience for the audience. However, whilst the death of tradition is forming the characteristics of modern society, The Theory of Soma aims to address this. The printing and graphic arts industry has declined more

Magazines need to undergo consistent content revolutions, whilst aligning to their brand message, and the message of their readers. 09

than 50% between 2000 and 2019 (Printing and Graphic Arts, 2019), thus, it is imperative to combine this industry with a market that is mostly engaged in digital environments. Through exploring a deeply considered concept of immersion and physicality, the zine utilises sensory techniques to immerse the reader into a captive, yet commercial experience. As the target market is seeking meaningful connection in their current buyer behaviour, the interactive elements of the product, like augmented reality, allow the reader to become a part of the visual narrative, whilst opening up an opportunity for innovative advertising for affiliated brands. Through linking the publication industry and contemporary technology, The Theory of Soma will create a space within which the target audience can be captivated by print media in a way that they feel comfortable. The AR market is forecasted to earn $75 billion in revenue by 2023 (Duriava, 2020), thus this technological element is key in reconnecting advertising techniques to the publication industry, whilst creating sensory experiences for the consumer. This is key to

the renaissance of the industry, whilst fulfilling the needs of the ‘new-age’ consumer. The finalised zine will be complete with sound and smell elements to activate the entire sensory spectrum of the readers. Throughout Issue 01, readers will follow a narrative that examines feature physical processes, like film and vinyl, to uncover the reason why individuals gravitate towards manual mediums. Moving in to the photographic editorials, each considers an individual aspect of somatic experiences. ‘From Sand to Setting’ delves into organic textures, and how sand and crystal are formulated from the same grain. The rhythmic windswept plains of the beach, paired against the delicacy of the glass wear compliment each other against the harsh afternoon sun. ‘In a Drunken Haze’ seeks to tell the narrative of an atmospheric dining party, that harmonises the environment to show the progression of mood throughout the ‘party’. Starting with the crisp afternoon sun, and setting up the space, and following through to the final drunken haze and soft

focus of the final setting, the editorial seeks to communicate atmosphere and time. Finally, ‘Immersion’ explores it’s own definition, which covers aspects of submersion, baptism, astronomy and water. Each definition can be seen as subtle features throughout the editorial, within which the model is seen to be submerged in her environment, almost fading into the soft haze of the afternoon. Thus, whilst there has been an undoubtable shift away from physical publications, the creation and distribution of publications through a screen has highlighted the importance of maintaining physical processes in our society. From film, to print, the beauty of clutching the physical copy of art in your hands will never be surpassed, in which this phenomenon reflects the youngest generations return to nostalgia, and slow living.

Words by Brigette Cantarella

THEORY OF SOMA

MODA g MODA g MODA m MODA g

SOMA

WE TALK TO MODA FILM m ABOUT THE BEAUTY OF FILM g AND IT’S PLACE IN TODAY’S WORLD m 13 “Change, uncertainty, and contradiction are ever-present and ever-constant.” Marlynn Wei The beauty of uncertainty has always been an integral part of physical process, and life itself. There is no linear path to life, just as there is no linear path to creating meaningful memories. Yet, there is beauty in the manual process of traditional mediums that uncover a captivating experience of freezing emotion, environment and everlasting remembrance into one. Looking beyond the trend of film filters and VHS effects, the renaissance of film delves deep into capturing a timeless moment of abiding emotion, and a certain sensory grain that speaks of longevity. We spoke to MODA Film, an emerging M e l b o u r n e based company that doesn’t just sell film cameras, but encourages individuals to return to the authenticity of film. When asked “Why film?”, Dylan and Tash, creators of MODA, responded, “Film allows us to capture the world as we see it.

No filter, No edits. Completely as it is. With film, you don’t have to focus on perfecting the shot, you just capture the memory in its most real and natural form.” With each photo carrying the weight of nostalgia, there is joy not only in the photo itself, but in the physicality of the process. From loading the film to adjusting the exposure, getting the roll developed and even realising your thumb was in the way of a few shots - hearing the clicks, turning the film leaver and holding the printed images has an everlasting sense of serenity. With a vision to build a “community of people who can express and discover their creativity,” MODA shares their favourite part of film. “The part we love most about the process is the uncertainty. Each time you take a photo, the uncertainty naturally sits in the back of your mind and we have no choice but to embrace it. Receiving the notification that your images are ready for collection fills you with joy and excitement.” It’s this underlying theme of manual creation and variability that uncovers the inquisitive beauty within the chaos. Jonathan Keats explains this concept perfectly in saying “Suffering the consequences

of human error is paradoxically liberating, and a great picture can provide a rush equivalent to winning a marathon.” The error is almost another affirmation of someone being there, and defines the moment of capture. With billions of people now carrying professional standard cameras in their back pockets, the impact of each image is becoming smaller. Digital imagery doesn’t tell the narrative with the same tactile effect as film. Although the accessibility to photography, and the platforms we share them on is a more inclusive progression, the plethora of visual culture on social media has dampened the significance of each image. Yet, Millennial and Get Z markets are fast becoming a dominant consumer, and their “substance over style” approach has become a significant factor to the renaissance of film. This search for authenticity and meaning in a society saturated by digital environments has been a key factor in MODA’s successful engagement with the young market. “For people that might find themselves downloading a film app on their phone, it’s important to understand and appreciate that

film photography is not just a filter. It’s rather the complete opposite. A photo that is taken on a film camera is able to show you all of its natural elements from within, we encourage everyone to take that extra step and feel what it’s really like to receive a developed film photo.” The increase of overstimulation on social media and other digital environments have people searching for something that is closer to reality. With advancements of digital cameras pushing the limits of what is real, a whole generation of people have begun to reconsider why we started taking images in the first place. Photography began with the infamous camera obscura, from which the groundbreaking process was focused on projecting reality into a medium, from which paintings and fine art could mimic. Although we have progressed extensively past this phenomena of the time, film carries the same concept. Reflecting one’s reality in its rawest form. Traditional film liberates us from algorithms, SD cards and VSCO filters. And whilst there are a plethora of programs that can corrupt your image with light spills and a

stylistic grain, people will always search for the real thing. Dylan and Tash explain their affinity for film is largely attributed to their family memories. “Being able to look back at our parents’ photo albums, and how they have been able to keep them for so long, a collection of all their events and memories… You just can’t imagine that being possible with the photos that are taken on your phone. We have always loved filling up our photo albums and then looking back on them months or years later. It makes you truly does make you appreciate the moments you experience.” Carrying this love film, it’s hard not to share it with others. I asked MODA why it’s important to introduce physical processes to their consumers. “We feel that people who don’t have experience with film are steered away from trying it out as they believe it is a more complicated process than it really is… The final product of film is never ‘perfect’ and that is the beauty of it. We wanted to make capturing moments on film seen as ‘normal’ so people

can experience the same fun we have with it.” MODA has been operating since early 2019, but has had an immeasurable impact on uncovering “what was once a lifestyle” to a market of fast-paced digital natives. MODA beautifully sums up their philosophy for film, explaining that, “The simple human element of capturing imagery with film is where we are seeing through the eyes of a human, not a machine.” Encouraging an entire generation to return to a slower, more considered time within which they did not live is a big ask, but through a tight knit community of lovers of film, old and new, MODA has found success. “We would love to thank everyone who has supported our small startup and we couldn’t keep going without you! We encourage all first timers to give our simple to use cameras a go and embrace the uncertainty, it’s more than just a film camera.”

www.modafilm.com.au

WHAT IS IT ABOUT VINYL, THAT MAKES YOU FEEL SO GOOD? I LIKE THE DELICACY OF THE NEEDLE, BUT I’M ONLY A BEGINNER. SO LET’S ASK BLANCO g

WHY HE LOVES VINYL.

BlancO; a Melbourne born and based DJ that redefines the way that a new generation of people consume music. We wanted to get to know a little bit more about BlancO, and why his love for vinyl has progressed into a successful career, and the creation of a tight knit community. Tell me a bit about how you got into vinyl? Around 3 – 4 years ago, I attended my first electronic style music festival. A lot of my friends already had quite an extensive knowledge of the underground music scene, so they were taking me to see certain people that they enjoyed listening to. I fell in love with this newfound music and after the festival, started doing a lot of research on the scene trying to expand my knowledge. After around a year or two [following] this moment, some of my friends started buying basic DJ equipment, and for some reason, it had never crossed my mind that I could actually be doing this myself. With that, I decided to buy myself a full electronic setup to

explore more (not vinyl just yet). I was mixing digitally for around 3 months (nearly every day) and so I quickly got the hang of it. I started to become bored with mixing tracks digitally as it felt a bit too easy. This is when I decided to buy myself two turntables to learn how to mix vinyl. One of the reasons why I decided to learn how to mix vinyl was because a lot of the well know and very well respected DJ’s within the scene could all do it themselves, so in order for me to get closer to their level of skill I thought that it was a necessary step and was very excited at the challenge ahead of me. The first 3 months of me learning was a bit of a train wreck; I thought that maybe I just didn’t have what it takes to mix using turntables, but then after talking to a very good friend of mine who is also a very talented and respected DJ, he gave me some of his own tips and tricks. I took what he had to say on board and there was an instant improvement. It just seemed to click, and all of a sudden, it became a lot easier for me. I reckon I progressed more in that one week, than I had in the previous 3 months.

Once it clicked, I was absolutely hooked. I went crazy, spending a lot of money on records for the next 2 months as I was trying to expand my collection. Ever since then, I have loved it and am constantly on the search for new or vintage records. What do you love about vinyl? There are a couple of things that I really love about vinyl. One of them and probably the biggest reason, is for the pure fact that each time you mix, it is a challenge. For instance, when you mix digitally, the display shows you the waveform of the song and the speed, as well as all the other associated information which makes it very easy to match tempos. Whereas vinyl, you don’t have any of that and so you have to tune your own ear in to the songs you are mixing and make the adjustments yourself to ensure they mix. Another thing that I really love about vinyl is that some records are what are called ‘Wax Only,’ and this effectively means that there are no digital copies of those songs available and thus,

BLANCO / VINYL

you might have 4 songs on a record that no one has ever heard before; there may have only been 100 copies of that record pressed and released for sale. It always feels like something a bit special when it’s an ‘exclusive’ record and not something that everyone has access to. It’s cool. Does using vinyl change the experience of your sets? I definitely think that using vinyl in my sets has change my experiences, because for me personally, I’m not one who wants to DJ for money or the fame; I like performing for people who also love the scene, as well as all my friends. With this, I feel like people that are passionate about the scene really respect and enjoy when I use vinyl. I know that when I, have been that person in the crowd watching some of my favourite DJ’s perform, that I admire when someone mixes wax, and have observed other people with a kind of ‘wow’ expression and I feel like it helps add to the atmosphere of a set. I think those that are in the community can apprecaite the skill it takes to be able to mix sets up to 3 hours on vinyl.

Do you think it’s important that vinyl stays alive in the music scene? I definitely think that vinyl should stay alive in the scene, and I am very confident that it will. I know lots of DJs that are now in their 30s and 40s , and they have now started to pass that knowledge onto people from younger generations (such as myself). It is something that I think will always hold great significance in the underground music scene, as it is apart it’s history and it’s origin. Do you think that using vinyl makes you part of a wider community? I think that using vinyl extends your horizons to a much wider community. It is something that I have noticed more and more as time goes on, as now I have a lot of friends within the scene and we have built quite a large community of us. It is also a very good way to network and certainly helps a lot for when we or our friends want to run events. It’s also something that my friends and I like to talk about to help expand our knowledge. I’d say we are all ‘experts’ in different genres so it helps

to make us more rounded and not just fit into one genre. So, how does this all play into the changes in our society, and the progression into digital environments? Whilst digital spaces are easily accessible to all, and provide ample avenues for communication, the almost exclusivity of physically owning and holding something in your hands is a phenomenon that cannot be recreated through a screen. Just like ‘Wax Only’ records, books, film and printed magazines will allow you to explore the sensory beauty of holding, smelling, touching, hearing and seeing something that exists in the same physical space that you do. That’s the beauty of physicality., and with a medium that carries the weight of history in every record, it’s easy to understand how a whole generation of muscisians are retuning to this nostaligid lifestyle.

Check out BlancO’s soundcloud by scanning the QR code m

BLANCO / VINYL

FROM SAND TO SETTING

FROM *SAND g TO SETTING l

SOMA

26 From the ripples in the sand, to the detail in the crystal. It is all one.

IN A DRUNKEN HAZE

SOMA

33 Drunk on the landscape and cheap wine.

IMMERSION

SOMA

43 An act or instance of immersing. state of being immersed. State of being deeply engaged or involved; absorption. Baptism in which the whole body of a person is submerged in water. Astronomy. the entrance of a heavenly body into an eclipse by another body, an occultation, or a transit.

This is where we finish our journey.

#THEORYOFSOMA

THE THEORY OF SOMA A book that explores physicality and the sensory experience. MADE IN MELBOURNE.

AVAILABLE TO PURCHASE FROM THEORYOFSOMA.COM RELEASED g 25 : NOVEMBER : 2020 @0800 HRS CONTENT INCLUDES FROM SAND TO SETTING IN A DRUNKEN HAZE

IMMERSION WITH MILLIE PATTERSON

PRINTED POSSESSIONS MODA / BLANCO

GRADUATE PROJECT

BRIGETTE CANTARELLA BRIGETTECANTARELLA

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