PNMathenjwa - Netizen Ethnography - A Creative Soultion For A 'Junk' Nation - Scribblebytes Bluebook

BLUE BOOK
Scribblebytes: A Creative
Solution for a “Junk Nation”
PN Mathenjwa’s Statement of Intent on the creation of the
Scribblebytes Universe performance art piece as a transmedia
commentary on the socio-psychological effects of corporate
corruption on Millennial “Netizens” through a case study on:
XXX/XXXXXXXX/XXXXXXXXX
PN Mathenjwa
2018 - 2020
Corporate corruption (both alleged and proven) doesn’t just affect company employees, but
the communities from which they come from. As South Africa sits on a Baa1 or “Junk” status
credit rating (Moody’s CreditView), and international countries in Europe and Asia hover
around the same fate — the youth are turning to dangerous and desperate measures to
survive. While the global elite classes direct their innovations into conquering space-travel
and making plans for the eventual colonization of distant planets, Mathenjwa places focus on
Earth and her disillusioned Millennials who have found new homes on the Internet. In his
most ambitious performance art piece yet, the lines between reality and fiction are blurred,
as Mathenjwa lays out his artistic mission to lead his Netizen audience into the brave new
frontier presented as the Scribblebytes Universe.
Scribblebytes Skype/E-mail: scribblebytes.tv@gmail.com
Contents
Artist Biography 2
Background 3
The Scribblebytes Universe 4
Metanarrative: The Soul & Conscience of the Scribblebytes Universe 5
The Audience: Netizens 6
Case Study: Effects of Alleged Corruption on Millennials at xxxxxxxxxxxxx 12
Interns as Easy Targets for Corruption 13
Existential Anxiety: Creating the Scribblebytes Characters in Their Image 16
Archetypes: MAVERICK, INNOCENT, MAGICIAN 17
Fictional Ego: Identifying Character Demands, Needs and Aspirations (DNA) 19
Maverick DNA 20
Rebble Pebble in Generic Millennial Programming 23
Innocent DNA 27
Mvikeli v3.5.7 in Night Game 29
Magician DNA 34
Charlie Manner in The Late Flight Show 36
Cultural Importance of Rebble Pebble, Mvikeli v3.5.7 and Charlie Manner 40
Conclusion 41
Addendum:
Documents related to Case Study 43
Scribblebytes Universe Fictional Organogram 60
1
Artist Biography:
PN Mathenjwa holds a BA in Motion Picture Medium from the Oscar®-winning AFDA

University Cape Town (2013). During his degree programme, largely sponsored by the
National Film and Video Foundation (NFVF) he studied Screen-Acting, Media Music
Production, Music Live Performance and CMS (Characterization Semiotics). He majored in
CMS under the tutelage of synthetic personality theorist Michael Ivy (Michiel Germishuys).
In 2015, his graduation film “Resilience” (CMS Dept Head) was nominated for a national
SAFTA (award). In 2017, he received development funding from the NFVF for a
documentary, which is related to the Scribblebytes research. Between 2018 and 2019 he
conducted field research which formed the basis for the creation of the Scribblebytes
Universe.
Creatively, Mathenjwa is inspired by popular culture as a vehicle for stimulating social

awareness. In 2010 he was falsely arrested by police and spent some time in jail1. While he
was later vindicated, the event left a considerable impression on him, which is evident
throughout his work. Maverick contemporary artists like Spike Lee, Tupac Shakur, Kanye
West, Cindy Sherman, Laurie Anderson, Madonna and Sacha Baron Cohen -- are frames of
reference for defining his "place" within his performance art movement.
Mathenjwa’s work aims to entertain, educate and empower his audience through emotionally
and culturally relevant transmedia narratives presented through digital properties. Through
his current project, he has developed the "3 Rs" which inform his creative process, namely:
Research, "Resemiotization" (Iedema 2003) and Rendering. As a student of Screen-Acting he
draws on the teachings of Stella Adler, who stresses the importance of socio-economic and
political research into the environment of a character (Kissel 2000). As a student of CMS, he
draws on the semiotics of costume, make-up, styling and Fego DNA Schemas (Ivy 2013). In
rendering his work into accessible and consumable art, Manner looks to his familial roots in
African Spirituality. He draws from his Zulu heritage, which places importance on healing
oneself through connection with one’s ancestors, who communicate through signs and
symbols.
Mathenjwa is also a spokesperson for the "Metamodernism"2 think-tank group: The Abs-
Tract Organization (TATO), which is led by London School of Economics alumnus Brent
Cooper.
1
“Arrest Destroyed My Life”. Sunday Tribune article available: https://www.iol.co.za/news/arrest-destroyed-
my-life-1835473
2
Vermeulen & van den Akker 2010
2
Background
On February 19th 2018, PN Mathenjwa began an internship at an xxx related business —

xxxxxxxxxxxxxxxxxx (an allegedly unregistered “shell corporation” of xxxxxxxxxxxxx
based in xxxxxxxxxx, Umhlanga, see pg 47)3. He spent over 13 months observing and
immersing himself into the corporate environment. At the end of his term, he was able to
identify three personality archetypes amongst his colleagues: MAVERICK, INNOCENT and
MAGICIAN personalities. The results of his ethnographic research resulted in the creation of
Scribblebytes — a performance art piece presented on digital properties. The creation of
Scribblebytes came as the result of the failed internship. The performance art project
represents an alternate reality, where the aftermath of the climatic failure of the internship
finds resolution. The resolution presented within the Scribblebytes Universe addresses the
socio-economic, geographic and political circumstances leading to the exploitation of tertiary
graduates by corporate culture. The resolution is the “creative solution4” for which this paper
is named. While Mathenjwa presents
accounts, recollections, impressions and
documents specific to the NYSE and JSE
listed xxxxxxxxxxxxx; the overarching
themes of Innocence vs. Corruption can
be applied to corporate culture in a
general sense. These materials have been
included to highlight these themes and to
provide a window into the artist’s creative
process and choices. Mathenjwa believes
the old adage the “art is a reflection of
society”. Through the Scribblebytes
Universe, Mathenjwa seeks to both reflect
the social conditions of his generation and
time, and to transform them.
Image 1: Newspaper article covering PN Mathenjwa’s Charlie
Deconstructed Art Presentation.
3
An e-mail to an intern, from xxxxxxxxx, submitted as evidence in the CCMA case against xxxxxxxxxxxx reads:
“…we have no record of the below mentioned entity”.
4
Creative Solution, article (page 16) available: https://northglennews-epaper.products.caxton.co.za/wp-
content/ftp/epaper_uploads/31/Northglen_News_3_March_2017/Northglen_News_3_March_2017.pdf
3
The Scribblebytes Universe
In the alternate reality presented as the Scribblebytes Universe, the resolution of the thematic
conflict between Innocence and Corruption is explored through Mathenjwa’s staging of a
media corporation called Scribblebytes. Mathenjwa was inspired by a legal concept, which
states that a corporation is a “person”, separate from its shareholders:
“In accordance with our common law, in Dadoo Ltd and other v Krugersdorp
Municipal Council it was held that: ‘This conception of the existence of a company as
a separate entity distinct from its shareholders is no merely artificial and technical
thing. It is a matter of substance…”5
— VDMA Attorneys
The implication that the people who run a corporation, could detach themselves from the
consequences of their actions, reminded Mathenjwa of the Milgram Shock Experiment 6:
“Stanley Milgram reached the conclusion that people would obey instructions from
those who they saw as legitimate authority figures, even if the instructions they
received were to do something to harm another person. From this, Milgram
concluded that people were socialized to follow immoral or unlawful orders”7.
— eNotes
Mathenjwa wondered who would take responsibility for the actions of a corporation, should a
corporation harm another person. If corporations are lifeless, soulless entities with the rights
of persons, could they be metaphorically equated to demons? After all, demons have been
shown in literature and popular culture to crave human souls through trickery. Mathenjwa
considered how the interns at xxxxxxxxxxxxx had been seemingly tricked into suspending
over a year of their lives into the doomed programme. Who was responsible? Were the
superiors at xxxxxxxxxxxxxxxxxx merely victims of the “demonic” corporation too; or were
they the demons, hiding behind legalese? These were the questions and metaphors, which led
Mathenjwa to the realisation that — in order for him to find the answer — he would have to
experience what a corporation with a soul and conscience might look like.
5
Piercing the Corporate Veil and You Remedies: https://www.golegal.co.za/shareholders-directors-liability/
6
“One of the most famous studies of obedience in psychology was carried out by Stanley Milgram, a
psychologist at Yale University. He conducted an experiment focusing on the conflict between obedience to
authority and personal conscience”. Available here: https://www.simplypsychology.org/milgram.html
7
What conclusion did Stanley Milgram reach on his obedience study that he conducted? Available:
https://www.enotes.com/homework-help/what-conclusion-did-stanley-milgram-reach-on-his-248628
4
Metanarrative: The Soul & Conscience of the Scribblebytes Universe
The metanarrative through which events in the Scribblebytes Universe unfold, is the
philosophical concept of Free Will:
“Free will, in humans, is the power or capacity to choose among alternatives or to act
in certain situations independently of natural, social, or divine restraints”8.
— Britannica
The artist has simply summarised this concept as: Choices Create Reality. This statement is
not to deny the socio-economic, political and geographic factors that influence the direction
and outcome of one’s choices. Instead, it’s a statement that seeks to look beyond binary
choices, and embrace the self-empowerment of being free make choices as well as the
transformation that the unpredictable outcome of those choices present. Mathenjwa as an
artist could relate to the concept of Free Will, but after his immersion into “civilian” life
during his study, he realised that Free Will was a controversial concept to The Establishment:
“Literally, heresy means ‘choice’ — that is, a choice to deviate from traditional
teachings in favor of one's own insights”9.
— Know the Heretics
If the Scribblebytes Universe was about “choice” or “heresy”, it occurred to Mathenjwa that
the soul and conscience of Scribblebytes was rooted in rebellion. If The Corporation saw
itself as the protagonist of its own story, then according to its own narrative, it should be able
to do whatever it wants without consequence. Through the Scribblebytes transmedia
performance piece, Mathenjwa seeks to take control of that narrative. By removing the
expectation that corporations are beyond reproach, the characters in the Scribblebytes
Universe are open to choices. Without the predictable outcomes of going against The
Corporation in the “real world” (i.e. being extorted, threatened or sued into oblivion),
Scribblebytes characters are free to discover who they truly are. When Mathenjwa began to
draw parallels between this line of thinking and the events that happened at xxxxxxxxxxxxx,
he began to understand why that company seemingly “got away with it”. It was because
xxxxxxxxxxxxx was the hero of their story. In the Scribblebytes Universe, the “heretics” are
the heroes.
8
Free Will (philosophy): https://britannica.com/topic/free-will
9
Justin S. Holcomb
5
The Audience: Netizens
Scribblebytes exists in an alternate universe, inspired by “real life” online video and music-
streaming services in the Entertainment & Media (EM) Industry. The organogram on page 60
shows the fictional structure of the Scribblebytes EM machine. Vertically integrated
corporations that control the research, development, production and distribution of their
content, present a fascinating study on the effects of underlying corporate agendas on
audiences. Public statements by corporations often suggest that there are no underlying
agendas and that they are merely “giving the market what it wants”. Even if that’s true, their
capability to influence the thoughts and attitudes of “the market” is too great to ignore. These
companies offer escapism to their audience, but they also control cultural narratives 10. The
choice to model Scribblebytes as one of these unilaterally organized entertainment
conglomerates was taken in order to create a platform on which to examine how corporate
agendas might be crafted and targeted toward an audience. For the purposes of this
examination, the target audience in the Scribblebytes Universe have been given the name:
Netizens (Michael F. Hauben).
Since the Scribblebytes Universe exists wholly online, the “heretic” audience is comprised of
Internet Citizens. To understand his fictional audience, Mathenjwa looked to the “real world”
and the ways people in his generation (so called “Millennials”) were rebelling against social
norms and traditions. One of these was a lack of company-loyalty. A 2018 Deloitte study
showed that Millennials were disappointed in big business:
“The most current survey results indicate a dramatic reversal, with each key indicator
at its lowest level in four years […] Three-quarters see businesses around the world
focusing on their own agendas rather than considering the wider society […] A
majority of Millennials in every market agrees with the statement that businesses
‘have no ambition beyond wanting to make money’. Across mature economies as a
whole, the figure is 67 percent”.11
— 2018 Deloitte Millennial Survey (pg. 5, 2018)
10
“Cultural narrative is the kind of story a people—a nation, an ethnic or minority group within that nation, a
band of pilgrims—tell about their past, present, and future”. Available:
http://coursesite.uhcl.edu/HSH/Whitec/terms/C/cultnarr.htm
11
2018 Deloitte Millennial Survey Millennials disappointed in business, unprepared for Industry 4.0, available
here: https://www2.deloitte.com/content/dam/Deloitte/global/Documents/About-Deloitte/gx-2018-
millennial-survey-report.pdf
6
In an article for Business Insider, entrepreneur Kate Taylor confirms that Millennials are
distrustful of corporations, and she offers some insight as to the reasons behind their distrust:
“Gen Y is apparently suspicious of tradition: according to a new report,

Millennials are over conventional advertising, home ownership and the
promise of social security…‘They're used to not trusting CEOs and politicians
and just corporations in general’ […] Why are Millennials trashing tradition?
[...] Most of the individuals surveyed in the study have come of age in a rough
economic climate, [...] Around three-quarters of Millennials surveyed believe
that the economy has negatively impacted their ability to save and spend
money [...] Millennials aren't expecting things to get better either, with 62
percent saying that they don't believe they will receive social security at age
66”12.
— Why Millennials Don't Trust Anything
If an unstable economy is a key reason for Millennials losing trust in social systems, it could
be argued that the dangerous social instability that comes from the youth population is also
the result of economic factors. Therefore, if the real problem is an unstable economy, who are
the bad actors making it so? Looking at South Africa specifically, the nation’s credit rating
has been downgraded to “junk status” (according to Moody’s credit rating agency) 13. The
rating puts South Africa on par with nations like Paraguay and Morocco14, showing negative
investor confidence in the country’s economic prospects. This is expected to have an adverse
effect on the workforce. With the country’s youth unemployment rate at 58,1%15 and well-
publicised cases of corporate corruption, Mathenjwa began to understand the root of the
youth’s anger and frustration at The Establishment. The findings of the African Youth Survey
2020 confirmed Mathenjwa’s observations, as seen in the following Fin24 article16:
12
Article by Kate Taylor, available here: https://www.businessinsider.com/why-millennials-dont-trust-
anything-2015-1?IR=T
13
“Rating agency Moody's has cut South Africa's sovereign credit rating to subinvestment grade, meaning the
country now has a junk rating from all three major international rating agencies”. Article by Jan Cronje,
available: https://www.news24.com/fin24/economy/just-in-moodys-cuts-south-africas-credit-rating-to-junk-
20200327
14
Credit Rating – Countries: https://tradingeconomics.com/country-list/rating
15
Trading Economics: https://tradingeconomics.com/south-africa/youth-unemployment-rate
16
Africa's youth were asked what concerned them most - here's what SA said, available:
https://www.news24.com/fin24/economy/africas-youth-were-asked-what-concerned-them-most-heres-what-
sa-said-20200616-2
7
“South African youth are most concerned about unemployment and corruption, and
less optimistic than their peers on the rest of the continent about their future
prospects, a recent survey has found. The survey, conducted among 4 200 young
African men and women aged 18-24 in 14 African nations, found that 50% of SA
respondents to a recent survey felt negative about the future of the country.
Meanwhile, unemployment was considered the top issue facing the nation (23% of
respondents) followed by corruption (14%). However, despite concerns about job
creation, SA was the least entrepreneurial among the countries surveyed, with less
than half (47%) of young people in the country intending to start a business in the
next five years”.
— Marelise van der Merwe, Fin24
The Scribblebytes fictional Netizen target audience mirrors the “real life” economic
challenges faced by the youth. To be clear, this audience group isn’t specific to a certain
country, language or cultural group. It’s specific to a certain mindset that lives on the
Internet. A mindset brought on by the Loss of Innocence, shared by an entire generation, who
would likely never experience the economic stability of their parents’ generation. Countries
like Italy, Mexico, Hungary, Portugal, India and Romania (to name a few) face similar
economic struggles as South Africa. Each of these countries has a low credit rating, systemic
corruption and disgruntled, unemployed youth. A report by the European Green Party found
that Italy was the most corrupt country in Europe:
"Corruption is more costly to Italy than any other European country, leaving it lagging
behind other western European nations. The Italian economy loses 236 billion euros
a year to corruption, which is about 13 percent of gross domestic product, or equal to
3,903 euros per inhabitant [...] 89 percent of Italians think that corruption is 'extremely
widespread' in their country, with 84 percent convinced that it is 'part of the business
culture' of Italy"17.
— The Local (News Agency)
Hungary — another country within the European Union — also follows the same pattern of
high corruption/perceptions thereof, low investor confidence and agitated youth. A January
17
Italy has the highest levels of corruption in Europe, study shows, available:
https://www.thelocal.it/20181207/italy-has-the-highest-levels-of-corruption-in-europe-study-shows
8
2020 article in the Budapest Business Journal revealed Hungary to be the 2nd most corrupt
country in the European Union18:
"Hungary fell six places in Transparency Internationalʼs (TI) Corruption Perceptions

Index compared to the last edition of the report, putting the country in joint-70th place
alongside Romania and South Africa. '...long-term prospects are gloomy and
competitiveness remains among the lowest in the region,' József Péter Martin,
executive director of TI Hungary argues".
— Bence Gaál
Romania shares the same troubles as South Africa, and the other countries discussed thus far.
In 2019, the country’s Prime Minister was found guilty of corruption charges 19:
“The head of Romania's ruling Social Democratic Party (PSD), Liviu Dragnea, has
been jailed for corruption”.
— BBC News
The Minister was found guilty of procuring fake jobs for two women who were already
working for his political party. The women earned two salaries. All of this, while the young
people of his country remained without any prospects, as this article by Sorin Melenciuc20
explains:
"The unemployment rate among the young people in Romania aged 15-24 years
maintains at a high level despite widespread workforce crisis suggesting difficulties in
the transition from the education system to the labour market [...] The situation is
even worse considering the young people in Romania aged between 20 and 34
years".
— Business Review
18
Hungary 2nd most corrupt in EU, TI says, available: https://bbj.hu/politics/hungary-2nd-most-corrupt-in-eu-
ti-says_177178
19
Romania corruption: PSD chief Liviu Dragnea jailed, available: https://www.bbc.com/news/world-europe-
48421430
20
No job no stress? 1 in 6 young people in Romania is unemployed, available:
https://business-review.eu/business/no-job-no-stress-1-in-6-young-people-in-romania-is-unemployed-199812
9
Italy, 2020:
Image 2: A member of The Front of the Communist Youth protests for students’ economic consideration during
COVID-19 crisis. [Peoples Dispatch]
Hungary, 2018:
Image 3: Hungarian youth protest against academic freedom and workers right after university is forced out of country
and new labour law dubbed “slavery law” is introduced. [Al Jazeera]
10
Romania, 2018:
Image 4: A youth in Bucharest protests against corruption after Romanian government adopted a law
which weakened anti-corruption measures [JamesMayBloke]
South Africa, 2015:
Image 5: South African youth protest outside parliament during the initial Fees Must Fall movement
[Ashraf Hendricks]
11
These are the would-be “faces” of Scribblebytes’ Netizens. As an audience group, they value
equality and integrity. Once Mathenjwa identified the type of audience that would exist
within the Scribblebytes Universe, he went on to create characters and narratives that this
audience would find aspirational. To create his characters, Mathenjwa decided to look for
inspiration in his own life. Being a member of the Millennial demographic himself, it wasn’t
difficult for him to find a personal situation from which to draw inspiration.
Case Study: Effects of Alleged Corruption on Millennials at xxxxxxxxxxxxxxxxx
Like the Millennials from all over the globe (discussed in the previous sections) — whose
futures have been derailed by corruption — the interns at xxxxxxxxxxxxxxxxx suffered the
same fate. Without actionable recourse or closure, some were left to wander down an aimless
dark path. According to field interviews filmed by Mathenjwa, some interns expressed that
they felt used and abused by the corporation. A number of them even admitted to considering
participating in crime, just to survive. On watching tertiary graduates confessing to
considering a life of crime (on camera), Mathenjwa understood the hopelessness mirrored by
the African Youth Survey 2020 (quoted in the previous section). Through this research,
Mathenjwa realised that (in the general sense) nobody grows up wanting to be a criminal, but
is forced into a life of crime as a last resort. The idea that people are “forced” into crime may
sound controversial at first, but when corporations like xxxxxxxxxxxxx operate in the same
way as The Milgram Experiment, it’s easy to understand. Others that Mathenjwa interviewed
who hadn’t considered crime to survive, felt too weak and helpless to change their situation
on their own. They presented a disconnected affect, between themselves and their
environment. A smaller group of interns that Mathenjwa observed seemed to strategize
around the crumbling programme. Mathenjwa observed many different reactions. He did
note, however, that most of the interns’ coping strategies were either reactive (aggressive) or
reactionary (conservative). Scribblebytes depicts an alternate universe where its characters
don’t have to play a “rigged game”. In the Scribblebytes Universe, characters use their
circumstances as fuel for self-empowerment. Scribblebytes characters shift their own
narratives from supplication21 to sublimation22.
21
“supplication n. …depicting oneself as weak, needy, or dependent so as to motivate others to provide
assistance…” (APA Dictionary of Psychology)
22
“sublimation. n. ... unacceptable sexual or aggressive drives are unconsciously channeled into socially
acceptable modes of expression and redirected into new, learned behaviors, which indirectly provide some
satisfaction for the original drives”. (APA Dictionary of Psychology)
12
Interns as Easy Targets for Corruption
Mathenjwa placed a strong research focus on students and graduates because he believed that
they were easy targets for corporate exploitation. Before joining xxxxxxxxxxxxx, Mathenjwa
spent two months at a call centre for an Australian media company. The individuals he
encountered there were transient. Most of them didn’t have student loan debt hanging over
their heads. When Mathenjwa started at xxxxxxxxxxxxx, he noticed a marked change in his
new environment. Since having a tertiary qualification was a pre-requisite for interning at
xxxxxxxxx, there was a lot more at stake for the people who worked there. He noticed that
there was less transience and more of a clear, dedicated focus on career growth and equity.
The burden of student loans was also a factor that contributed to interns staying at xxxxxxxx
even after things fell apart. While all the interns already had their tertiary qualifications,
others continued to work on their post-graduate qualifications while working. An article titled
Are South African Interns Being Taken Advantage Of?23 confirms that graduate interns are
easy targets:
“We’ve seen job specs for year-long internships that involve a huge amount of
responsibility, with virtually zero supervision and full accountability. A lot of them
would be a handful for a junior, let alone an intern, but instead of a junior’s salary,
they pay anything from R2k to R5k a month. That’s so far from fair compensation that
it would laughable if it wasn’t so shocking […] An often used excuse for low wages is
that recent graduates don’t contribute meaningfully to the workforce straight out of
college. That might be a valid argument if we were talking about an internship where
the graduate is doing odd-jobs and absorbing the agency experience for a couple of
months, but that’s not what’s actually happening in the majority of cases. These
supposed interns are being tossed straight into the deep end, are expected to
produce professional-quality, income-generating work, and are then paid less than
R100 a day for the privilege.”
— Business Tech, 2019
Mathenjwa believes that the company mistook the interns’ initial compliance with their
questionable practices, as agreement. The interns signed a contract to gain management
mentorship, those opportunities never materialised. Instead of xxxxxxxxxxx quitting while
they were ahead, they doubled-down with their disregard for their interns. Work that was
beyond the scope of the xxxxxxxxxxx contract was foisted on the interns, including selling
insurance to British people over the phone. Eventually, some of the interns decided to seek
23
Article available here: https://businesstech.co.za/news/business/301968/are-south-african-interns-being-
taken-advantage-of/
13
administrative and punitive damages from the xxxxxxxxx and business practice regulation
authorities.
Things at xxxxxxxxxx completely fell apart by November 2018, but by the time Mathenjwa
joined the team (February 2018), there were already signs of the colossal failures to come.
Unbeknownst to Mathenjwa, some of the interns had already quietly sought government
intervention more than a month before his internship began. In an e-mail provided by a
source; and that was sent to the Office of the CEO of xxxxxxxxxxx on January 11th 2018, one
of the interns writes:
“I was awarded with an internship that was funded by xxxxx at xxxxxxxxxxxxxxx.

After receiving this internship were told that we would teach English to Chinese
students online. The agreement was that we would have two lessons a day of
teaching, and during the morning, we would have a course that we would do that is
funded by xxxx. I agreed to all those terms […] A few weeks later we were given our
contracts. Our contracts had several blank spaces and we were told that they would
be filled in by the Administration. These blank spaces had crucial information such as
payments, working hours, job descriptions [..] I requested to take my contract home
and get a second opinion and it was declined. The entire group was forced into
signing contracts that we did not understand due to the fact that we were afraid of
being fired. We also signed a document that stated that should we leave the
internship for any reason we would have to pay xxxxx R27 000 for the internship […]
Another issue is that we are now working as outbound call centre agents for a
campaign that has been sponsored or paid for by xxxxx. We were informed that […]
teaching is not enough and that we need to make the business a profit. We queried if
we would receive any remuneration…as well as a certificate for the call centre work.
Sadly, we were told that: as interns we have no job description and any job that is
required of us should be done…I would like to remain anonymous as I fear losing this
internship…I feel that I need to speak out because I need this experience to better
myself and hopefully open more doors for me” [edited for clarity].
— E-mail Forwarded to xxxxx (for the unedited copy, see pg 53)
In another e-mail sent March 6 2018 to a Mr M. of xxxxxx, an intern states:
“You came to xxxxxxxxxxxx a couple of weeks ago to give us a presentation on

xxxxx. There are things that are happening at work that I feel are against the law.
We were pressured to sign contracts without reading them, and if you did not want to
14
sign, you were told to leave […] We are not even trained on the things which we
studied…May I please remain anonymous? Also, please remove me from this
company and put me in a company were I can receive an internship based on what I
studied. It is urgent. People are demotivated and someone was even saying that she
felt trapped and that she was dropping into depression. We are treated like slaves,
doing 2 jobs: being an English teacher and working in a Call Centre.” [edited for
clarity]
— E-mail sent to xxxxx (for the unedited copy, see pg 46/56)
Through these e-mails, Mathenjwa was able to gain some insight into the possible state-of-
mind these interns may have been in at the time. The tone of the e-mails is in stark contrast to
the smiles and jovial demeanour that greeted Mathenjwa when he arrived at xxxxxxxxx
xxxxxxx. In retrospect, while they all seemed happy in the beginning, there was something
that felt off. Mathenjwa wouldn’t know the full extent until months later. The e-mails point to
a quiet desperation. Identifying a common psychological characteristic between the interns
would serve as crucial creative material for designing characters to populate the Scribblebytes
Universe.
15
Existential Anxiety: Creating the Scribblebytes Character in Their Image
As Mathenjwa observed his colleagues, he discovered that while they each reacted differently
to the circumstances around them, there was an underlying connection between all of them.
In order to create dynamic characters to inhabit the Scribblebytes Universe, Mathenjwa
looked to the work of philosopher and theologian Paul Tillich, for a conceptual framework
with which to translate his field data. In this way, the fictional characters performed in
Scribblebytes, would be created in the image of the interns Mathenjwa studied. With this in
mind, Mathenjwa noted that the struggle the interns faced was an Existential one. The e-mails
presented in the previous pages show the interns’ inner-battle between being and non-being.
In The Courage to Be, Tillich writes that fear can be overcome with courage, if that fear has
an external object; while anxiety is fear without an object (Tillich, 1952). The fear of failure
can be overcome if there is something to fail at, e.g. a Generic Management Certificate (see
pg 44). By removing the object (in this case, the certificate) the fear becomes directed toward
the non-being of the unknown, which results in Existential Anxiety. Tillich writes24:
"Helplessness in the state of anxiety can be observed in animals and humans alike. It
expresses itself in loss of direction, inadequate reactions, lack of ‘intentionality’ (the
being related to meaningful contents of knowledge or will). The reason for this
sometimes striking behaviour is the lack of an object on which the subject (in the
state of anxiety) can concentrate. The only object is the threat itself, but not the
source of the threat, because the source of the threat is 'nothingness'"
— The Courage to Be
These graduates entered the workforce on the promise/contract that they would leave with a
qualification valued at R18000-R27000 (according to varying accounts). They were given an
external metric with which to measure their success. When xxxxxxxxxx went back on that
promise, they were essentially threatening the very being of the interns. They took away what
Tillich calls “the object”, and so when confronted with the reality of their nonbeing-ness, the
interns began to doubt themselves — and to a greater extent — their value in society.
Mathenjwa used Tillich’s framework to identify the unifying characteristic to use for his
characters: Existential Anxiety. Though his characters would share this anxiety, they would
still be unique. The choices the characters made could be wildly extreme, without losing a
sense of authenticity (because they’re rooted in the same principle).
24
Tillich, P., 1952. The Courage To Be. New Haven: Yale University Press, pp.36, 37.
16
Archetypes: MAVERICK, INNOCENT, MAGICIAN
archetype DEFINITION:
PSYCHOANALYSIS
(in Jungian theory) a primitive mental image inherited from the earliest human ancestors, and supposed
to be present in the collective unconscious.
While Mathenjwa identified Existential Anxiety (EA) as being the primary dominant anxiety
his characters shared, there was still the question of constructing Fictional Egos 25 (Fego) for
these characters, through which they could exercise their Free Will. In the “real world”, the
human persona is a projection of Neurotic, Social and Existential Anxiety combined. Keeping
the focus on EA for the purpose of this paper, Tillich’s writing identifies three types of
Existential Anxiety: “that of fate and death (briefly, the anxiety of death), that of emptiness
and loss of meaning (briefly, the anxiety of meaninglessness), that of guilt and condemnation
(briefly, the anxiety of condemnation) 26” (Tillich, 1952). All three are connected, and
expressed by individuals, in a way that reveals a dominant type. Out of these three,
Mathenjwa chose the Loss of Meaning (Emptiness/Meaninglessness) as the dominant
“colour” for his Scribblebytes characters’ EA. This reflected the state-of-being Mathenjwa
saw in his colleagues, which could be summed up in this quote from Tillich: "If the
awareness of not having has swallowed the awareness of having, doubt has become
existential despair".
To draw vessels for this anxiety, Mathenjwa turned to Narrative Theory and its examination
of archetypal myth for inspiration — particularly, the idea of The Monomyth proposed by
Joseph Campbell27. By comparing interns who stood out, with Jung’s 12 archetypes,
Mathenjwa was able to identify three personality archetypes at xxxxxxxxxxxxxxxxx. He then
decided to use the same archetypes to populate his Scribblebytes Universe, namely:
MAVERICKS, INNOCENTS and MAGICIANS. In figure 1 and Table 1, a more specific personality
type became evident. A well-defined (F)ego DNA Schema was still necessary however, in
order to motivate each character’s choices in a way that would be logical to each of their
narratives.
25
(F)ego DNA Schemas: The Projection of Schematic Constructed Non-Fictional Anxiety within the Styling
Design of Fictional Character Dress, available:
26
Tillich, P., 1952. The Courage To Be. New Haven: Yale University Press, pp.41,44
27
“Joseph Campbell's Monomyth, developed in Hero With A Thousand Faces, describes the common heroic
narrative in which a heroic protagonist sets out, has transformative adventures, and returns home”. Available
here: https://orias.berkeley.edu/resources-teachers/monomyth-heros-journey-project
17
Fig. 1 and Table 128
Archetype Core Desire Greatest Fear Weakness

to be powerlessness or crossing over to the
MAVERICK/OUTLAW revenge or revolution
ineffectual dark side, crime
to get to paradise to be punished for doing boring for all their naïve
INNOCENT
something bad or wrong innocence
understanding the
unintended negative
MAGICIAN fundamental laws of becoming manipulative
consequences
the universe
28
Understanding Personality: The 12 Jungian Archetypes, available:
https://conorneill.com/2018/04/21/understanding-personality-the-12-jungian-archetypes/
18
Fictional Ego: Identifying Character Demands, Needs and Aspirations (DNA)
The programming content within the Scribblebytes Universe is intended to empower its
audience of Netizens. To create characters that would appeal to this audience, Mathenjwa
utilized Michael Ivy’s (F)ego DNA Schemas. The theory behind DNA Schemas is related to
cognitive-socio psychology, impression management, fashion theory and semiotics. The
“Schemas” themselves are identified as the synthetic point of overlap between the needs of
the scripted id, (F)ego and scripted superego (and their anxieties). It is The Persona. This
process is intended for use in constructing fictional film characters, so Mathenjwa has taken
some liberties with its application to his performance art piece. In particular, Mathenjwa has
placed significance on Existential Anxiety, while minimizing the effects of Neurotic and
Social Anxiety in the performance of his characters. The personas of his characters in his
Scribblebytes Universe are more exaggerated. Each performance is a conceptual exploration
of thematic ideas rather than complex character development. Regardless, the core principles
of the methodology have greatly influenced the character persona design of the piece. Ivy
states:
"Through the Fego DNA Schemas, projected audience anxiety is encoded within the
protagonist, ensuring that the narrative becomes the audiences own personal
narrative...Fego DNA Schemas assist designers in the effective fashioning of
affective dress through the exploration of specific audience relevant socio-
psychological issues. Watching the screen-encoded characters becomes a process
of healing, as they effectively guide audiences in reframing their (audience’s) life
events, behaviours and emotions to a more insightful and healthier consonant
affected psychological state29".
— Fego DNA Schema
In the following section, the first three characters within the Scribblebytes Universe are
fleshed-out using the principles set forth here. Their Demands, Needs and Aspirations are
constructed, and their aesthetics established. Links to various digital properties have been
provided for each character design. The links lead to Mathenjwa’s transmedia performance
art, as he embodies each character within a specific narrative setting.
29
See footnote (25).
19
Maverick DNA
Demand: Change
At xxxxxxxxxx the MAVERICKS Mathenjwa observed were all black women in their twenties.
The gender and race bias is negligible since the ratio of women to men was about 15:1. In
addition, out of over 100 interns, less than 10 were white. For the purposes of this research,
Mathenjwa focused on the 21 women who filed a joint complaint with the CCMA
(Commission for Conciliation, Mediation and Arbitration) against xxxxxxxxxxxxxxxxx.
Some of the common degree qualifications in this group included Psychology and Human
Resources. This group are the DNA from which the Scribblebytes character Rebble Pebble
stems from. These MAVERICKS demanded change and they took the necessary steps toward
that desire. This classic case of a David and Goliath-esque battle is a testament to the
MAVERICK archetype. Their demand for things to change, mirrors movements like Occupy
Wall Street or Fees Must Fall. Rather than drift away into a sea of meaninglessness, the
women decided to return meaning to their lives by creating a goal to focus on. If xxxxxxxxxx
wasn’t going to give them what they needed, they were going to do-it-themselves. The
Internet facilitated their organizational abilities to a great extent (see Addendum). As
Netizens, they showed the more “disruptive” uses of the Internet. They showed true courage,
in Tillich’s definition of the word. That is why they believed it was acceptable and even just,
to risk their jobs by reaching out to the CCMA. The documents on page 57 and page 58
provide a glimpse into one case, of how xxxxxxxxxx allegedly retaliated against the women
who filed papers against them, by over-working the “rebels”. Unfortunately, for the
MAVERICKS, since this event happened in the “real world”, the narrative was in favour of The
Corporation and the women failed to meet their demand. The outcome of the entire case
seemed to evaporate into thin air and there was no “real-world” resolution for them. In the
Scribblebytes Universe, Rebble Pebble provides resolution through his narrative as a
Freedom Fighter, keeping “the movement” alive. He shows that demanding change is never a
futile exercise, because it’s not about changing the entire environment; it’s about changing
oneself within the environment. Rebble Pebble demonstrates that brand, of self-
empowerment to his audience.
20
Need: Direction
MAVERICKS need direction. In the xxxxxxxxxx case study, it’s evident that the MAVERICKS
were ignited into action when they lost a sense of direction. One of the most out-spoken of
the 21 MAVERICKS — stated on numerous occasions — that she had been “strung along” by
management with promises of real work experience in the Human Resources Department.
She was frustrated because she had dutifully “played the game” for months and her internship
was almost over without any progress. This was made worse by the fact that others, with no
qualifications in Human Resources were favoured for the positions. Her turn as a MAVERICK
came as a shock to management, because she was so dedicated to the company and “played
the game” for so long. For MAVERICKS, threatening their goals and direction in life is
tantamount to social terrorism. Doing so is an attack on their ability to become productive
members of society. It’s an attack on their future. Mathenjwa observed that MAVERICK
personalities needed direction in their lives. The way in which they organized themselves on
their own demonstrates this. They diligently gathered evidence against the company, created
a petition with other interns and they approached the CCMA as a unit. In the Scribblebytes
Universe, Rebble Pebble offers a sense of direction to his fictional audience. He outlines
socio-economic issues and provides solutions to shift his audiences’ perspectives on those
issues. He provides fulfilment, because his narratives end with a win!
Aspiration: Control
MAVERICKS aspire to have control over their environment. One intern stated that she wanted
the company to close down. She said that the company needed to learn a lesson. The
aspiration to control their environment is a reflection of the fear that they don’t matter. The
interns felt disposable, and by controlling their environment, they could address their shared
cognitive dissonance. Mathenjwa recognized that under all the anger and frustration, was
deep-seated pain. From a South African context, the element of racism has to be examined in
relation to this aspiration. The MAVERICKS Mathenjwa studied, were raised in families where
the parents experienced Apartheid first-hand. These families never received psychological
resolution for the injustices of the past. Mathenjwa believes that unresolved trauma can be
passed down from generation to generation. He believes this was a major factor in what
happened with MAVERICKS at xxxxxxxxxxxxxxxxxxx. There is evidence to support his beliefs.
21
A study on Family Pathology30 shows evidence of the generational manifestations of

maladjustment in families:
“…manifestations of family pathology — inter-member conflict, low solidarity, and

member dissatisfaction — […] Three aspects of individual pathology — neurotic
symptoms, low self-esteem, and dissatisfaction with life circumstances — were also
found to co-vary over individuals in each of the three samples. Members of the same
family tended to display similar levels of individual pathology. By means of a split-
sample analysis, used to avoid confounding of independent and dependent variables,
it was found that the mean level of individual pathology among family members was
correlated with the level of interpersonal pathology displayed by their family”.
— Scott, W.A., Scott, R. (Individual Pathology and Family Pathology 1987, 2007)
Copies of certified Police Affidavits citing racial tensions at xxxxxxxxxxx (see pgs 50-52)
support the argument of race as an issue in this matter. In another Police Affidavit, a female
intern swears under oath that:
“…I am employed at xxxxxxxxxxxx as an intern. I am unhappy with a lot of things.

Firstly: the fact that we are not protected from racist attacks…I have informed the
company about these grievances but nothing has been done about this. Clients treat
us as they please and we are not protected”. (edited for clarity)
— SAPS Affidavit copy (certified 2018-09-03, unedited version, see pg 49)
Rebbel Pebble speaks to the aspirations of his audience through the exaggerated sense of
control he demonstrates through his persona and over his environment. From his aesthetic to
his cadence when he speaks, the ideas he shares are delivered with certitude. He confirms
what his audience is already thinking, and he gives them permission to act on those thoughts.
His D-I-Y approach is accessible and shows that “anybody can do it”; they just have to make
the choice.
30
Abstract available here: https://www.tandfonline.com/doi/abs/10.1080/00049538708259047
22
Rebble Pebble in Generic Millennial Programming:
In the Scribblebytes Universe, Rebble Pebble is able to achieve an emotional connection with
his Netizen audience, using the characterization methods discussed thus far. As a
performance art piece existing in the “real world”, the Rebble Pebble character seems to
achieve its alternate reality objectives in mirroring its audience. A comment posted by a
YouTube viewer under the episode titled “Can You Buy You Way Out of the Matrix?” reads:
Fun Fact: As Rebble Pebble, Mathenjwa intentionally places focus on his natural
African hair (through the rim-lighting) which has been combed out to appear larger.
During his internship at xxxxxxxxxx, Mathenjwa was asked to shave his hair or alter its
volume on numerous occasions because “the client preferred flat Eurocentric hair”.
Instead of shave his head, he minimized the appearance of his hair by blowing it out
and straitening it on occasion. The rest of the time, he wore a head wrap.
Aspect Ratio: 2.39:1 (Scope)
23
During his time at film school,

Mathenjwa was introduced to
Cubism (Art Movement). While
he had seen paintings in this
style before, the images never
connected with him. It wasn’t
until he learned of Cubism’s
relationship to film, that he
started to understand
paintings like this one, Portrait
of Pablo Picasso by Juan Gris
(1912). While it has never
been confirmed by Picasso or
Georges Braque, the fractured
perspectives in their work
shows a heavy cinematic
influence. Their paintings look
like a 2 Dimensional
representation of a camera
moving through a scene. The
feeling of movement in works
from this period inspired the
emotive concept of Generic
Millennial Programming.
45 episodes have been recorded for Season 1 of Generic Millennial Programming. Each
episode features the character Rebble Pebble speaking emphatically into the camera. The
purpose of the performances is to set the tone for the fictional series. The script is written for
tone above everything else. The piece is intended to stir the viewer to an emotionally reactive
state. The red and blue colour palette and the dramatic camera angles — inspired by Cubism
and Constructivist Propaganda Art — influence the tone of the series to a great degree. The
dramatic lines and alternating shades of dark and light hues arranged in geometric shapes,
give Cubist paintings a sense of “movement”. This idea has be recontexualized into the
Glitch Aesthetic (see below) to appeal to a modern “audience” in the Scribblebytes Universe:
“The glitch aesthetic exposes societal paranoia by illustrating dependence on the

digital and fear of system failure31”.
— Rebecca Jackson, 2011
31
The Glitch Aesthetic:
https://scholarworks.gsu.edu/cgi/viewcontent.cgi?article=1081&context=communication_theses
24
For Mathenjwa, finding appreciation for Cubist works only came after understanding the
language of the artists. The same can be said about understanding socio-economic issues. Out
of the three personality types Mathenjwa observed, the MAVERICKS received the greatest
amount of backlash. On numerous occasions, individuals in management blamed MAVERICKS
for the restrictions placed on the internship programme. Imparting a sense of understanding
for the reasons why MAVERICKS speak-out is the purpose of this series.
Generic Millennial
Programming incorporates
strong visual references to
Constructivist Russian
Propaganda posters and art
from the early 20th Century.
The thick red top worn by
Rebble Pebble is a facsimile
of the one Mathenjwa and the
interns wore at xxxxxxxxxxx
as part of their uniform. The
low angle of the subject, in this
Gustav Klutsis poster, shows
the importance placed on the
working class. In GMP
Mathenjwa used low angles
throughout the series, to echo
similar sentiments. While
Constructivism (founded by
Rodchenko) is related to
Cubism, the focus of
Constructivist design is based
on socialist philosophy. An
emphasis is placed on society
working together to construct
a better future for all.
25
Generic Millennial Programming asks: “Is our society a pyramid scheme?” If it is, why is it
wrong to participate in actual pyramid schemes? Why is any income generating criminal
activity wrong? As long as the rights of others aren’t being violated, why can’t people have
autonomy over how they use their own body? If corporate shareholders are getting away with
corruption, why can’t the stakeholders do the same? Isn’t that equality? These questions are
intentionally exaggerated, to highlight a deeper sense of inequality that audiences in the
Scribblebytes Universe seek evolution from. Ideas inspired by American economist Professor
Richard D. Wolff32 have also been incorporated into the series. Real life experience and
practical solutions are blended together in GMP to provide a balanced voice to the “target
demographic”. Go to https://www.okboomer.video.blog to watch the performance develop.
Image 6: PN Mathenjwa/Charlie Manner in Generic Millennial Programming (recorded June 2019)
32
“Richard David Wolff is an American economist, known for his work on economic methodology and class
analysis”. Available: https://rdwolff.com
26
Innocent DNA:
Demand: Escape
While it has been established that xxxxxxxxxxx had issues that were serious enough to
warrant the involvement of xxxxxxxxxxxx, that doesn’t mean that everyone was on board
with trying to “bring the company to justice”. Mathenjwa also noted and interviewed those
who shied away from all the controversy. Some of them cited fears of retaliation (see page
53) from their seniors as reasons to stay silent. Others felt like getting involved in a “fight”
wouldn’t make a difference. These Netizen personalities were escapists. They would be on
their smartphones most of the time, streaming or downloading series from the free Wi-Fi of
the 4-star hotel out of which xxxxxxxxxxxx operated. All of the INNOCENTS were attached to
their smartphones. Some of them would sit alone in corners, their earphones drowning out the
world around them as they watched series for hours — yes, hours. Others would download
YouTube vlogs to watch later at home; and a portion would be on online-dating sites, looking
for love. INNOCENTS were the most likely to place a strong focus on love and relationships in
the work place. There were whispers of weekend dalliances — and other trysts — during and
after work hours, involving those Mathenjwa identified as INNOCENTS. This fuelled
Mathenjwa’s imagination in creating visuals that this group might respond to. The persona
Mvikeli v3.5.7 offers the escape that INNOCENT audiences in the Scribblebytes Universe
demand. The character is an exploration of digital personas. It’s an AI that exists within a
Sci-Fi inspired narrative. The extremely artificial setting of the character is meant to present a
reality devoid of any organic substance. The irony is that the AI is programmed to achieve
the most organic human experience of all: Emotional Intimacy.
Need: Safety
According to Mathenjwa’s impressions, INNOCENTS had an emotional disconnect between

themselves and their environment. This often led to a blurring of boundaries. It was as if they
dissociated from reality, in order to avoid the meaninglessness they probably felt. They were
very touchy-feely with those they desired, and they were prone to public physical signs of
affection. They had a new crush every week, and most of these work-place relationships
ended in tears. It would seem that that the INNOCENTS’ obsession with romance was an
unhealthy one. One woman Mathenjwa interviewed plainly stated that she engaged in
workplace flirtations because it was “entertaining”. She had a boyfriend outside of work.
Perhaps the safety and protection she felt outside of work, was lacking during working hours.
27
Perhaps that’s where the tendency for INNOCENTS to have “work husbands” and “work wives”
stemmed from. The false validation from a work-place lover, may have acted as a safety
blanket for INNOCENTS. Mvikeli v3.5.7 provides a safe space for intimacy in his Night Game
setting. Audiences in the Scribblebytes Universe are able to use Night Game to escape their
current reality. Instead of escaping to hide however, Mvikeli v3.5.7 offers an escape into
one’s own self. By tapping into vulnerable moments in a safe setting, audiences in the
Scribblebytes Universe are able to develop a sense emotional awareness within their body
and environment.
Aspiration: Emotional Intimacy
Mathenjwa noted how this group was more intimate with their smartphones than they were
with the people they lusted after! INNOCENTS were usually glued to their smartphones during
lunchtime, stand-by times and even when they went to the restroom. Most of the people in
this group also admitted that they went to bed with their phones — texting or watching the
videos they downloaded during the day. Their attachment to technology formed the basis of
the conceptual “content” art Mathenjwa created for this group. Mvikeli v3.5.7. challenges his
“target demo” to appreciate and participate in vulnerable moments. Instead of hiding behind
technology, Night Game encourages the use of technology as a tool for developing Emotional
Intimacy.
Aspect Ratio: 16:9 (Flat)
28
Mvikeli version 3.5.7 in Night Game:
This is the artist’s most important, hyper-stylized and deliberate piece within the
Scribblebytes Universe. Mathenjwa identified deeply with this archetype, as the escapism in
“going native”33 became more and more alluring over the duration of his field research. This
feeling of “escapism” became interesting to Mathenjwa and led to the development of the
conceptual Augmented Reality Game: Night Game. Night Game uses Semiotic,
Psychological and Neuro-Linguistic Programming techniques to give audiences a visceral,
emotional experience. The game is rife with innuendo and suggestive imagery, based on the
romanticization of online-dating and synthetic companionship in the form of Artificial
Intelligence. Night Game is a commentary on the INNOCENT personality’s relationship to
Emotional Intimacy. It proposes that people who are disconnected from their emotions are
“players”34. The game uses ideas inspired by the sub-culture of Pick-Up-Artists35 to explore
the theme of Digital Intimacy, through a Vaporwave36 aesthetic. This is to reflect the naivety
of INNOCENT personalities in their approach to love and relationships.
Vaporwave [A e s t h e t i c]
is synonymous with
Renaissance era art, like
Sandro Boticelli’s The Birth
of Venus. The Night Game
ARG draws on the nostalgia
and innocence, that images
like this inspire in the
INNOCENT observer. The
clamshell, from which Venus
rises, has been re-imagined
as the stylized Wi-Fi symbol
used as the Night Game
logo shown in the image
below.
33
Going Native: In participant observation research, going native" means becoming so involved with and
sympathetic to the group, the researcher loses objectivity. Available: https://www.quora.com/In-sociology-
what-does-the-phrase-going-native-mean
34
"Player" is a term for someone (usually reserved for men) who is unlikely to be faithful, trustworthy, or
respectful in a relationship. Available here: https://www.quora.com/What-does-player-mean-in-terms-of-
relationships
35
Pick-Up-Artists, available here: https://www.bustle.com/p/7-pickup-artist-techniques-to-look-out-for-
15897579
36
Vaporwave, available here: https://neologisms.blogs.wm.edu/2016/03/24/vaporwave/
29
Image 7: Welcome screen/End screen of the Night Game ARG.
The Night Game App UX (User Interface) is a component of the Night Game narrative
related to the use of dating apps by INNOCENT personalities. The UX was inspired by the ideas
of Paul Milgram and Fumio Kishino 37 — the early innovators in the area of Augmented
Reality (or the juxtaposition of real objects with virtual ones). The clamshell from Boticelli’s
The Birth of Venus inspired the stylized Wi-Fi symbol. The colour palette consists of various
tones of purple, which are a direct reference to the Memphis Style, known for its references
to Science Fiction and Tantric Art. According to some Eastern spiritual practices, purple is
the colour of the realm associated with dreams and intuition, called the Crown Chakra38. The
mid-90s design of the game was influenced by Sci-Fi movies like Stargate and Star Trek:
Generations. The mid-90s have been romanticized by INNOCENT personalities since most of
them were still young — and most importantly — still innocent at the time. In the 90s, they
were still free to play in imaginary worlds. Their dreams, and hopes in the future had yet to
be crushed by The Corrupt Corporation.
37
Paul Milgram, Haruo Takemura, Akira Utsumi, and Fumio Kishino "Augmented reality: a class of displays on
the reality-virtuality continuum", Proc. SPIE 2351, Telemanipulator and Telepresence Technologies, (21
December 1995)
38
Crown Chakra: https://www.chakras.info/crown-chakra/
30
Once players have connected through “the app”, they are taken to 1 of 36 Trans•Missions.
The Trans•Missions feature the main performance part of the Night Game narrative. For
maximum effect, players are encouraged to watch Trans•Missons in bed, with their
smartphones turned sideways (horizontally). By players orienting their body to face the
screen, it’s as if Mvikeli v3.5.7 is lying in bed with them: i.e. Digital Intimacy. The
Augmented Reality is formed conceptually, in the players mind.
The effect Drawing on the Greek Mythology of Aphrodite’s birth, the
Image 4: The intended position to play Night Game. [Stock Photo]
31
The lighting design in the Night Game

Trans•Missions videos is inspired by
the photography of George Hurrell, as
seen in this Paramount studios
photograph of Cary Grant. While the
narrative theme of Night Game is
Innocence vs. Corruption, the visual
theme is further defined as Truth vs.
Mystery. The connections between
Truth and Innocence; and Corruption
and Mystery are expressed using
“Shadow Photography”. When asked
about his photographic style George
Hurrell said: “The most essential thing
about my style was working with
shadows to design the face instead of
flooding it with light”. While Hurrell’s
images have soft noise in the darker
areas, the noise in Night Game is
“colder” because of the digital medium.
Carrying through from the Boticelli reference, the bed is a metaphor for the seashore. The
seashore in this case represents the area between the dry land (of consciousness), and the
deep blue sea (of the unconscious mind). While the ocean’s waves tease the shoreline,
delivering messages from the deep, they rarely ever overwhelm the dry land with a tsunami
of mysteries. Mvikeli v3.5.7 almost appears to emerge from the softly ruffled sheets,
reminiscent of the Greek creation myth of Aphrodite: "There Aphrodite rose out of the sea
from the foam (hence her name came from the word “aphros”, which means foam)39"
39
Olympians: The Twelve Gods of Mount Olympus Explained, available here:
https://www.timelessmyths.com/classical/olympians.html
32
Night Game asks: “What if your smartphone had an app that could give you emotional
porn?” If there was such a thing, what would it look like and sound like? Could the act of
talking to a viewer, touch them in a way that’s the emotional equivalent to the stimulation of
actual porn? What would an emotional porn orgasm feel like? Would it be uncomfortable?
These are some of the questions Mathenjwa explores through this narrative. Night Game is
not a statement against communication technology, but a discourse on how INNOCENTS use it
to escape the human experience. Online dating profiles are arranged like fast food restaurant
menus and “ghosting” doesn’t just happen in haunted houses anymore. Night Game is
intended to challenge “players” to shift their focus from gazing and objectifying, to listening
and feeling. Click on the picture below to see what Beta Test Subject #A2303 — from the
Scribblebytes Universe — had to say about his experience with playing Night Game:
To Level-Up and continue the experience see: https://mvikeli3-5-7.webnode.com
33
Magician DNA
Demand: Freedom
Mathenjwa affectionately referred to this Netizen personality type as The Shape-Shifter. They
were self-professed gypsies and lone-wolves. Pragmatic to the core, they would speak-up just
enough to protect their own interests, but they wouldn’t get involved to the point of full
exposure. While they seemed Machiavellian, they actually demonstrated the most consistent
positive moral and ethical character traits. They each ascribed to their own, personally crafted
world-view. It was influenced by an unconditionally all-loving, non-denominational,
Universal Source of Provenance. Self-help practices and keeping a positive mental attitude
through New Thought systems like the Law of Attraction40 made them the most empowered
of the personalities Mathenjwa observed. They demanded the freedom to express their unique
points of view — a freedom supported by their deliberate use of social networking sites to
stand-out. They were predictably unpredictable in their actions, but not their motivations. The
character Charlie Manner, The Actor serves this purpose in the Scribblebytes Universe.
Charlie Manner is Mathenjwa’s long-running performance art character and the access point
he used in interacting with MAGICIANS, MAVERICKS and INNOCENTS at xxxxxxxxxx. His ability
to assimilate into these different groups exemplified Charlie Manner’s abilities as a shape-
shifter/actor. In the Scribblebytes Universe, Charlie Manner is an indie film actor. Whereas
Rebble Pebble and Mvikeli v3.5.7 exist in a “scripted reality” within a fictional universe,
Charlie Manner represents the “non-scripted reality” of that same fictional universe — the
Scribblebytes Universe. The character often breaks the fourth wall and blurs the line between
this universe and the Scribblebytes one. He is a MAGICIAN after all.
Need: Stability
MAGICIANS at xxxxxxxxxx could fit in with both MAVERICKS and INNOCENTS. They were
considered popular by their colleagues despite their outlier status. They were most concerned
with maintaining a sense of integrity throughout the tumultuous events of Mathenjwa’s 13-
month observation. While they were able to maximize their time and experiences at
xxxxxxxxxx, one of the drawbacks of their shape-shifting ability was the tendency to lose
focus from their original goals, or to be seduced by intrigues. MAGICIANS need stability in
40
“The basic idea of the law of attraction is that your thoughts determine your experience. You attract what
you think about, whether or not you want it”. Available here:
https://www.dummies.com/religion/spirituality/the-law-of-attraction/
34
order to focus on one thing long enough to see results. Charlie Manner resolves his
audience’s need for stability through his narrative on The Late Flight Show. The vlog uses the
craft of Acting as a metaphor for “real life”. Charlie Manner suggests that every situation in
life should be seen as an opportunity to apply Method Acting techniques. In that way,
regardless of the chaos in one’s life, it always serves a higher purpose: to make you a better
“actor”.
Aspiration: Talent
Stella Adler once said that “the talent is in the choice”. MAGICIANS aspire to always make the
right choices for themselves in order to maintain their freedom of expression. This means that
they can be extremely hard on themselves — and others — for “making the wrong choices”.
At xxxxxxxxxx, MAGICIANS were often considered insensitive or inaccessible at times,
because of the high-value they placed on individual personal responsibility. These were not
the group to come crying to with your problems more than twice. Their industriousness also
meant that most of them had side-jobs to maintain their lifestyles. One intern who was
interviewed, worked at a charity shop on the weekends, while another sold sweets and
cigarettes for some extra cash. Charlie Manner represents the ultimate image of a jack-of-all-
trades: an actor. He offers resolution to the fear that his fictional audience might have in
“being a master of none”, by showing them the value in the act of doing, regardless of the
outcome. His influence from the Scribblebytes Universe has already crossed over into the
“real world” with Hollywood directors like Eva Vives (All About Nina) and Amanda Sthers
(Madame) following the Twitter page associated with Charlie Manner’s narrative in The Late
Flight Show.
35
Charlie Manner in The Late Flight Show:
Charlie Manner is an indie film actor, who offers a deconstructed Acting Workshop vlog-
series titled The Late Flight Show. It’s a satirical commentary on elitism, through the lens of
our culture’s obsession with “entitled Millennials” who believe that they should have their
dream careers and be living their best-lives, by the age of 25. The format was inspired by the
scripted anecdotes celebrities tell on late night talk shows. In modelling his persona (based on
the Nerdcore and Hipster subculture) Charlie drew on the aesthetic of Mid-Century night-
time talk shows where hosts would smoke in the studio. The Late Flight Show features
Charlie’s personal showbiz stories, intertwined with truths about Acting, based on the
teachings of Stella Adler, Uta Hagen and Sanford Meisner. Charlie Manner doesn’t shy away
from topics concerning his circumstances, as he touches on his experience of being, as an
actor of colour:
“Perhaps the third most crucial element of Adler’s technique to highlight is the focus
on identifying, articulating, and expressing a character’s circumstances. Adler taught
her actors to interpret the text for key elements that dictate the character’s nature—
be it social, economic, religious, geographic; the list can go on and on…the actor
must cross-reference the circumstances of the character with what the actor has
observed in life about how those circumstances manifest in society”.
— The Definitive Guide to Stella Adler’s Acting Technique41
Image 7: Steve Allen, host of The Tonight Show circa. 1957. [NBC]
41
Article by Alex Ates, available: https://www.backstage.com/magazine/article/the-definitive-guide-to-the-
stella-adler-acting-technique-66369/
36
Nerdcore-Hipster Subculture:
37
The Hipster subculture represents the dominant culture of young adults at any given point
in history. In the ‘20s, Flappers were known as Hipsters, and in the ‘60s, Beatniks
inherited the name. In the ‘90s, Grunge was a Hipster aesthetic, and in the 21st Century,
the Nerdcore set owns the title. While Nerdcore is strictly defined as a music style,
Mathenjwa has co-opted the term as a 21st Century comparative label between different
eras of Hipster subculture. The ability for actors in the 21st Century to manage their own
publicity and engage directly with fans has changed the role actors play in society. This
change is the result of the explosion of technological advances in the realm of
communication technology. The fashion style of 21st Century Hipsters reflects the impact
tech-barons have had on society.
Aspect Ratio: 16:9 (Flat)
Image 8: Charlie Manner in The Late Flight Show (recorded June 2019) 38
The Late Flight Show Season 1 sets the tone for what the MAGICIAN personality values:
Integrity. MAGICIANS in the Scribblebytes Universe, regardless of whether or not they are
actual actors, recognize Charlie Manner’s undivided and honest expression of himself. While
he may come off as inaccessible at first, due to the heavy Hollywood references, the content
of his anecdotes is actually very relatable. In the episode shown above, the “three rules of
showbiz” that Charlie Manner discusses, are actually the same “rules” his MAGICIAN
colleagues applied to their internship experience at xxxxxxxxxxx: 1. Be multi-talented 2. Be

Flexible and 3. Never take it personally.
In addition to being shape-shifters, another glaring reason why Mathenjwa chose to classify
this particular group as MAGICIANS, was their use of cannabis and other psychedelics. A
number of MAGICIANS he interacted with during his internship even described cannabis as the
“magick potion” that gave them mental and emotional clarity. In The Late Flight Show vlog
series, the character Charlie Manner is depicted smoking the plant. In The Late Flight Movie
Blog, he writes very vivid and personal movie reviews while “taking a flight”. One of his
recent blog posts reads:
“Anyway, we were curled up on the couch, sharing a ‘first class flight’ and watching
Thanks for Sharing one night. It was during the time I had no idea what he was really
up to, although when you date The Bad Boy you do have an inkling that something’s
going on…you just don’t know what. So we’re ‘flying’ through the voluminous plumes
of clouds in his luxurious lounge and I have this fleeting epiphany. You know how
when you’re ‘on a flight’ and you suddenly just get it? I was literally like: ‘Oh my god,
I’m Gwyneth Paltrow’.”
— We’re All Gwyneth Paltrow*42
42
The Late Flight Movie Blog: https://thelateflight.movie.blog/2020/06/03/thanks-for-sharing/
39
Cultural Importance of Rebble Pebble, Mvikeli v3.5.7 and Charlie Manner
Representations of black men in media are horrible. Black men are often seen as violent,
dispensable and dark-natured. A publication from The Opportunity Agenda43 states:
“For various reasons, media of all types collectively offer a distorted representation of
the lives and reality of black males.
In turn, media consumption negatively affects the public’s understandings and

attitudes related to black males (sometimes including the understandings and
attitudes of black males themselves)
Finally, these distorted understandings and attitudes towards black males lead to
negative real-world consequences for them”.
— Media Portrayals and the Black Male Outcome
By rebelling against the normative cultural narrative and portraying sensitive, dynamic
characters like the ones explored in this project, Mathenjwa is committing to his investment
in projecting an alternate definition of black masculinity. Mathenjwa’s work explores a
version of black masculinity, which is not tied to violence or self-sacrifice and oppression.
Not every black male in our society is a gangster, slave or martyr even though those are the
most celebrated media portrayals of black men. Through the Scribblebytes Universe,
Mathenjwa shows that black men can be both conscious of the socio-economic, political and
geographic factors that shape their reality while also expressing their free will to define
themselves, regardless of those very factors. Most importantly, in the Scribblebytes Universe,
this kind of self-empowerment is not just reserved for black men; but serves as inspiration to
all individuals within whatever group, to find the same empowerment for themselves.
43
Resource available here: https://www.opportunityagenda.org/explore/resources-publications/media-
representations-impact-black-men/media-portrayals
40
Conclusion
Corruption is a challenge faced by South African and international youth. Sadly, the
economic implications create dangerous social instability, which stands in the way of social
development. While those in positions of power live out their dreams, the youth have had to
post-pone, divert or forget theirs. With Scribblebytes, Mathenjwa presents a living,
metamodern, conceptual performance art piece that challenges the status quo. The promise of
the Scribblebytes Universe is a creative solution to the specific socio-psychological problem
of Millennial Existential Anxiety. Through the events and themes covered in this paper, the
failure of the government in handling and resolving issues faced by the youth, have been
analysed through the case study of interns who faced alleged corruption at xxxxxxxxxxx. The
case study stands out as being symbolic of the futility of young people “playing by the old
rules”. The artist wishes to note that a draft of this paper was sent to xxxxxxxxxxxx in August
2019. To date, there has been no response. This event served as inspiration for Mathenjwa’s
art as it allowed him to explore the concept of what would happen if Millennials looked
beyond their traditional human reactions to socio-economic threats: revenge, violence,
escapism, addiction, and psychosis. The performance art Mathenjwa presents through the
Scribblebytes Universe mobilizes imagery that hints to these varied typical states and then
subverts them, in order to guide the audience to a place of healing. By analysing and
recreating the tone of each personality type he discovered during his 13 months on the field,
the artist was able to chart an emotional reference point to define Netizens in the early 21st
Century. This ranged from the MAVERICKS — who bravely put themselves in jeopardy to hold
an NYSE-listed company accountable — to the INNOCENTS who escaped into romantic
fantasy, and to the MAGICIANS, who strategized ways to navigate around every obstacle that
came their way. Mathenjwa was able to use his research to resemiotize and render imagery
for the transform of the cultural narrative of the people it represents. All in the safety of an
alternate universe: Scribblebytes.
_________________________
41
Copyright ©2020 PN Mathenjwa. All Rights Reserved.
VIEW ART/ENTER THE SCRIBBLEBYTES UNIVERSE
Subscribe to SCRIBBLEBYTES on YouTube:
https://www.youtube.com/channel/UCFO1lgzEN-FzSZEUp49eqeA
Generic Millennial Programming: https://okboomer.video.blog
Night Game: https://mvikeli3-5-7.webnode.com
The Late Flight Movie Blog: https://thelateflight.movie.blog
e-mail: scribblebytes.tv@gmail.com
Follow on Instagram and Twitter:
https://www.instagram.com/charliemanner
&
https://www.twitter.com/thelateflights1
42
Documents Related to Case Study
Advert looking for Online English Tutors
43
Certified Generic Management Course

offered as part of internship.
44
Attendance Register of CCMA Case.
45
46
xxxxxxxxxxxxx, who sponsored the internship

programme at xxxxxxxxxxxx claims to have no record
of the “entity”.
47
48
49
50
51
52
53
54
55
56
Work Schedules.
Schedule of female intern

accused of being a
beneficiary of favouritism.
Only 1 lesson scheduled for

the day of August 16th 2018.
57
Schedule of female intern

who is listed as an
APPLICANT in complaint
against xxxxxxxxxxxx
xxxxxxxx.
8 lessons plus additional

STAND-BY hours scheduled
for the day of August 16th
2018.
58
Payslip of Female Intern listsed as APPLICANT against xxxxxxx (a month

after CCMA Complaint was filed). Scribblebytes claims no connection
between the two events. Payslip has been included here solely because
it was allegedly included in the CCMA filing.
NETT PAY: USD$68 for the

month of August 2018.
59
Scribblebytes Universe Fictional Organogram
60

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BLUE BOOK

The Scribblebytes Universe 4

Metanarrative: The Soul & Conscience of the Scribblebytes Universe 5

The Audience: Netizens 6

Case Study: Effects of Alleged Corruption on Millennials at xxxxxxxxxxxxx 12

Interns as Easy Targets for Corruption 13

Existential Anxiety: Creating the Scribblebytes Characters in Their Image 16

Archetypes: MAVERICK, INNOCENT, MAGICIAN 17

Fictional Ego: Identifying Character Demands, Needs and Aspirations (DNA) 19

Rebble Pebble in Generic Millennial Programming 23

Mvikeli v3.5.7 in Night Game 29

Charlie Manner in The Late Flight Show 36

Cultural Importance of Rebble Pebble, Mvikeli v3.5.7 and Charlie Manner 40

Documents related to Case Study 43

Scribblebytes Universe Fictional Organogram 60

PN Mathenjwa holds a BA in Motion Picture Medium from the Oscar®-winning AFDA

Creatively, Mathenjwa is inspired by popular culture as a vehicle for stimulating social

On February 19th 2018, PN Mathenjwa began an internship at an xxx related business —

The Scribblebytes Universe

Metanarrative: The Soul & Conscience of the Scribblebytes Universe

— Know the Heretics

The Audience: Netizens

— 2018 Deloitte Millennial Survey (pg. 5, 2018)

“Gen Y is apparently suspicious of tradition: according to a new report,

— Why Millennials Don't Trust Anything

— Marelise van der Merwe, Fin24

— The Local (News Agency)

"Hungary fell six places in Transparency Internationalʼs (TI) Corruption Perceptions

South Africa, 2015:

Case Study: Effects of Alleged Corruption on Millennials at xxxxxxxxxxxxxxxxx

Interns as Easy Targets for Corruption

— Business Tech, 2019

“I was awarded with an internship that was funded by xxxxx at xxxxxxxxxxxxxxx.

— E-mail Forwarded to xxxxx (for the unedited copy, see pg 53)

In another e-mail sent March 6 2018 to a Mr M. of xxxxxx, an intern states:

“You came to xxxxxxxxxxxx a couple of weeks ago to give us a presentation on

— E-mail sent to xxxxx (for the unedited copy, see pg 46/56)

Existential Anxiety: Creating the Scribblebytes Character in Their Image

Archetypes: MAVERICK, INNOCENT, MAGICIAN

Fig. 1 and Table 128

Archetype Core Desire Greatest Fear Weakness

Fictional Ego: Identifying Character Demands, Needs and Aspirations (DNA)

— Fego DNA Schema

A study on Family Pathology30 shows evidence of the generational manifestations of

“…manifestations of family pathology — inter-member conflict, low solidarity, and

“…I am employed at xxxxxxxxxxxx as an intern. I am unhappy with a lot of things.

— SAPS Affidavit copy (certified 2018-09-03, unedited version, see pg 49)

Rebble Pebble in Generic Millennial Programming:

Aspect Ratio: 2.39:1 (Scope)

During his time at film school,

“The glitch aesthetic exposes societal paranoia by illustrating dependence on the

— Rebecca Jackson, 2011

Image 6: PN Mathenjwa/Charlie Manner in Generic Millennial Programming (recorded June 2019)

According to Mathenjwa’s impressions, INNOCENTS had an emotional disconnect between

Aspiration: Emotional Intimacy

Aspect Ratio: 16:9 (Flat)

Mvikeli version 3.5.7 in Night Game:

Image 7: Welcome screen/End screen of the Night Game ARG.

The effect Drawing on the Greek Mythology of Aphrodite’s birth, the

Image 4: The intended position to play Night Game. [Stock Photo]

The lighting design in the Night Game

To Level-Up and continue the experience see: https://mvikeli3-5-7.webnode.com

Charlie Manner in The Late Flight Show: