Skip to content
SNAPlab

SNAPlab

  • About SNAPlab
  • Books, chapters, articles
  • From the Lab
  • Lectures, Presentations, Conferences
  • Teaching
  • Tools
  • Uncategorized
  • David Chalmers (2022) Reality+: Virtual Worlds and the Problems of Philosophy

    I decided to mix my reading about TikTok, social networks and cognitive psychology with a few philosophical books. In the case of Chalmers in particular, I initially felt that I might not be too far off thematically since he addressed the topic of virtual reality in his last book. Well, I was a bit mistaken. Chalmers has very different interests than I do, and he clearly tends to address problems of ontology, epistemology and ethics. In the context of TikTok, especially in the context of the current debate about whether or not to ban it, I found only one passage explicitly related. But I want to comment briefly on the rest of the book too.

    First of all, it’s absolutely brilliantly written. In fact, I can well enough imagine that if this was what teaching philosophy in high schools was like, philosophy would have a very different reputation. Chalmers not only displays a deep erudition in Western philosophy, but also makes excursions into the non-Western philosophical tradition and especially into pop culture (especially science fiction literature, but also films such as The Matrix, The Thirteenth Floor, The Truman Show or series such as Star Trek: The Next Generation). Thinking about and through virtual reality (at least in the form of thought experiments) then leads him to rethink many philosophical concepts. Some of these – Plato’s Theory of Forms or the theistic conception of the world – are rather bizarre in the tradition of naturalised analytic philosophy. Chalmers approaches all of them with an open mind and is willing to grant them some persuasiveness in the context of his argument. If one of the functions of philosophy is to open minds and develop critical thinking, here it succeeds perfectly.

    But now to the chapter on Value, where I find several points to consider in the case of the current discussion of TikTok. Recall that a few weeks ago it looked like TikTok was going to be banned in the US, then it didn’t even run for half a day before the new US President decided that things might be quite different. The case is summarized on wikipedia. What I found most interesting about the discussion was how the arguments for the ban were layered. We could see a diverse range of opinions covering national security, data protection, but also the dangers of TikTok for child users. I’m not competent to judge the extent to which TikTok can endanger America or damage the minds of children, and I don’t get the impression that there is a consensus on this. Let’s leave aside the legal, political and social dimension of the debate and think about whether TikTok has any value to the individual. Specifically, then, I will consider four possible values that Chalmers considers in the context of virtual reality.

    In the chapter, Chalmers works with four traditional approaches to what it means that something is good for someone: hedonism, desire-satisfaction, social, and objective-list. Let’s look at what these approaches tell us about TikTok.

    First, hedonism, which can simply be understood to mean that a thing is good if it brings more pleasure than pain. This is a bit of a problem with TikTok in particular. It brings satisfaction to its users which can result in addiction in 5.9 % of users. but for some individuals this can lead to a destructive, daily interaction with an app that satisfies them but potentially develops mental illness in some users as suggested by meta analysis.

    Second in line is desire-satisfaction, or the approach that argues that a good life is one that brings about the fulfillment of our desires. Here we do not get simple hormonal satisfaction in the brain causing addiction to TikTok, which would again be contrary to a good and worthwhile life. Desire-satisfaction is probably the most advocated approach to value, promoted by the users themselves. Certainly not all of them, but a significant portion of them. Desire-satisfaction is implicitly present in all the motivational self-help videos, investment videos and exercise videos that are on TIkTok. I can’t judge whether this approach to values is correct, but TikTok, and by extension other social networks, are the venues through which desire-satisfaction spreads. And it only spreads because it finds a response from users who are willing to spend money on manuals, consultants and coaches to help them achieve financial independence, mental stability and a beautiful body.

    The social perspective argues that the value lies in connecting with other people. Although social networks are often criticized for distancing people and creating moats in society, they are undoubtedly a tool that allows each of us to be in touch with family and friends at almost any time. For example, I can stop typing now and ask my wife Kristýna how many of her friends she has communicated with on social media today. The question is whether TikTok, which is primarily for sharing videos, offers social value. Here, though, it may just be a generational issue. While I wouldn’t be able to use videos to communicate operationally because I would be thinking through the angle, composition, and exact script of what I’m saying, some of my students already talk about making videos online as something natural. So at the very least, I don’t want to deny TikTok a social dimension. On the other hand social interaction is via TikTok and not with TikTok. Interaction with app and deep scrolling are understood as destructive practices.

    And finally, the objective-list, which is the most subjective of all approaches. Even if we agree that the values are knowledge, friendship, and fulfillment (as Chalmers writes), we can never agree on whether TikTok helps us towards or away from those values. Whether TikTok serves an educational function is disputed (are student questionnaires a relevant method when we consider, that they may be already addicted to TikTok?), and whether the friendships on TikTok are real is also hard to agree on. I, for one, may be convinced that TikTok does not belong in the hands of children, but that does not mean that contact with TikTok will automatically damage their brains. In doing so, I feel that the current discussion about banning TikTok is being conducted on a moral level through the most vague objective-list approach to values.

    In conclusion, let me just summarize that from an individual perspective, TikTok does not strike me as a fundamentally immoral application. Of course it has risks, of course its use can be dangerous for certain groups, but we could probably say that about all social networks or tools in general (guns, cars, staircases). I hope the political and social arguments of the proponents of banning TikTok are more convincing.

    And if we look away from TikTok and look at short videos in general, their value is no less than that of other forms of audiovisual (information, advertising, communication, entertainment, or even art…). The problem is obviously in the platforms and may remind us of the critical perception of Hollywood. But this means that banning one platform won’t solve anything, because people will find another, as happened with the migration of Americans to Red Note.

    • About SNAPlab
    • Books, chapters, articles
    • From the Lab
    • Lectures, Presentations, Conferences
    • Teaching
    • Tools
    • Uncategorized

    February 11, 2025
    David Chalmers, philosophy, social-media, tiktok, values

  • The imperfect but amazing SAM2: AI video segmentation

    As part of the AI bootcamp with Farshad, we tested models that enable photo and video segmentation. In this blog, I’d like to show Meta’s SAM2 application to two cases from the history of audiovisual culture where the model failed. At the same time, I want to demonstrate that far from criticizing SAM2, I find it a fascinating tool.

    Before I go on to introduce the examples, I want to explain what is meant by segmentation. For film studies graduates, this term can be confusing because it means something different than what we are used to. In the context of AI analysis of photos and videos, it means entity selection within the photo and video. It is therefore a spatial segmentation that we can select as the area of interest a person, an animal, an object, but also houses, roads, trees or the sky. If we are talking about temporal segmentation – I was instructed by Farshad – we are talking about chapterization. As I wrote, this is unusual for a film studies graduate, but it makes sense.

    Now let’s go to the examples. There’s no point in me trying to introduce Meta’s SAM2 model here, because this website does that quite successfully. When I tried the demo, I was naturally wondering how to fool the model. It’s not nice of me, but I couldn’t shake the impression that the sample videos in the demo are too easy to detect.

    I knew I wanted to pick out some cases from the history of audiovisual culture, but which ones? What will show the AI segmentation capabilities? So I set some criteria:

    – a black and white film

    – poor quality video

    – crowd scene

    – shape change

    I then considered the selection of a particular film and scene. In the list were crowd scenes from Soviet war movies, night scenes from horror movies, scenes with T1000 from Terminator 2… I also considered testing the twins (Social Network, Dead Ringers), but that ended up being very easy for SAM2.

    In the end, I chose the chase scene from Seven Chances, where the main character is chased by a hoard of brides. The second demo was to include Odo, the shapeshifter from Star Trek: Deep Space Nine. I was very lucky, because these videos were available on youtube. Let’s take a look at the result.

    In the chase demo, SAM 2 was tasked with tracking three selected brides. We can see that he was only 2/3 successful. While the orange and blue brides were tagged the entire time, a third green tag traveled between several brides.

    As far as Odo is concerned, SAM2 only succeeded sometimes. Here in the demo, we can see that the tendency to stick to the shape of the original object prevailed. I was under the impression that SAM2 is more successful when Odo changes from or to human form, but I don’t have exact data on that.

    But the biggest shock for me was in this clip. I accidentally picked out part of the following scene as well, and was surprised that SAM 2 was able to identify Odo even after the cut (in the last two images).

    Now, I could go on to criticize SAM2 for not demonstrating a 100% success rate. I could also speculate that there is no substitute for genuine analysis done by a human. I could certainly also speculate on what AI analysis reports when it lacks subjectivity. I’ll leave all that to others.

    I will confine myself here to amazement at what a computer model can do. Certainly it can’t yet replace humans, but I can imagine how it could enable us within film studies to analyse a much larger number of films in a short time than we are able to do now. (This was, incidentally, the first thing Peter Krämer replied to me when I emailed him.) I can also imagine quite well that AI will prepare the analytical basis, which the analyst will then work with further. Actually, I don’t see many reasons why we don’t use AI already and the ones I see don’t make much sense to me.

    • About SNAPlab
    • Books, chapters, articles
    • From the Lab
    • Lectures, Presentations, Conferences
    • Teaching
    • Tools
    • Uncategorized

    February 3, 2025
    ai, analysis, Tools

  • In a World Where TikTok Killed the Cinema Long Ago

    This week and next week I will be attending an AI-focused bootcamp. Thanks to Farshad Einabadi, who is the tutor, it is an incredible experience. One of the most beneficial events in a long time.

    I don’t want to go into details because I don’t understand the AI issues. The course is aimed at beginners and includes programming in Python. In this way, Farshad is showing us how AI works and how we can use AI to create.

    The first part of the course was about Stable Diffusion and image generation. Below you can see examples of the four images I generated. These are edits of my favorite photos (+ 1 drawing) from the history of cinema. I had them edited to depict a world where films were replaced by TikTok a long time ago.

    Soviet filmmaker Sergei Eisenstein edits his latest TikTok video.

    Rainer Werner Fassbinder shoots his new TikTok video.

    A camera ride during the filming of the TikTok version of Diamonds of the Night (1964).

    And finally, a slightly depressing shot of an empty cinema and two characters watching a mobile phone on screen.

    • About SNAPlab
    • Books, chapters, articles
    • From the Lab
    • Lectures, Presentations, Conferences
    • Teaching
    • Tools
    • Uncategorized

    January 24, 2025
    ai, film history, filmmakers, movies, tiktok

  • The Early Era of TikTok

    When I first installed TikTok a few years ago, I thought to myself that this is something people must have experienced in the early 20th century with film. A new form of audio-visual entertainment that resembles its predecessors, but with slightly different possibilities. Creators have tried to work with the medium with varying degrees of success. The audience succumbs to its charms. Intellectuals are confused.

    Like any historical analogy, of course, this one is inaccurate, but I want to use it to illustrate a research desire that I thought I would have no luck fulfilling. I ask the reader, then, to understand this analogy of TikTok and early cinema more as an evocation of my feelings about the subject of research. It reminded me of something I experienced 16 years ago.

    When I was a film studies student reading the antology of new film history (Nová filmová historie: antologie současného myšlení o dějinách kinematografie a audiovizuální kultury. 2004), I was fascinated by the texts of Thomas Elsaesser, Tom Gunning, and Charles Musser on early cinema. These were translations of older texts into Czech.

    I was fascinated by Thomas Elsaesser’s texts because of the way they managed to overturn my perception of the past. Suddenly, I didn’t understand the films of Lumiere and Porter through the eyes of a film studies student in 2009, but I realised that it was necessary to accept the period context and try to understand the films within it. These were not films at the beginning of cinema history. On the contrary, they were the result of history. From a research point of view, this meant studying literature and archival sources, which accompanied me for the rest of my studies. It was only later that I realised that I didn’t have to try to reconstruct the contexts of the past, and that’s how I got into current audiovisual culture.

    I have always enjoyed reading Tom Gunning’s texts for their myth-busting power. Specifically with the text ‘An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator’ (Art And Text 34, Spring 1989 and many other times), it still fascinates me how he has managed to break out of the decades-old notion of naive spectators. The paradox is that the idea of naivety is still firmly rooted in us, which makes us naive ourselves. Otherwise, we could not think that short videos on the internet are “killing” or “eating” the brains of our children.

    I like Charles Musser’s text ‘The Nickelodeon Era Begins: Establishing the Framework for Hollywood’s Mode of Representation’ (in Early Cinema. Space, Frame, Narrative, ed. T. Elsaesser. 1990) today more out of nostalgia. In terms of the formulation of the research problem and the arguments, I view it very critically today, but I used to give it to students to read despite the difficulties. Its greatest strength, I believe, is in its ability to convey an almost romantic image of film projection in the early era of cinema. However, Musser doesn’t simplify the situation, but instead points out the little details that show the complexity of the early years of film. One of the things that Musser has been focusing on is the composition of programs from different types of film and non-film performances. My colleague Chris Hogg talked about TikTok in a similar way when we spoke in the fall.

    After reading these texts, I have always been a little sad that I will never experience the early era of cinema again. It’s not that the present is qualitatively different in terms of new film history. It was that early cinema was shown in the aforementioned texts as a stage of creative phase, where filmmakers explored a new medium, audiences were getting used to it, and together, from the bottom up, cinema was being made. Today, of course, it is similar with films and TV series. I just kind of get the impression that we all know what we’re doing (though maybe that’s what Porter thought, too).

    TikTok changed that. Suddenly I saw a platform where people with no prior filmmaking or artistic training were staging funny sketches. I saw a platform where different types of performances alternated from trivia and commentary to musical performances to self-help videos. I immediately realized that this must have been how our ancestors must have felt in the early 20th century when they came to nickelodeon. They understood something, they didn’t understand something else, but they were actually having fun. It wasn’t artistic entertainment, but everyone was fascinated. Just like TikTok today.

    • About SNAPlab
    • Books, chapters, articles
    • From the Lab
    • Lectures, Presentations, Conferences
    • Teaching
    • Tools
    • Uncategorized

    January 20, 2025
    cinema, early cinema, film, movie, movies, tiktok

  • Will Talvin (2025) Casual Viewing: Why Netflix looks like that. n+1, issue 49.

    I read an article today that is closely related to an idea for an experiment I had. Adam Ganz pointed me to the text and some of the ideas from the article were mentioned by my colleague Šimon Kulík.

    The author of the article tries to argue that most of the movies on Netflix look like “garbage”, but that no one really cares because viewers only half-watch Netflix (have it running in the background) or don’t watch it at all.

    There are two passages in the article that I find noteworthy. First, a summary of observations on the style and narrative of movies on Netflix. It would certainly be worth examining these further and validating them through formal analysis.

    The other notable idea of the article – expressed only implicitly – is that Netflix is not where it is because of its work with data. That has only come with time. Netflix’s greatest asset is that it can exploit human nature and weaknesses. If in the beginning it was irresistible to rent a DVD without having to return it by the next day (or else one paid a fine), today it is convenient to play Netflix in the background while doing something else.

    But I don’t think this necessarily makes Netflix movies look like “garbage” as the article suggests. Certainly that’s one possibility, if we look at the matter from the filmmakers’ point of view. But what if we look at Netflix from the viewers’ point of view?

    In the past, I’ve repeatedly asked my students how they watch movies, and they’ve admitted to turning on Netflix while watching TikTok. (This two-screen viewing should be the subject of the experiment mentioned at the beginning of this blog.)

    From the perspective of the Casual Viewing article, the cinematic quality of movies on Netflix is deteriorating because viewers aren’t paying attention to them anyway. But then how is it possible that they pay attention to even more garbage on TikTok? (Personally, I wouldn’t say it’s garbage, but if we apply the same criteria to videos on TikTok as we do to Netflix, the conclusion is clear.) How is it possible that we are turning away from low-quality movies on streaming platforms to even lower-quality videos on social media? This kind of viewer behavior doesn’t make sense to me.

    A possible reason is that viewers choose to watch audiovisual content on two screens in parallel for other reasons. The reason may be our desire to absorb information easily, it may be different types of viewing (a background story on TV and a different type of information on a phone). Or there may be other reasons. But I would be careful about saying that Netflix may be deteriorating in quality just because no one is watching it. In fact, we may be witnessing Netflix and TikTok succeeding in exposing our weakness without us even realizing it.

    • About SNAPlab
    • Books, chapters, articles
    • From the Lab
    • Lectures, Presentations, Conferences
    • Teaching
    • Tools
    • Uncategorized

    January 15, 2025
    movies, netflix, streaming, two-screens

  • D. Bondy Valdovinos Kaye, Jing Zeng, Patrik Wikström (2022) TikTok. Creativity and Culture in Short Video

    Reading this book made me think of all my academic colleagues who are prejudiced against social networks and TikTok in particular. Without bias, in a descriptive, even rigorous way, and with respect to different contexts, a phenomenon that touches the lives of hundreds of millions of people around the world is presented here. Thanks to the authors, the reader can gain fundamental information and understand how TikTok works through concrete examples.

    The book’s chapters cover the historical development of short videos on the Internet, TikTok’s infrastructure as a platform, communities, activism, economic model, governance, and finally, they consider the future of TikTok as a creative platform. The research then takes as its source interviews with short video creators and community members.

    However, I was most interested in what the authors of the book had to say about the formal aspect of the videos and about TikTok users. There wasn’t a lot, but that’s understandable because that wasn’t their goal either. I could summarize the essential thesis for a successful video form as follows:

    – emphasis on the music element

    – platform supported practices: Duet, Stich, Use this Sound, effects and filters

    – more showing than telling

    – repetition of some successful formal practices (face zoom, panoramic shot)

    As I wrote, it’s not much and not fundamentally revelatory, but I still find these insights refreshing. At least because the authors have avoided the traditionally repeated claim that TikTok is fast, which I don’t think is true (I’ll discuss that another time).

    One of the main theses of the book (its starting point rather than its conclusion) is the understanding of TikTok as a music platform. Despite the book’s focus on short videos, the music component is clearly a priority for the authors. On the one hand, this is understandable, as TikTok has a predecessor in Musica.ly and the Duet and Use this Sound features clearly indicate a relationship to music. On the other hand, however, this misses out on understanding the phenomenon of short videos in their complexity. This is similar to film theorists focusing only on the visual component (as they did and still do). Especially from an audience perspective, I can imagine watching TikTok videos without sound. Why else would the videos have subtitles with transcripts of monologues and dialogue?

    A notable observation in this context is the reminder of the Quibi platform, which was supposed to be a competitor to TikTok more connected to the American audiovisual industry. Quibi ended up being a huge failure and losing a lot of money, which the authors of the book justify by saying that short videos are not just about audiovisual content that is short. Short videos are mainly about cultural practice, creative expression and social interaction (p. 192). In other words, it is not about Hollywood studios and TV stations trying to push their content onto TikTok. If the traditional audiovisual industry sees TikTok as competition, it will have to transform and adapt its output. It’s not enough to just shorten the footage and crop the frame. Inspiration from TikTok needs to look different.

    The authors of the book sum up the magic of TikTok’s success with the words “spreadable, templatable, imitable” (p. 192). Elsewhere in the book, they write about replicability (p. 18) and repeatedly refer to memes (p. 163: TikTok is described as a “meme machine”). These are, in my opinion, the main reasons for TikTok’s success in proving to be an extremely effective tool for spreading viral videos. But this is not an evolutionist conception of memetics, as described, for example, by Daniel Dennett in his book From Bacteria to Bach and Back (I will also discuss this another time). Kaye, Zeng and Wikström keep their feet on the ground and describe the memetic principle of TikTok as more of a community process of group creation, but one that still has its authors and recipients. Perhaps if we could get away from this schematic model of communication, we could understand what TikTok and short videos really entail.

    • About SNAPlab
    • Books, chapters, articles
    • From the Lab
    • Lectures, Presentations, Conferences
    • Teaching
    • Tools
    • Uncategorized

    January 9, 2025
    book, tiktok

  • About SNAPlab

    My name is Jan and I promised to write this blog as a popularisation output of my research project. For the next two years, I will be conducting research at Royal Holloway, University of London on how the behaviour of film and TV series viewers changes under the influence of short videos on social media – typically TikTok, Instagram Reels and YouTube Shorts.

    Ironically, I deliberately unsubscribed from social media in the autumn of 2018. I occasionally install one to familiarise myself with how it works, but as soon as I realise I’m spending more time on it than is healthy, I uninstall the app and delete my account. Now I finally have a sensible reason to spend all my time on social media.

    The research project ‘Shortform Narratives, Audiences and Perception’, with the acronym SNAP (hence the blog title), was written for the European Commission’s MSCA PF call. Eventually, funding was secured from the Operational Programme Johannes Amos Comenius under the identifier 02_22_010 MSCA Fellowships CZ.

    The supervisor is Adam Ganz. The project was made possible thanks to the kind support of people from the Department of Media Arts, the Department of Psychology and Storyfutures, who I will be introducing here in the coming weeks.

    I have started several blogs in the past, but none have lasted more than a few months. Thanks to the commitment of the project, I now have the confidence that SNAPlab will last at least two years.

    • About SNAPlab
    • Books, chapters, articles
    • From the Lab
    • Lectures, Presentations, Conferences
    • Teaching
    • Tools
    • Uncategorized

    January 9, 2025

Previous Page
  • About SNAPlab
  • Books, chapters, articles
  • From the Lab
  • Lectures, Presentations, Conferences
  • Teaching
  • Tools
  • Uncategorized

This work was supported from OP JAC Project “MSCA Fellowships at Palacký University III.” CZ.02.01.01/00/22_010/0008685, run at Palacký University in Olomouc, Czech Republic. 

Blog at WordPress.com.

 

Loading Comments...
 

    • Subscribe Subscribed
      • SNAPlab
      • Already have a WordPress.com account? Log in now.
      • SNAPlab
      • Subscribe Subscribed
      • Sign up
      • Log in
      • Report this content
      • View site in Reader
      • Manage subscriptions
      • Collapse this bar