Week 1 — Initial Observation: Information Sedation
In the first week, I started by reflecting on my own everyday experience of digital media. I noticed that my relationship with screens is not simply about searching for information or entertainment. Most of the time, I am not actively looking for something specific. Instead, I am being continuously fed by short videos, social media posts, advertisements, recommended images and algorithmic content. This made me think about the word “feed” not only as a technical term used by platforms, but also as a metaphor for a psychological condition. The screen constantly feeds me images, emotions, humour, news, anxiety, beauty, noise and desire.
At this early stage, I was interested in the idea of information sedation. I began to think about how entertainment can work like a kind of psychological narcotic. When people feel bored, empty, tired or anxious, they often turn to visual stimulation. Short videos, scrolling interfaces and algorithmic recommendations provide instant distraction. They do not necessarily solve the feeling of emptiness, but they cover it temporarily. This made me question whether digital entertainment has become a form of spiritual sedation in contemporary life.
At this early stage, I was interested in the idea of information sedation. I began to think about how entertainment can work like a kind of psychological narcotic. When people feel bored, empty, tired or anxious, they often turn to visual stimulation. Short videos, scrolling interfaces and algorithmic recommendations provide instant distraction. They do not necessarily solve the feeling of emptiness, but they cover it temporarily. This made me question whether digital entertainment has become a form of spiritual sedation in contemporary life.
Week 2 — Developing the Concept: From Pleasure to Overload
In the second week, I began to develop the project into a clearer concept. I realised that I did not want to simply say “social media is bad”. Instead, I wanted to explore why digital content is so attractive at first, and how this pleasure can slowly become exhausting.
This led me to the idea of total visual overload. I imagined the screen as a space where images never stop multiplying: short videos, advertisements, memes, AI images, beauty filters and social media fragments all appear together. They are colourful and exciting, but also repetitive and overwhelming.
During this week, the title FEED became important. It refers to the digital feed on social media, but also suggests the act of being fed. The viewer is not fully in control. They are continuously supplied with visual content by a system.
I started to think about the emotional journey of the audience. The work should begin with visual pleasure: psychedelic colours, rich textures, fast rhythm and AI-generated imagery. Then the same visual language should gradually become excessive. Images repeat, overlap and multiply until pleasure turns into fatigue.
This helped me understand the project as a transformation from seduction to overstimulation. The work should not only talk about information overload, but allow the audience to experience it.
Week 3 — Structuring the Experience
In the third week, I focused on the structure of the project. I decided to organise FEED into three stages: Seduction, Overstimulation, and Emptiness & Self-Awareness.
The first stage, Seduction, represents the pleasure of the digital feed. I want this part to feel colourful, immersive and attractive. The visuals may include psychedelic colours, AI textures, glowing symbols and fast movement. This stage should make the audience understand why digital stimulation is enjoyable.
The second stage, Overstimulation, is where the same visual pleasure becomes too much. Images begin to repeat, overlap and multiply. Colours become stronger, rhythm becomes faster, and the screen becomes more crowded. The audience may feel tired, anxious or numb, but still continue watching. This reflects the experience of infinite scrolling.
The final stage, Emptiness & Self-Awareness, happens after the overload. All visual stimulation suddenly disappears, leaving only a figure in a pure white space. Then the text “Are you still watching?” appears, followed by a black screen. This ending is designed as a moment of interruption, allowing the audience to become aware of their own act of watching.
By the end of this week, my research question became clearer: How can AI-generated moving images simulate visual overload and lead the audience from pleasure and immersion to fatigue, emptiness and self-awareness?
I also decided that AI should not only be a production tool. Its ability to generate endless images, textures and variations directly connects to the concept of infinite digital stimulation.