Top 10 We are the music makers tips

Apsalon and Mr. Safety both receive many laudatory comments for their tutorials and are addressed as authorities by a community of users who want to improve their skills in videomaking. Such hierarchies and the discourses maintaining them are characteristic for traditional amateur cultures, and YouTube is all but free from traditional cultural hierarchies obvious, for example, in the following comment by user EA060: Some of these things seem hilarious to me, being a professional cameraman and video editor. But those advices are good for the amateurs. An interesting way to make people understand some things. About white balance on VX cameras dont use the auto function because its not JVC to work properly. You better make the white balance manually, or use the presets (int/ext) because you will have to work more on an editing software. The same thing for DSR 150 and DSR 170 from Sony. Good luck!21 134 13 Usage

One of the things that sets this bubble maker apart is that it is equipped with a motor for high performance and maximum bubble output. It is made using nontoxic ABS plastic that is both safe and eco-friendly. It is suitable for children of ages between four and 16. The top-rated bubble machine comes in the unique design of a whale that delights kids. It is a great choice for both indoor and outdoor events. Customers who have bought the machine say they like the fact that it doesn’t spill the bubble fluid, and it comes with a reservoir that holds a sufficient number of bubbles to last for over 30 minutes. They also add that it is stable and sits upright. Pros:

• Doesn’t consume batteries fast
• Produces a lot of bubbles
• Comes with a 100% satisfaction guarantee
• Bubble fluid doesn’t leak or spill
• Reservoir holds enough bubbles Cons:
• Instances of motors not working have been reported Blowing bubbles in areas without a power outlet can be challenging, as the batteries don’t last for long. But with the Betheaces Bubble Machine, you can enjoy loads of fun due to its long-lasting battery.

The Lukat Bubble Machine is a bubble machine for kids that has the shape of an octopus. It has a bubble output of about 1000 bubbles per minute, making it a great choice for indoor and outdoor events such as birthdays and family parties. It is easy to use, as all you need to do is to pour the bubble solution into the machine before switching the power on. No matter how little your child is, they can easily help operate the machine. Customers of the Lukat bubble machine say their kids have a blast with the machine. This is because the bubbles come out fast, and the octopus eyes on the machine light up, adding to the fun. Pros:

• Made of safe and nontoxic ABS plastic material
• Blows out enough bubbles at a good pace
• Easy to operate for kids
• Doesn’t leak or spill Cons:
• Need to use a screwdriver to open the battery cover With this bubble machine, you will have endless fun. This is without doubt one machine that will offer you real value for your money.

aesthetic randomness is apparently accepted easily: this randomness contrasts profoundly with the thoroughly designed video clips to which the performances refer. But it is precisely this lack of self-consciousness that leads to considerations that not so much emphasize the amateur status of the YouTube video,11 but makes their very mediacy the center of attention. For instance, a logic of recording is clearly active here, one to which the digital or digitalized video is still subject. Naturally, a video camera registers whatever is visible from a certain angle, even if it is contrary to the makers intent. While the focus is solely on the performance of the actors, the framing of the images reveals much more: the room dcor thus supplements the video. This supplementary aspect of the image in turn forms the aesthetic surplus of the YouTube video. Moreover, these videos nd their way into VJ sets12 as artifacts of an authenticity that can scarcely be achieved professionally; they are also broadcast on MTV or reused in advertising.13 These remediations make it clear that the break between analog and digital media is based less on the materiality of the recording process than the increased and instantaneous possibilities of distributing what is recorded. However, it also becomes clear that home dances are not just about amateur self-alteration along professional aesthetic standards. The difference between professional and amateur does not seem particularly applicable here, for it is questionable whether the so-called amateurs judge themselves according to professional standards, or according to the commentaries and answers of other users listed on the YouTube website. In fact, the obvious imperfection of the videos creates a kind of archive of poses and images, its range of elements played repeatedly and varied. This archive is accessible by means of a computer only, through YouTube to be specic. The computer is thus the center of events. As a consequence, there are hardly any home videos that negate or conceal the digital device to which they are addressed. Either the action takes place directly in front of the computer, or computers are more or less explicitly part of the image. The computer is thus always a node in this arrangement as a medium of reference to existing texts, poses and videos already in circulation and at the same time as a medium of distribution of the performers own performance in the future. It could also be said that the actors are engaged with symbolic structures and mediation while a new media structure is in the process of inauguration 192 193 Form

Intergenerational Communication An interesting phenomenon among the YouTube new auteurs is the user Geriatric1927 and his video posts. After a short personal introduction entitled Geriatric Grumbles, users come face to face with an elderly British gentleman using a simple webcam to declare his enthusiasm for the YouTube community, a quite odd appearance on a site dominated by a youthful audience. Geriatric1927 declares his intention to share his life experience with his younger audience. Responding to the fact that more than 4,000 YouTubers have sent him positive feedbackas of November 2008, the video has been registered with 2,789,508 views on YouTube Geriatric1927 started a series entitled Telling It All that by August 2008 had reached some 60 episodes.9 In this autobiographic monologue, the audience is informed about growing up in pre-World War II class-dominated England and about the person behind the pseudonym, whose name, one later learns, is Peter Oakley. At the age of 79 he posted his first video on YouTube. Apparently a widower, he was educated in the field of mechanical engineering and worked in the British health sector prior to being self-employed and later retiring. Oakley leads off every new episode with a short vignette of text and music mainly classic blues before addressing his audience with: Hello YouTubers! From this point the webcam remains focused on him as he continues his monologue, with an ample number of digressions, about growing up in another age. The response from his audience, which seems to have stabilized at around 20 to 30,000, comes in the form of text and videoblogs addressed to him, parodies most of them good-natured, with a few exceptions and responses sent to his new website www.askgeriatric.com. The average viewer seems to be of very young age, a fact perhaps mirroring Generation Ys need for a kind of grandfather figure. With a grandparent generation living in Florida or Arizona (or Spain in the case of North European youths), it is 144 14 Usage

What scripted stories or spatial narratives, then, does YouTube offer, once a user engages with the sites dynamic architecture, sets up a few ground rules (both narratives and games need rules), and then lets him/ herself be taken to different sites, spaces and places: not by the logic of an individual characters aims, obstacles, helpers and opponents, but by the workings of contiguity, combinatory and chance? In other words, what happens when neither the causal chain of action and reaction, nor the temporal succession of locales determines the direction or 1 1 Form

The opposition between places and non-places derives from Michel de Certeaus distinction between place and space.8 However, Aug uses non-place in a slightly different way than de Certeau, and his vision of the opportunities individuals have in non-places is more pessimistic. For de Certeau space is a practiced place, and through the tactics of everyday use, the oppositional practices of everyday life, individuals can give different meaning to and change spaces. Aug could be interpreted as stating that non-places generate a new relationship to the world, but this relationship is not always negative, and although the term non-place does have negative connotations, it could also be seen as a new opportunity. Not only for the users, those who pass through the non-places, but also for researchers trying to make sense of new situations or phenomena. Tim Cresswell notes that Augs arguments force theorists of culture to reconsider the theory and method of their disciplines. While conventionally figured places demand thoughts which reflect assumed boundaries and traditions, non-places demand new mobile ways of thinking. 9 Anthropological place is rooted in history, relationships and identity, and the church may be used as an example of an anthropological place. According to Emiko Ohnuki-Tierney the church embodies the social identity of the people in the same village in their daily social network. It is also a spatial representation of the past, the history of these people and the village. 10 Other similar anthropological places are libraries and archives, places that also embody social identity and history. Non-places, however, are uprooted places marked by mobility and travel; they lack identity, relationships and history. The translation from French to English of the term non-lieu has had consequences for interpretation of the possibilities or dangers of dwelling in non-places, and Ohnuki-Tierney has explained that the term non-lieu in a technical juridical sense means no ground for prosecution, that is, the accused is innocent. Those innocent, needless to say, are deprived of their usual identity as social personae and as individuals. 11 One of the characteristic traits of YouTube is excess. YouTube offers an overabundance of video clips, organized in chaotic ways making precise navigation hard. YouTube is not an anthropological place, defined by identity, relations and history, being closer to a transient non-place, a crossroad where people meet, yet where references are individualized through tags and rating, and where users interpret the information by themselves and for themselves. YouTube is not an asocial place. It is more like a hypersocial place, but the hypersociality of the site is mostly channeled through specific fields or practices, i.e. share a video clip, comment on it, give responses to the uploader, etcetera. As a social process unless used in a specific way by a local community YouTube is characterized by the consumption of information. Commercial clips or references are mixed with all sorts of amateur material, and to a certain degree this changes the status of the non-commercial material. This happens in at least two ways. Firstly, it is done by the commercial context itself. Ending up at a commercial site or viewing a commercial clip characterizes many visits to YouTube, and the lack of context makes it hard to determine what kind of clip or site it is. Few or no distinctions are made between commercial and non-commercial clips, 30 31 Storage

Andrew Zimmern - FOOD : A Global Perspective on the State of our Food LifeAndrew Zimmern takes you with him for a whirlwind tour of his world travels, informing and entertaining as he connects the audience to both his boots on the ground experience and his philosophies of both food and life. His amazing stories cover everything from the great global food scene to how you really can change the planet one meal at a time, as hes experienced firsthand breaking bread (or other things!) with people from Syria and China to Cuba and the Kalahari desert. Inspiring, enlightening and always entertaining, Zimmern shows that the world is truly getting smaller, and that the best place to learn about it and other cultures, is at the dinner table, not in a museum. Zimmern is a James Beard award-winning TV personality, chef, food writer, teacher and is regarded as one of the most versatile and knowledgeable personalities in the food world. As the co-creator, host and consulting producer of Travel Channels hit series, Bizarre Foods with Andrew Zimmern and Andrew Zimmerns Bizarre World, he travels the globe, exploring food in its own terroir.Page 8