This website is a test which will be sent to the sample for feedback and improvisation while conducting further research

Prakruti is a journalist presently studying MA Digital Humanities in Chicago. She has worked as a journalist in one one the leading newspapers in India.

Q. Why do you think this magazine stands as a project within Digital Humanities ?

A: The way I understand digital humanity is using digital tools for humanities research. Fashion is a part of culture studies so data analysis can be used to study trends etc. Your magazine will analyse the artisans, the processes of creating arts and crafts and promote them, hence it fits. Adding a layer of technology to understand a humanities subject better. Using 360 degrees videos with VR would help readers to understand the process of creation better and create a better experience for them. 

Q. Do you buy printed fashion magazines or just magazines nowadays?

A: I don’t but I still subscribe to some newspapers. I have started paying for good content on digital media. Visuals are dominating the media. 

Q. Do you think that ‘text’ has lost its value?

A: I used to think it has lost its value but the more I read about the shift form text to visual, visuals alone done do much. There’s always text accompanied with the visuals.

Q. Whats missing in fashion magazines today?

A: A sense of relatability. It is for the upper monetary classes alone, and does no

work to highlight the work of grassroots fashion workers, and benefits only those

with considerable disposable income.

Q. Whats excessive and feels unwanted in todays fashion magazines?

A:  Definitely the airbrushing is execessive, in this day and age, continuing to

artificially perfect photos seems highly unwanted and distasteful.

Q. What do you think about a fusion of global and local fashion from lesser known cultures to promote artisans?

A:  I think that is perfect – fashion is part of a larger cultural ecosystem, and for example the

art of fabric weaving has a long history in the community. I would love to see the hands that

go behind their creation spotlighted for a change.

Q.  Would you like to know more about the ‘not so famous’ native crafts and artists from

around the globe? (For example Batik printing from Indonesia or the precious

embroideries from India) Why?

A: Absolutely. I have a keen interest in giving credits and compensation to the

community from where our aesthetic sense is borrowed and while the act of being

inspired by other cultures, their colours, their prints should be encouraged, it

should not come at the cost of the IP of the community.

Q. From India, which type of artisans need more global representation according to you?

A: Definitely artisans from rural areas who are part of the ecosystem (they often

supply to bigger brands and city stores), but their work, working conditions,

knowledge are not documented.

Q. As a Postgraduate student pursuing Digital Humanities do you see a gap in the market

to appreciate the heritage crafts from various countries?

A: The world over, there is a silent tussle between online and offline heritage and the

transition to a virtual world is not as smooth as we would like to believe. Earlier,

preservation efforts were the focus point, but now, only some chosen few heritage

artefacts (especially in a country like India) receive attention and the rest is

forgotten.

Q. Do you like watching 360 degrees videos? Why?

A: Yes, but it has to be relevant. I will watch a 360 video of a geography, even of

cultural artefacts, but not of everything.

Q. What do you think about viewing the process of creating native crafts in the format of

360 degrees videos?

A: It would interesting to get a full picture – but I would wonder why the format was

necessary for the display? I personally don’t like gimmicky forms of digital

adoption.

Q. Do they help you gain a better perspective on the stories/articles? Why? 

A: Not as far as I have seen.

Q. Have you come across a magazine that uses 360 degrees videos as a part of their

content? 

A: Not really, but then again, with websites replacing the traditional magazines it’s

hard to answer this question

Q. Do you like the idea of an online boutique which would have the featured handcrafted

products for sale worldwide? 

A:  Yes absolutely. I want to consciously consume but there are not enough channels

through which I can do so.

Q. Are you interested in buying ethically created ensembles and accessories? Would you

pay more for them? How much more ? (In percentage)

A: I would not pay more than 30%, but yes, I do want to start investing in longer-

lasting, ethically produced fashion that indulge in fast fashion.

In cinematic 360° films, we can’t have different shot sizes and camera angles. The viewer decides where she/he wants to look. Creating frames means trying to guide the observer, we should instead create worlds and let them discover stories. He or she participates in a reality that is virtual and therefore can change in a blink of an eye. This means, that we should consider everything that happens in the world in the storyboard.

https://medium.com/cinematicvr/storyboarding-in-360-2ddce59d627d