December 2023 An Interview with Skye Barker Maa: Shapes in Fashion My Algorithm and Me Telecine: Turning Music into a New Reality AI Faces and AI Bodies: Why Do We Look like Clones? A World of Buttons: A Notso-deep Dive Into the Role of Artificial Intelligence in Fashion The Reality of Film Photography
Editor's Note As we ponder and explore the idea of reality, I eagerly pose a question. Does this concept extend into the technological tsunami that is engulfing the world? Or, is it merely an abstraction of personal perception that only lies within the actual and physical? I encourage our readers to reflect on how present they are in reality or perhaps lack thereof. Abigail Wiegmann, Editor-in-Chief Grace Thorburn, Deputy Editor
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Photo by Garrett Botsch
AI Faces and AI Bodies: Why do we Look Like Clones? Anika Siethoff An Interview with Skye Barker Maa: Shapes in Fashion Tylyn King The Reality of Film Photography Chamberlain Churchill A World of Buttons: A Not-so-deep Dive into the Role of Artificial Intelligence in Fashion Emily Miller
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My Algorithm and Me Samson Kidane Telecine - Turning Music into a New Reality Norah Hampford REALITY: The Playlist Roam Boulder Music Cohort Photos by Jacqueline Comes
Photos by Jackson Champagne
3D Art by Harrison Martin
Photo by Aidan Roof
AI Faces and AI Bodies: Why Do We Look like Clones?
Anika Siethoff
ββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ ββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ ββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ ββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ βββββββββββββββββββββββββββββββββββββββββββββββββββββββ ββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ ββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ βββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ βββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ ββ 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In early 2021, a new trend arose. But instead of a song, or a dance, or a new challenge, it was a beauty procedure. The procedure in question? The new popularity in the βbuccal fat removalβ surgery, a surgery where the fat in your cheeks is done away with, leaving the patient with a sculpted and contoured face. The procedure began being marketed towards TikTok users and anyone occupying the beauty space online; naturally, deeppocketed customers and many, many influencers ran to get the fat in their cheeks reduced. This may sound like any regular beauty trend- they have existed since the internet existed. But the question to be asked shouldnβt be about the procedure itself, it should be about how no one would think of having a rounded face as a problem until this procedure gained traction. It is just another example of an online trend gaining traction and making people in the real-world morph like an online filter. Buccal Fat Removal is just one of the many; cheek filler, lip filler, chin filler, and hoodedeyelid reversals have sky-rocketed in popularity over the past few years (lip filler procedures especially with the popularity of the KardashianJenners). So why has this erupted in popularity? There is a myriad of reasons: influencers, photoshop, and filters exemplifying European beauty standards as the βidealβ seem to be where most will point their fingers towards. The combination of these factors works together to create unrealistic body and face standardsand scarily enough, make a world in which we all look like filters.
βThereβs no reality anymore,β says Dr. Dara Liotta (How Social Media Influences Plastic Surgery Trends - InStyle), a double-board certified plastic and reconstruction surgeon. If reality is fading away, will our authentic uniqueness in terms of appearance disappear as well? The beauty of our differences could be gone, and another part of our lives would be taken over by machinery. In Style reports that, βIn the 2020 American Academy of Facial Plastic and Reconstructive Surgery annual survey, 72% of AAFPRS members reported patients seeking cosmetic procedures to look better for their selfies in the previous year, up 15% from 2018β (Lukas). This quote reveals an interesting idea; is our online presence relevance surpassing that of our in-person presence? Are we willing to pay thousands to appear more desirable online, instead of focusing on our in-person desirability? The answer to these questions must be a resounding no. This idea has been climbing in popularity the more social media infiltrates our lives. But once our real lives have lost all importance, we will have truly lost. Before the existence of social media filters and βbodychecking,β insecurities like a strange side profile and regular sized chins and noses were never even up for question. Being βchronically onlineβ has proven to seep into our everyday perceptions of beauty and appearance. The solution to this issue is stepping outside and seeing that we all look different- not like clones coming out of a plastic surgery office. And thatβs okay.
3D Art by Harrison Martin
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βββββββββββ ββ ββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ βββββββββββ ββ βββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββββ
Photo by Jacqueline Comes
Photo by Tylyn King
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SKYE BARKER MAA COVER PAGE
Photo by Camron White 13
An Interview with
Tylyn King 14
RBX Chat
Designer Skye Barker Maa has impacted the Denver fashion scene in countless ways. As a successful entrepreneur, she has launched ventures ranging from a music school to a cocktail lounge, to a fashion design workshop offering opportunities for students to learn about fashion and design for professional models. Last November, she launched her clothing line, SKYE|AIRE at Denver Fashion Weekβs Local Couture Fashion Show. Note: this interview has been edited for length. Tylyn King: Music is an important part of your life. Do you listen to certain artists while designing, and can you trace a certain type of music to a certain fashion? Skye Barker Maa: Yes. My arts career started by opening a music school. Sometimes, when Iβm designing a collection, Iβll listen to the same song over and over [again] for nine hours. Music connects directly to fashion. Itβs an important aspect of setting tone and mood for a runway show. You can have a beautiful piece of music and then show apocalyptic designs and then, suddenly, they become beautiful and not apocalyptic. You can change how people see your collection. Music has been, historically, a huge part of my life. RBX Chat
King: Have you designed a piece inspired by a specific song or artist? How did the song shape that piece? Skye: I try to make each collection look different. Which is good, but itβs also challenging for people who want to look and see, Oh thatβs my brand. I want to radically change the music with each runway show. As an example, I was doing Red Ball, which is a big show in Denver that supports the LGBTQ+ community. For that show, the content of the music was so important. King: Do you implement psychology in your designs? Skye: I do now. One of the hardest things I had to learn as a designer was that I wanted to make pretty or cool clothes all the time. You really are articulating a story, a progression. Initially, I fought against that. I just wanted to put cool, color-coordinated clothes out there. But as you mature as a designer, you understand the importance of the initial story and the progression of the storyline. King: Does your unconscious mind influence you as a designer? Skye: Definitely. It never occurred to me that I would be a designer. My first collection was because I went to the Denver Aquarium with my son, and we pet and fed stingrays. All I could think the whole time was that I wanted to make that into a dress! That feels like something I would want draped on my dress. The aquatic sensibility was the first thing I explored as a designer [for SKYE|AIREβs Life Aquatic collection]. I ended up doing 18 pieces that were all octopi, or stingrays, or pufferfish. 15
RBX Chat
King: Thatβs amazing! What traits do you look for in models? Skye: I typically cast the model before I make the dress. I have a concept in my mind about what Iβm going to create, but the model does help evolve it. For example, with menswear, Iβm looking for strength, personality, and perseverance, but that doesnβt mean you need to be boisterous. One of my favorite models is the shyest sweetest women Iβve ever met, but sheβs an incredible presence on the runway. Trying to get to know her and helping to communicate her through my pieces is important to me. King: How is it when you see a model walk with your design? Does it evoke certain emotions? Skye: We rarely get to see our model walk with our designs because weβre backstage. A few special places have backstage monitors, so we get to watch. Itβs shocking to see your work move. As a designer, I want all my artists to come together. I want to guide but not direct the hairstylist and the makeup artist, and the photographer and model. Once Iβve created it, itβs up to them to breathe life into the piece. Thereβs a beautiful synergy when everyone loves the freedom of going as far as they can. Hairstylists, makeup artists, modelsβ theyβre artists, too. They donβt want to be controlled. The greatest joy is collaborating in that way and creating art with other people.
Re-Establishing Secure Connection... Connected! King: What do movies get right about the life and work of a fashion designer and what do they miss? Skye: I havenβt watched The Devil Wears Prada since Iβve become a fashion designer. I loved the movie when it came out. The part that sticks out is when Meryl Streepβs character reviews a collection and dismisses it with one nod. As a fashion designer, you know thatβs a yearβs worth of work. And youβre putting yourself out there, same as other artists. You can work and then present something thatβs so much part of you and then someone can be like, I hate it. All parts of the process. Itβs devastating, but you get used to it and thatβs okay. That movie also gets how you can quickly transform by putting on a different outfit. We watch Anne Hathaway do it, but we also watch models do it. Models may show up in sweats with stringy hair. They leave their regular lives and then they become these divine creatures of beauty and creation. Itβs pretty cool how all the pieces come together. King: Thereβs a line in the film Last Night in Soho: βSheβs wearing the dress. The dress isnβt wearing herβ Do you agree with that perspective? Skye: Yeah. As a personality, Iβm an introvert who learned to be an extrovert. But when I present myself as an artist, Iβm presenting as a personality. Skye Barker Maa, fashion designer, has a turban and typically glasses and dangles. Iβm a true character, but Iβm also a caricature of myselfβthis is who I am as an artist. Skye Barker Maa, fashion designer, has a wardrobe which is 16
RBX Chat
King: That reminds me of David Bowieβs different stage personalities. Itβs like youβre giving a performance, would you say? Skye: Yeah. Itβs also your form of armor. Youβre about to face the public and present the most pure, raw form of yourself. What youβre wearing is your armor to prepare and protect you, no matter what happens. Youβre getting into your own mindset and character before heading out.
RBX Chat
King: Some artists project their identity and life experiences onto their art. Others make art part of their identity. Do you intertwine identity with fashion design? Skye: I try not to put limitations on myself. Iβve chosen to let myself be free as a designer. I give myself the freedom to do and be whatever I want at the timeβthatβs a luxury. Iβve given myself an escape. King: What is the biggest challenge youβve faced in your careerβand what did you learn from it? Skye: Trying to balance appeal with not losing yourself. Critical feedback is important, but where is the line where you say, Iβm not passing that line because this is who I am, and this is my art. Or youβre taking in that feedback and evolving with it which is also important. Thatβs a challenge for me.
RBX Chat
King: What is the biggest challenge youβve faced in your careerβand what did you learn from it? Skye: Trying to balance appeal with not losing yourself. Critical feedback is important, but where is the line where you say, Iβm not passing that line because this is who I am, and this is my art. Or youβre taking in that feedback and evolving with it which is also important. Thatβs a challenge for me. 17
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Photo by Caitlynn Pederson 18
RBX Chat
King: Some materials are malleable, formable, or even molded. Others are more rigid and unresponsive. Maybe we could call it the βpersonalityβ of the material. In your designs, do different fabrics and materials speak to you about their identity through tone and feel? Skye: I use a ton of color and texture. Everythingβs tactile. I also use combinations of wearable fabrics that are still textured like fringe, or with outdoor vinyl. Another challenge is minimizing and trying to not have so much texture and color. Iβm trying to be much tighter in how I present. Most of my work is geometric, and some work is straight-up triangles and circles. Iβm super obsessed with shape. King: Do you have a favorite texture, fabric, or material? Skye: My favorite is an accordion-shear fan material. Itβs super stiff and it becomes different every time I move it around. I like to manipulate it and Iβve gotten to know but I donβt own it. Itβs a new fabric to me each time, but itβs also stiff and geometric.
RBX Chat
King: What is the best advice you can give to someone interested in fashion design as a career? Skye: Itβs hard and itβs joyful. When you become an artist and you decide to monetize yourself, you come to terms with the rollercoaster of it allβthe joy from creating and success when youβre accepted. And the devastation when you arenβt accepted. The financial ups and downs, like, you sell and then, the next day, someone returns three things. My advice is do it! Why wouldnβt you? You can live many lives and you wonβt have regrets, even if itβs not your whole life. Itβs still incredibly joyful. King: What is the worst advice given to you about the career? Skye: When someone tells you to change. Itβs tough because what theyβre saying has nuggets of truth. My issue as the designer is being cohesive. The first time someone told me to pick a lane, to stop doing all this stuff and pick one of these dresses and blow this one out into eight more dresses, I was like, Iβm never going to do that. Coming to terms with that was tough, but I understand. Iβm getting to a place of compromise between what my instincts tell me to do and what produces a cohesive professional collection. 19
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Photo by Sam Nelson 20
Photos by Gabo Page and Yash Thapliyal
Photos by Yash Thapliyal, Jackson Champagne, and Tylyn King
Photos by Aidan Roof and Mason Hunter
The Reality of Film Photography Instagram user @williefromqueens describes his relationship with film photography as βThat girl I wish I never dated. That girl that kind of rang me out of my pockets for dinner. That girl that f***** liked an animal but just never answered my dmβs.β Film photography for many can be just another hobby, an activity for friends and family, a physical form of a memory, just a simple picture, or an art form with creativity and passion poured into every shot. Everyone has a different relationship with film, some deeper than others. In recent years, photography has risen in popularity. People love the nostalgia it gives and connecting to the past through a photoβs authentic, organic feel. The interesting thing with film photography that you cannot achieve with digital is the picture you took must be developed before you can glance at your work. It forces a type of freedom from control that digital cannot offer. The process of shooting on film and developing it is valuable to some film photographers. Just as film photography is making a comeback, digital photography is advancing and becoming a better alternative to many who use film photography as more than a hobby. By looking through the lens a bit deeper, it is not hard to see why many who previously swore by film are now making the switch to digital. There are a couple of limitations to film that are unappealing enough 27
Chamberlain Churchill
to make more photographers gravitate away from this style of photography entirely and go digital. One is the unaffordable prices of film and getting it developed. Several factors are part of this surge in film prices, and the COVID-19 Pandemic plays a large role. According to Drew DeSilver, a senior writer at Pew Research Center, the inflation rate for our first quarter this year is at least two times the amount it was in the first quarter of 2020. This first quarter of 2020 is around the time COVID-19 started its devastating and long-lasting impact around the world. This pandemic led to major supply chain issues as well, which caused logistic issues that still impact us this year and likely for years to come. After COVID-19, many parts of daily life were turned upside down. For people in the film photography business, this was not any different. These supply chain issues made many big film producers change the amount and way they sell film. For example, Kodak has increased their prices 10-15% annually since 2018. Even this year all orders made after March 1st were subjected to another price increase. These price increases are due to an issue involving supply and demand. Kodak is not able to keep up the supply needed for the increased demand for rolls of film.
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Their increase in prices is considered by some an attempt by Kodak to use this rise in inflation and increased demand to bring them to a financial point strong enough to keep up with demand. This strained supply is also due to the decrease in manufacturing facilities and equipment used to produce rolls. Chemicals pose big environmental risks and directly impact the manufacturing and price of film. All these reasons influenced Fujifilm to increase their price or completely take rolls off the market. Many artists and small photography businesses are finding orders from past years are drastically cheaper than those of the same order placed now. The other reason film can be limiting is the time it takes to get your photos developed. It is hard for a lot of photographers to find the time to go to a place that develops it or do it on their own. Some who used to enjoy this process of developing on their own now no longer have the time or money to do this. It can be incredibly timeconsuming to learn the process and perform it on your own, the clean-up process is a bother, and sometimes the final product can be ruined for several reasons. Others find places they used to rely on for the developing process are now closed. The pressures these photographers must face have made many go running to digital. Digital photography may be considered film photographyβs biggest competitor. The reason is simple, itβs convenient. The cost to shoot is a fraction of how expensive it is to shoot on film. The price of film is high and is only going up. The amount it costs to buy and develop and the hassle you must put into the Photo by Gabo Page
development process is starting to outweigh the beauty film once held for many. As technology becomes more advanced, it becomes even more convenient than it once was to shoot with digital. Digital cameras give you instant access to see your photos and it is much easier to find parts or people needed to fix this type of camera when broken. With iPhones, the process of taking, editing, and sharing your photos is even more simple. Many iPhones are starting to be made with camera-grade lenses. You can download editing apps preset with filters you can easily place onto your photo. Editing the brightness, contrast, saturation, structure, and more only takes the touch of a few buttons. It is the instant access to viewing and sharing your photo that makes iPhones such a rewarding alternative to other styles of photography for many. Additionally, both iPhones and digital cameras only come with the initial cost of the camera itself and a possible subscription to an editing service. When you consider the initial buy of the film camera, the added cost to buy rolls of film, and time it takes to see those photos you can see why many who used to love it might not be able to continue with it. Many are hoping it does not get to the point where they must shoot digitally. Some are going to Black and White first, which is the oldest and most basic type of photographic emulsion. It is much easier to work with as it only involves three layers, making it an easier way to learn to develop when starting. Black and white is much more affordable than Portrait 800, which is Kodakβs high-speed film designed for more challenging lowlight photographs. Others who cannot 29
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seem to let go of colored film but cannot keep up with its limitations moved to a system where they shoot half film and half digital. It can be hard for some photographers to achieve the same look in digital that they do in film, so many have decided to use film for some projects and digital for others. Many have a tough time deciding because of these limitations on film, as they might not always be able to use film when they want or feel it is needed. This can be seen with street photographers who enjoy shooting with film. They usually shoot hundreds of photos a day walking in public. The need for so many shots is the fastpaced nature of the public around them, they cannot set up for the perfect shot. They usually only get a couple of great shots. Now with price increases and the already grueling process of getting your photos, many must be more particular about how many shots they take if they want to stick with film. These limitations can strain an artist, but it could also be a bit of a good thing. By assessing if a project needs film or digital, they are looking more critically and intentionally. The real worry is people permanently moving to digital because of these perks. Dedication while also giving up perfection and control in film is important, and you cannot achieve this permanence with digital. Losing many who used to shoot film photography to digital would mean losing the passion for the art form. If film photography dies out and becomes a rarity on the streets, we lose that sense of freedom within art. The digital age is removing the physicality of art and price gouging encourages many artists to move away from using film as their art medium.
Photo by Gabo Page
Photo by Aidan Roof
Emily Miller
Influenced by the rise of the digital age, the fashion industry has become inseparable from the use of artificial intelligence. Recent years have brought attention to countless computerized innovations such as robotic garments, interactive textiles, and even a fashion week generated completely by artificial intelligence. With this rise of complexity and rivalry in the fashion industry, the application of artificial intelligence in designing, merchandising, and supplying products has only increased. This year, the value of AI in the fashion industry falls just under $1 billion. Yet, according to the 2023 AI in Fashion Global Market report, AI is predicted to increase 42%, making it worth $3.7 billion by 2027. But before diving into just how much artificial intelligence is used in the fashion industry, itβs important to define βartificial intelligenceβ. Told by Leanne Luce, author of Artificial Intelligence for Fashion, artificial intelligence is a field of computer science that looks at the logic behind human intelligence. The field seeks ways to understand how we think and aspires to re-create this intelligence in machines. Put simply, think of AI as a machine capable of replicating human behavior. Although opinions on the increased use of AI vary between industries, it has taken the fashion industry from reactive to proactive, a transformation proven beyond beneficial.
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Are machines intelligent? The question may seem half-witted but take a moment to think about it. Could you give a definitive answer, whether itβs yes or no? The integrated reality of artificial intelligence imposes a new standard for what we consider to be intelligent, making there no clear way to determine the βintelligenceβ of artificial life. However, one theory of intelligence has been known to dominate public opinion. Consider the Imitation Game or its better-known title, The Turing Test. Developed in the 50s by Alan Turing, the test seeks to determine whether artificial intelligence contains the ability to think and respond as a human being. In order to pass, a machine must provide answers so compelling that a human experimenter is convinced of its humanity. ~If youβve ever clicked βIβm not a robotβ, youβre already familiar with the concept.~ The test has been in use for over 80 years, yet to this day, no program has passed uncontested. was a 13-year-old Ukrainian boy rather than a Photos by Garrett Botsch
computer. Now the win is often countered based on the experimenterβs level of intelligence, but I donβt buy that. I believe a programβs intelligence depends on whether you believe a machine can even possess intelligence, a seemingly sentient quality. Iβll spare readers the philosophic rant but regardless of whether this convinces you of AIβs intelligence or its inability to possess it, the ramifications are clear. Machines are getting damn good at replicating human behavior.
Are you smarter than a computer? Objectively, no. The context that AI can access, evaluate, and integrate into product production far outweighs the capability of human designers (sorry). As expressed by Mckinsey & Company, when it comes to merchandising, AI is able to βconvert sketches, mood boards, and descriptions into high-fidelity designs (for example, 3-D models of furniture and jewelry).β Meaning that a mindless doodle, Pinterest board, even a thought can be generated into a substantial product using artificial intelligence. Additionally, McKinsey states that AI is useful for devising new creative products from data of past inspirations. Go ahead and picture a designerβs creative process. Starting with intensive research, repetitive sketching, fabric selection, and so on till completion. Countless hours of effort expended without the guarantee of success. These time-intensive tasks are what hold designers back in such a fastpaced industry. Rather, with the aid of AI, enormous amounts of information can be sorted and applied to the production process, resulting in a superior product in a fraction of the time.
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/Can artificial intelligence predict the future? Not exactly. Thankfully, up to this point there is no conclusive evidence indicating the fortune-telling abilities of artificial intelligence. However, through the use of predictive analysis, artificial intelligence is continuously calculating the next best trend to take its predecessorβs place. More specifically, AI algorithms constantly analyze past consumer data produced by social media, fashion magazines, clothing stores, etc., in order to better understand consumer preferences. With this information, AI logically anticipates what trends may or may not be popular among buyers in upcoming seasons. This data allows fashion designers and retailers to be a step ahead of consumers at all times, making clear that AI is an indisputable asset regarding whatβs hot and what is not.
Photo by Garrett Botsch
/Money makes the world go round Arguably, the most notable use of AI in the fashion industry is its positive influence on the supply chain. Through constant data analysis, AI can provide an informed estimate of how well an item will do on the market. With a projection of these sales in mind, suppliers are able to cut down on the production of unwanted items and selectively stock their products, resulting in less textile waste and increased profits. In just three to five years, an analysis from McKinsey & Company estimates that βgenerative AI could add $150 billion, conservatively, and up to $275 billion to the apparel, fashion, and luxury sectorsβ operating profits.β Entailing that the monetary benefit of AI is undeniable. Still not convinced? Recall that, as of this year, AI is valued at just under $1 billion. Despite the βrelativelyβ small investment, AI stands to generate hundreds of billions in operating profits. In a world dominated by consumerism, the projected profit accompanying the use of AI is well worth the cost.
No longer is the fashion industry waiting on upcoming consumer feedback; the industry now takes preemptive measures in designing, manufacturing, and supplying products. By not only reacting to the past but anticipating the future, AI has taken the fashion industry from reactive to proactive. As artificial intelligence continues to imbed itself in modern-day innovation, these preemptive measures are what have allowed the fashion industry to prosper in todayβs digital age. While countless issues accompany the fusion of AI and fashion, this is just the beginning of what artificial intelligence brings to the industry. So rather than descaling AIβs usage β an improbable and likely impossible task β, it is crucial to educate ourselves on just how much artificial intelligence can achieve.
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Photo by Mason Hunter
Photos by Jackson Champagne and Mason Hunter
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Samson Kidane βHey, youβve been scrolling for a while now.β The PSA is cut short, I swipe eagerly. Even that momentary disruption is enough to leave me feeling deprived. There is a pounding behind my eyes. My brain is ripping at the seams to process all of the content Iβve consumed. I need a break, I need to meditate, I need to get some work done. I need something constantly. I can see TikTokβs algorithm working in real-time, probing, and recalibrating. I wonder how much it really knows about me, and how it knows. I keep swiping. With the rise in prominence of tech conglomerates, markets are changing, specifically in the way in which consumers operate. Recommender systems are a way of measuring demand. Tech Firms can use algorithms to quantify what consumers want. When it comes to most social media platforms this has severe implications for the content market. Ultimately, recommender systems are a tool. This essay is not an attempt to argue the morality of Recomender Systems. Instead, I hope to bring attention to the profound potential for harm recommender systems hold when used towards
the ends of capitalism. I hope to explore this through the lens of TikTok, and the addictive algorithms that it employs. To give context, recommender systems are a type of information filtering system that aim to predict and recommend items or products that a user may be interested in. These systems are commonly used in e-commerce platforms, streaming services, social media, and other online applications. There are generally two main types of recommender systems: collaborative filtering and content-based filtering. Collaborative filtering uses the behavior and preferences of similar users to make recommendations. This involves analyzing user behavior such as their purchase history, ratings, and reviews. The system then identifies users with similar behavior patterns and recommends products that similar users have enjoyed. Contentbased filtering, on the other hand, recommends items that are like the ones the user has already interacted with based on the content or features of those items. This can involve analyzing the attributes of Photos by Sam Nelson
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the items, such as genre, keywords, or other metadata, and recommending items with similar attributes. Some recommender systems use a combination of both collaborative and content-based filtering techniques, known as hybrid recommenders. These systems can provide more accurate and diverse recommendations by incorporating the strengths of both approaches. This article will cover Contentbased filtering. TikTok is a video-sharing app that has rapidly become one of todayβs most prominent social networks. The app features a curated page of shortform content without end. While it shares the same goal as any other social networking site, to increase time spent on the app, it differs in its potency. A New York Times article titled; How TikTok Reads Your Mind describes documents shared with the press by TikTok to explain how its algorithm exactly works. βThe document explains frankly that in the pursuit of the companyβs βultimate goalβ of adding daily active users, it has chosen to optimize for two closely related metrics in the stream of videos it serves: βretentionβ β that is, whether a user comes back β and βtime spent.β The app wants to keep you there as long as possible. The experience is sometimes described as an addiction, though it also recalls a frequent criticism of pop culture. The playwright David Mamet, writing scornfully in 1998 about βpseudoart,β observed that βpeople are drawn to summer movies because they are not satisfying, and so they offer opportunities to repeat the compulsion.β To analysts who believe algorithmic recommendations pose a social threat, the TikTok document confirms their suspicionsβ¦ Photos by Aidan Roof and Maya Baumann
βThis system means that watch time is key. The algorithmtries to get people addicted rather than giving them what they really want,β said Guillaume Chaslot,β Beyond anything else TikTok is designed for consumption. Advertising relies on psychology to create the most compelling advertisements. Making consumers want to buy products is oftentimes more profitable than simply offering a needed service. Moving into latestate capitalism it is daunting to imagine technology and media being used to compell people into consumeing. βBased on an analysis of the algorithm principle used in this platform, Zhao (2021) argued that TikTok addiction is becoming a widespread phenomenon, and such addiction has a closedloop relationship with algorithm optimization. More specifically, collaborative filtering algorithms and low-cost interaction design mechanisms are very powerful tools to facilitate usersβ continuance intention. But in the meanwhile, the algorithm can also be counted as a trap to lure people to spend too much time on the app.β Algorithms can create addiction by using persuasive design techniques, such as autoplay or infinite scrolling, which keep users engaged on the platform for longer periods of time. These design features make it easy for users to keep consuming content without actively deciding to do so, leading to habit-forming behavior.
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The ethics of advertising are muddy at best, but the actions of social media companies like TikTok are doing harm to people and their relationships with media. It would be impossible to separate capitalism from media, but these algorithms would essentially turn the consumption of media into a transaction of time. There are only so many things that havenβt been completely monetized. These algorithms present a way to spend a life away.
Photos by Gabo Page, Garrett Botsch and Jackson Champagne
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Photo by Sam Nelson
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βI was interested in how film was turned into digital media and learned about the process, called telecine, and thought it would be a great band name,β said Filip Casey. Telecine, a small Boulder, Colorado band, has their minds set on a new reality. Consisting of CU students Filip Casey, Owen Helfer, Andras Szalay, and Ethan Patel, the group formed about eight months ago, on Groundhog Day to be exact. Starting out as a group of friends with some music background, Telecine really started as a small band. βI have been writing songs for about four years, Owenβs played guitar for 2 years, and Ethan played percussion in high school. Ethan and Andras were roommates freshman year, who I became friends with. Then Owen transferred here in sophomore year, and we discovered that we were all trying to play music more about a year ago. We realized that music isnβt very fun with just three guitarists, so we bought an electronic drum kit, and sourced a bass. We started playing covers together for fun, and when we had the opportunity to play our first live show last spring, the Telecine train left the station,β says vocalist and guitarist Filip Casey.
Since then, the Telecine train has traveled far. A part of CU Music Industry Clubβs βBig Table Records Showcaseβ, the band performed at Fox Theatre, where iconic artists like Jack Johnson, The Killers, and John Mayer also played. βIβve never been to the fox before, so that was my first time there in any capacity. I thought it was a really cool venue. It was the most professional venue that weβve ever played at and that made it feel just like an overall amazing experience,β said drummer Ethan Patel. βYeah, Iβm pretty much in the same boat as Ethan,β said bassist and keys player Andras Szalay. βI hadnβt been there before we played there and it is cool to be able to say like yeah, we play at The Fox. Thatβs like the Boulder venue.β A Telecine show is not one to miss. They play a collection of their original songs In the Grass, Iβm Sorry to the Girl at the Plant Store (I Killed the Plants), and Rebecca Howe (Cheers Season 1, Episode 6), as well as covers of some of their favorite songs like Kiss Me by Sixpence None The Richer, Sk8er Boi by Avril Lavine, and even a rendition of the nursery rhyme Little Bunny Foo Foo. At their show on University Hillβs Peckish on September 13th, the band played in honor of the late Jimmy Buffet. Decked out in their best Margaritaville get-ups -- (Hawaiian shirts, khaki shorts, and some flip-flops -- ) they were ready to perform. Playing a mix of well-known covers and their originals, some being unreleased, the band put together a great show that kept everyone in the bar up on their feet. From playing random requests, to doing a surprise duet, and even watching Owen fall to the floor in a dramatic ending scene, the show was unforgettable. And to pull their band name back to its roots, they have recently vested in a small, vintage TV at centerstage, displaying a running film of collected videos and their band name in big, bold letters. βGetting up on stage and watching all the people who came to see you play just kind of dance to your music and vibe. That shit always feels great,β said Andras. βWeβre basically just like a crowd band as far as live performance goes. We are playing completely to the gallery. So itβs like, we want to do whatever we can to make sure that people are having fun. And so if we can see that actually working, thatβs awesome.β said Filip. βIt doesnβt matter what you do before but if, like, the crowd enjoys it just makes it all worth it,β said Ethan. Telecine writes and records all their music in Filipβs bedroom; itβs so small that there is only one chair, leaving Owen standing during their recording process. Their creative process usually begins with a melody that they play around with before building it into a fully working song. βUsually weβll take stories or emotions from our lives, and hyperbolize them
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to make an interesting concept,β says Filip, βThen we try to come up with the most asinine song title possible.β One of the bandβs most enjoyed songs by the audiences of their performances is Rebecca Howe (Cheers Season 1, Episode 6). βRebecca Howe comes from a time when half the band was unemployed, watching a lot of The Sopranos, and feeling somewhat isolated. So we came up with the story of becoming enamored with an advertising actress on television when youβre half asleep and wonβt be able to remember it in the morning,β says Filip.
Telecine mainly gets their inspiration from early 2000s indie music, that coordinates with their dream collaborator, Avril Lavigne. They also try to branch out from their inspirations and into what they want to hear from the Boulder music scene. The bandβs genre is closest to what Filip refers to as βpower pop,β but they think that description is βterrible.β They want to be able to experiment with the type of music they make, and not feel confined to one specific genre. βI think weβre trying to expand upon our current palette so that way, we get a little bit of diversity, but also weβre trying to play things that engage the people for sure,β said Ethan. βI think the main thing is like, itβs really easy to tell when you write a song, how people enjoy it, especially live, and so I think right now weβre really enjoying writing songs that get people very excited. Thatβs like Photo by Sam Nelson
βIn the Grassβ and βButterfly Pavilionβ. So weβre just working on more songs that are louder and faster,β said Filip. βI mean, my deal with Owen is that if we donβt feel like we have to drink water before the halfway point of the set, then I donβt think weβre doing enough.β All four of the boys have their own goals and aspirations to come out of Telecine. Some are more playful than others, like Owenβs goal to βthrow the guitar up in the air and catch it (and smash the Glarry Bass),β or Andrasβs aspiration βto perform in outer space.β Ethan
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also has some stylistic desires, specifically for βthe band to wear masks like Slipknot.β For Filip, he wants something simpler, like βplaying Oblivion Access in Austin.β Looking forward to a future in music here in Boulder, they want to continue performing, with one of their goal venues being strangely specific: βItβs a lifelong dream of the band to play in front of the GameForce by Will Vill when itβs closed,β says Filip, βWeβve been trying to brainstorm others, but that unironically seems very cool to us.β
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This group of ambitious, talented young musicians came together for their shared common love of music and performing. Their strange sound and quirky, live performances make them a band worth listening to. You can listen to their music on any music streaming service, or come see them perform around the Boulder area. Like the nameβs definition, Telecine is all about transforming the music scene into something bigger, weirder, and newer.
Photo by Sam Nelson
Photos by Gabo Page
Photo by Jacqueline Comes
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OPEN YOUR ears. What is REALITY to you?
Super Graphic Ultra Modern Girl Chappell Roan
Escapism. RAYE, 070 Shake
RIDE IT LustSickPuppy
RE-IGNITION VALORANT, ARB4, Jazz Alonso, Emei
What I Want MUNA underwater Metaroom Immaterial SOPHIE Give Yourself A Try The 1975 Rebecca Howe (Cheers Season 1, Episode 6) Telecine Seventeen Going Under Sam Fender I Wanna Get Better Bleachers
I Love It (feat. Charli XCX) Icona Pop, Charli XCX Griztronics GRiZ, Subtronics Pink Origins Metaroom help_urself2 Ezekiel, Siiickbrain girlfriend hemlocke springs Pop Star Coco & Clair Clair
400 Lux Lorde
Yuck Charli XCX
R.I.P 2 My Youth The Neighbourhood
Last Day On Earth beabadoobee
Night Shift Lucy Dacus Digital Bath Deftones Off To The Races Lana Del Rey Sixteen - Oceans1985 Remix Kayslee Don Collins, Oceans1985
Photo by Gabo Page
Photos by Sam Nelson
Our Team
Edwin McArthur Isaac Saegesser Hallie Hannum Oliva Gewanter Garrett Botsch Kohanna McCrary Abigail Wiegmann Grace Thorburn Sam Schechterman Maya Baumann Mack Hammond Tylyn King Camron White Gia Boudreau Jackson Champagne Bell Piccirillo Mia DiNorcia Ben Bridy Josie Furst Max Iannini Kam Monsefi Tarrah Connolly Nate Siegfried Norah Hampford Rhett Kaya
President Vice President Treasurer Creative Director Creative Director Creative Direction Editor-In-Chief Deputy Editor Director of Journalism Senior Graphic Designer Senior Graphic Designer Director of Photography Director of Photography Photography Editor Photography Editor Director of Videography Head Stylist Head of Fashion Design Director of Hair & Make-up Director of Modelling Director of Modelling Art Director Art Director Music Director Marketing Director
Models Featured Sanne Arnold Max Aronheim Jenna Baker Flip Casey Angelina Christos Tarrah Connolly Abby Crain Eleanor DawsonMoore Mia Dinorcia Cicilia Dunham Marin Gloor Mandira Gowda Owen Helfer Max Iannini Sofie Im Ben Bridy Nema Khalifa Tylyn King Hailee Hawkins Maanas Krishnan
Anna Longval Rue Murray Kam Monsefi Libby Nordval Karina Opalski Victoria Orozco Olivia Overton Ethan Patel Antonio Paredes Brayden Perdue Sirisai Phanekham Lacey Rubinstein Lylah Sands Nate Siegfried Adras Szalay Sophanara Thann Alexander Torrey Yash Thapliyal Tarrah Connolly Emily Zhou Avis
Photographers Featured
Garrett Botsch Jackson Champagne Jacqueline Comes Rowan Dwyer Mason Hunter Samson Kidane Tylyn King
Sam Nelson Gabo Page Aidan Roof Yash Thapliyal Camron White Caitlynn Pederson
Graphic Designers Featured Mack Hammond Edwin McArthur Maya Baumann Gabo Page
Stylists Featured Mia Dinorcia Jordan Saladino Emily Miller Cristian Abood
Hair & Makeup Artists Featured Josie Furst Iliana Morales Tarrah Connolly Camila Gutierrez Hailee Hawkins Rey Eiras
Student Designers Featured Ben Bridy Emily Zhou Olivia Overton
3D Artists Featured Harrison Martin Edwin McArthur Aidan Roof
Special Thanks to Skye Barker Maa Evan Wang
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