Be your designs.

Write to the beat.

Reviewers are useless and dangerous.

I’ve put a stop to my daily del.icio.us links being posted here in a vain attempt to keep this space for the writing.

If you want to grab my RSS feed for my del.icio.us links, it’s here. The feed will still come into the blog, there on the right hand side. Better, add me to your del.icio.us network. Even better, follow my network of del.icio.us bookmarkers, here. They’re very good, very interesting.

The Failure of Space

January 13, 2008

48.jpg

Objects pay a central role in language which have become the black hole of the imagination.

Object absorb methods of interactivity, they hold the relationship between verb and noun.

Objects retain activity because of a latent belief that to be human is to engage with existence as a container.

1944_n.jpg

It’s the belief that ourselves, as communicators occupy a particular space. In consideration, what is it that we think we own through ‘being’ ? Whether it’s My Space or My Face, there is a problem in wanting personal identification being incorruptible because property defines a relationship between the ‘individual’ and an ‘activity’ and thus, “I think therefore I am” reduces language to a proposition that negates space, rendering it it as a void not as energy.

Ownership, as currency, renders the individual as a shibboleth, not as a conduit. Ownership values you, not the otherway around.

Acting is a way to shift the individual from person to persona; the surface as text enables a metamorphosis to occur but yet legibility restricts affordances of the performance. By designing a character, you are stripping away values that you do not want to transfer.

Narratives, on the whole, are object centric. Stories, on the whole, are character or location centric, even if the role of the tale is morale of antidote. This is how we deal with space; we erase relationships between objects in order to expose relationships between objects that we deem valuable. The legibility of the value enhanced objects are defined using logic, itself a system based upon declaration.

And it’s this declaration that needs to be replaced with recursive activities. To recall a story is simply a validation of the initial story’s object values. The Chinese Whisper recursive activity opens the affordance for personal valuations, in turn, creating a new value chain debased from an individual’s possession model.

Use Values are the currency that currency values, commercial restrictions on transference increase friction and erodes affordances. Use value devalues Image Values. Knowledge transfer is part of the process, but unless you can reuse the knowledge in anyway you wish, the currency of knowledge degrades.

Now, exploitation of knowledge requires attribution, itself is a shibboleth token that is derived from an individual (corporate entity or individual). Attribution, being the lowest level of rights (as expressed through the Creative Commons licence scheme), is still a barrier for reuse. It maintains the network of information transference, but retains a channel for first object values to influence the acceptance of the shibboleth model.

How can transference be utilised without incarceration of influences when transference is a space based activity?

Network constructs exist within time, not space. Transference exists within space not time.

Is a knowledge object a particle or a wave?

Therefore we have a problem identifying value when networks and manufacturing argue the ownership of the concept of initial value. Language has no root for originality – it’s primary role is transference through duplication and distortion. Meaning’s needs are erosion and decay.

‘Constructing a sentance’ is to destroy other values from perception.

‘Manufacturing’, as a concept, can not contain ‘Networks’ and vice versa. What permits the entanglement is Communication.

(Note the sweet irony of the licence at the end of this video.)

If the Uncertainity Principle is correct, all values are approximations, and therefore there is nothing that can be awarded a value; at best objects have properties that fluctuate with values – a range of values.

(Above: “Portraits of My Father’s Imagination” by Jennifer Cohen.)

A construct of value ranges are the ingredients; the intersection of the range of values can equate to a value. When constructed in this way, the approximation delivers precision that can be tracked but never predicted. Choosing which intersection of values (ingredients) is a decision method based upon prior knowledge, in essense, you make myths through reuse of retained values.

If this is so, an individuals choice is a myth; being able to predict within a value range deludes any sense of freedom – an this is the fear of freedom.

(Above: Victor Burgin Office at Night, 1986 (one of seven sections))

Robert Morris had said that he wanted his sculptures to be no more or less important than any other of the ‘terms’ in the room in which they were situated. But I had asked him the question: if his sculpture was to be considered no more worthy of attention than the doors, the floor, the windows, and so on… then why not dispense with the art object altogether? Judd had said that a form that was neither geometric nor organic would be a great discovery. It seemed to me that such a form did not exist in the material world but could only be found in the mental realm. By the time I left Yale I was trying to find a way of dispensing with the material object, a way of leaving the room empty.

The above quote is taken from Victor Burgin’s presentation titled ‘The Separateness of Things’, which you can read here.

The Failure of Space is it’s existence as physical. The attempts of establishing neutrality within a language construct is something Wikipedia has gone to great lengths to achieve. It is the greatest phenomenon – above the sheer scale of the production – and is reflected in the concept of Net Neutrality.

Pure Construction, as favoured by the early conceptualist and minimalists (such as Robert Morris) claims a use of space beyond the appreciation of freedoms.

Above: Robert Rauschenberg
Erased de Kooning Drawing (1953)

Rauschenberg’s moves in white are part of the grand gesture that his early work strove for and often achieved. His colleague John Cage recognised this when he wrote: “The white paintings were airports for the lights, shadows and particles.” Rauschenberg was able to make nothing the subject of a painting in a way that Cage would, after him, make nothing the subject of a piece of music. Then everything could enter in. “Having made the empty canvases (a canvas is never empty), Rauschenberg became the giver of gifts. “The timing of these acts was crucial; it was a different response to the Second World War and the atom bomb. Unlike the existentialism of Giacometti, which depicted man alone in the universe, Rauschenberg’s emptiness has a positive tonality, and although he in part rejected the serious themes of his Abstract Expressionist predecessors, his White Paintings have nothing of the humour of the Surrealists.

Weiner’s schema tackles the production and distribution of art through the direct conflict between object and language, and remains today the keystone to artists decoding the construct of space.

1. The artist may construct the piece
2.The piece may be fabricated
3. The piece need not be built.
Each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver upon the the occasion of the receivership.

Lawrence Weiner – As Long As It Lasts, 1994
Carving in Renaissance Society wall

Between language and object, the range of values assimilate situations of debate. A debate as a construct finds itself smothered by language unless you can keep the space from collapsing through definition.

Above: Haim Steinbach – supremely black, 1985

Steinbach, a contemporary of Koons, produces a shelving modality to enable presentations of value ranges. The exhibit is itself an execution of the question behind design, production and distribution of the ‘object’. The work is complete with installation instructions and is shipped from exhibition to exhibition. Position within the space is the arbitrary decision of the curator. The artist’s role is to negate the closure of space through neutral syntax – a language that the viewer can neither state as true or false, a language that negates and confirms the value range, a language that is neither useful or useless. Here, aesthetics deliver the failure of space. It is not the connectivity between objects but the juxtaposition of values within values recursively that denote a space that become accessible only through negating a language construct.

Within such an infinate duration of causality, space collapses. Time becomes a multi-dimensional construct connected through a range of values that assert their relationship through the viewer. The viewers act of possession in this state is of value to no one else as navigation of recursive space alludes to no meaning, no value, no use. Alone with a infinite array of value ranges, the viewer controls the matter of space through an erosion of time. The fear of freedom becomes the liberation of value. Space fails us when it fails to negate time – it leaves us a mere container instead of a part of it’s whole.

With time and space existing as linguistic containers, the role of the viewer is to collapse the meaning of either states, thus transferring a network of values from one to another. This sifting enables a non linguistic ontology freeing the affordances of both containers. The tools for such activities reside in the intersect of value ranges, and it would seem that emotive approaches that avoid the individuals verb-noun exchange are extremely effective in producing affective recursive communications.

If communication is to effectively design the prototypes of manufacturing and protocols of networks, then we may find that the Theory of Everything alluding to the simplistic notion that language is preventive, non enabling and that objects and their methods assert symmetrical values – an ordered beauty that prevents the human release of reasoning into lone navigation.

Perception, the foundation to navigation, is a surface reliant ontology. We can only ever see surface – all meaning is generated based upon the viewers value ranges.

Non-orientable objects, such as the Klein bottle (above) and the Mobius strip exist within their own surface, that is, they are one continuous surface. The Klein bottle model exists in the 3rd dimension, whereas the Mobius strip is in within the 2nd dimension. Being singular, the Klein bottle’s affordance is that is you pour into the bottle, the bottle will instantly pour out from the same point.

The significance of the singular surface, non-orientable object, is that space can be defined, modelled and handled as matter, not as a representation of matter. The recently, fought over, affirmation Poincaré conjecture, allows us to believe that surface is a finite space, and thus utterly orientable. The domain of space can be cut using the Ricci Flow with Surgery method and with finite time, it is possible to show that space remains a singularity, if if the Ricci Flow has to be applied to singularities that form from the cutting.

In essence, the limitations of space-time confer that existence within language is restricted to the modeling of matter. Language can not explain anything OUTSIDE the surface of matter, thus we can not use language to explore dimensions that are devoid of space-time, but the existence of an exterior of space-time can be confirmed through seeing the limitations of activity-place.

Being devoid of space-time, creation should be able to construct fiction that becomes true, as the assertion can be percevied after the fact due to surface being the mailable construct unaffected by space-time; in space-time, fiction comes after prior knowledge because space-time controls the object.

As digital communications aspires towards production at the point of consumption (Transmedia, UGC, bitstreaming and crowdsourcing), we are slowly adopting an existence without space-time yet trying to apply space-time modalities of fiction.

You may ask why you would want to know the film before you watch it, or listen to a gag if you knew the punchline – this would be misunderstanding the role of non-oriented objects within a non-space, non-time existence.

The role of communications within the surface plane of non-space-time is to experience your own construct not one constructed for you. We may have a Death of an Author paradox here, if we are already have removed the author of the text and replaced it with the reader. The point is, authorship should come after the collective experience of existence, not a singular denotation of space-time. What should be of interest within this plane is the ability to formalise reality upon the construct of the imagination, collectively and individually.

The networks that people build today, may these be technological or social, are becoming the surface plane of a reality construct that create fictions which in turn create opinions within the minds of the participants. Fears of assimilation and identity are fluid, that is, epidemic in the communities that produce the network. I believe this is the transitional phase between space-time and a singularity that restates the relationship between communication and manufacturing. Ideas, concepts and thoughts will materialise through a network effect, but the consequences will be that little choice will be maintained over what is made. Manufacturing will become enslaved to the Network; Communication will be caught in between the two.

Freedom will still remain the illusion between a physicality and the organisation of that reality, unless language escapes the object ontology. Scripts, routines and procedures maintain a use value that people define as methods; again, a value construct between noun and verb needs to be dissolved for the benefits of experience to liberate us from expectations.

Exploit context

Own the rules to engagement

Always be available

links for 2008-01-12

January 12, 2008

links for 2008-01-11

January 11, 2008

Steal This Film too

January 10, 2008

stflogo.png

An old sparing partner of mine has released the next installment of Steal This Film.

Jamie (aka Vague Blur) has spent the last year, along with the public donations, producing a surprisingly good documentary about piracy. It offers some tales and insights into the intrinsic need for sharing/copying in a networked world. Unfortunately, it’s very anti-media industries and thus it falls down on being a balanced understanding on the impact of piracy for the future of production.

This approach to debate on how we all use duplication and derivatives in communication prevents a resolution for artists and brands developing a workable relationship; the constant baiting against the entertainment industry alludes to a belief that they are no longer needed, referring to the London Grime scene as an exemplar in production. Grime is a true grass roots movement, but like every home producer knows, you still need professional production values to make the craft shine. There’s a big difference between ‘home recordings’ where you’re ripping a DVD for sharing via bittorrent and ‘home recording’ where you’re making something from existing culture, something with a new construct, architecture, aesthetic or utilitarian purpose.

Jamie’s posted some thoughts about the transitions of the economic model that piracy brings, notable how donations/pre payment are a potential source of revenue for P2P productions. Like Radio Heads ‘Rainbows’, these experiments in marketing are not the same as building a value base for an audience, if the audience have no say in the production. This is where I wish Jamie would spend more activity on – building an dialogue between participants on the project in public. They still have a wiki, but it’s not been used, instead they’ve opted for a ‘broadcast’ model website to tell people what they are doing. As I demonstrated in the Joneses, it’s the audiences engagement that makes the business model work for brands to finance what the audience really want. Regardless of audience size, you need to know if you are delivering the value that is expected. Download metrics, page impressions are broadcasts grasp at Accountable Transactions. Where is the feedback mechanism for Steal This Film? The donation amount? I suppose anything is better than nothing, but the displacement of what should be happening versus what is happening is unaccounted for. Perhaps that’s the message of the movie.

But Steal this Film 2 is a great production, it’s very watchable compared to the previous version. Here it is in 5 parts on youtube. Visit www.stealthisfilm.com for the downloadable versions and the opportunity to donate towards the next production “THE OIL OF THE 21ST CENTURY”.

Nice work Jamie. Looking forward to the next installment.

links for 2008-01-10

January 10, 2008

links for 2008-01-09

January 9, 2008

twitter-hashclouds.jpg

You may have noticed Hash Tags appear on Twitter recently, promoted by Chris from Citizen Agency. You need to read this post and this one too, to follow this idea. Oh, and have a look at the Twitter Wiki HashTag page for a comprehensive oveview.

HashTags are a way to tag Tweets so that Followers can keep track of a story/theme/place/activity. Like a Channel or a Group.

I think they are missing the affordance values of Twitter. (OoOooOooooh, can I really say Twitter should NOT be used for something?)

HashTags are an inline denotation of meaning within the Tweet; I think this is self referential and perhaps there is a better way of using the system for tracking activities that followers want to relate to.

As with Social Objects, a story/theme/place/activity can be defined as a Class – an object that contains actions, or Methods. By trying to turn a single Tweet into an object, defies the value in using Tweets as Methods – Considering Twitters call to action “What are you doing?” the 140char space is perfect for Methods, not Objects.

Now, there are various Twitter aggregators around – HashTag.org being the most relevent to this situation. Snitter (which I use and love) also allows HashTag aggregation. This is fine, I can gather all the the relevant posts according to a HashTag instantly.

But, here’s the rub, Twitter’s within the range of a HashTag subject bring value and are excluded from the aggregation. Twitter Vision style aggregation can help see within a geographical aggregation, but for broader value aggregation, and by the way that language works, there is not an ontology that can scale to capture a deep rich picture of the subject.

Unless we use Twitter as a Command Line to activate 3rd party services to produce a Media Cloud. A Media cloud is a semantically collected set of web services based around a story/theme/place/activity. Like Where are the Joneses?

Ordinarily, a user has to go to all these web services, set up an account and then link them all together. I propose this can all be done via Twitter through a recognisable command, which I’m calling a Twoot (ref: W00t). Here’s a rough UML Activity Diagram to explain how this could work.

Click to see readable version

Now, there’s an upcoming suite of API enabling concepts rising up that can really pull this together. OAUTH, Open ID and Microformats (Now on Twitter)are all useful for transferring, connecting and evolving the Media Cloud, not to mention the blogosphere grokking via Technorati, Friendfeed and of course Google and it’s merry band of services. AMPL is really close to this too.

Social Nets are also handy, why cant FaceBook applications be libraries ready for deployment upon a Twitter Command (a Twoot), thus attaching the HashCloud to the daily FB addictions. OpenSocial - very handy for attaching the broad range of webservices. I think Ning could be a major service in this operation. Flickr would be essential.

Depending on the string sent from Twitter, the array of services can be controlled – look at the range of webservices as an à la carte menu. A set of parameters could be sent requesting which services, or providers, require activation.

Now all this could be the start of spam hell, what would be stopping anyone setting up Media Clouds through a HashCloud command? Equally, think of the number of Brands establishing Media Clouds for any eventuality. Splogs are bad enough but Google does a tidy job of keeping them out of searches.

But an active MediaCloud would be judged by the vortex it would create around the story/theme/place/activity. The MediaCloud would transform to a MediaVortex if there was genuine activity, SpamClouds would just float away, dissolve, vanish. A MediaVortex would root itself at the focus of attention.

hurricane.jpg

I’ve never had a great experience that I could measure.

Great experiences are without comparison. Great experiences don’t represent anything. They are Stateless.

Stateless means that you can connect everything to the experience, but it doesn’t mean it’s a Social Object. I think Social Objects, as a Class, are filled with Social Methods. Social Methods are people’s activities, like a Tweet.

Social Objects, therefore, are constructed from Algorithmic patterns; measurable though the use of Pattern Languages. Social Objects have a temporal value and therefore be disposable. I think that’s one of their key values.

The difference between Stateless Objects and Social Objects is that Stateless Objects can and will be reused, they have no shelf life as they have no inclining nor declining values scales.

Stateless is Useful, because it’s persistent without being obtrusive. It records no information, it exists as a connector to other objects. Being Stateless is being Universal. Being Social is being Cultural.

Invest in the non-valued instead of the temporal-valued system objects and you’ll feel the measurement like you feel your arm: A connected presence is not a readable object. A disconnected experience causes concern because the absence requires a substitute.

Virtualness, or simulations, bridge the perceived loss of expectations. Networks, by nature of their construct, compensate when damaged; this can result in malformed calculations, rectifiable through optimisation, which requires a ‘reading’ to identify conjuncture. Once loss has been mentality established, we use mesaurement to return to a sensation that distracts from absence.

If you need to calculate, as first why something is missing, because the realisation has not yet been understood through experience. Absence can too be the goal, if there is experience that does not make completion; again calculation defines the distance between insight and acquisition – the value can sometimes equate presence instead of loss. It’s matter of sensation instead of comprehension.

Experience is a relationship with faith and ultimately trust. Disillusion only comes when ‘value approximation’ is realised; you can calculate loss through compensation but you cant value a relationship based upon trust.

You can only experience ‘it'; the reverse is only perception, legible or not. ‘It’ remains Stateless.

links for 2008-01-08

January 8, 2008

Brand naming was legally born out of removing the proprietors name from the trading name, enabling franchising. Because of this, creativity took the ability to be fictitious, enabling narratives to enter the sales pitch. Using a logo as the emblem of the narrative, we seen the legal entity move from icon to verb. Marketeers Just Did It, so you can Just Do It – whatever they wanted you to desire.

Imagine that. One single bit of business legality gives birth to what we know as Marketing.

The problem is, no one really believes the stories marketing peddles, especially when the narratives are masking the reality of the Business Trading As. Naked Conversations maybe trying to resolve the fact that All Marketeers are Liars, but this amounts to tinkering with the logo, the identity by enhancing the ‘gestures’ of the companies operations. Brand as a Narrative prevents the Brand existing as Embodiment. Brands need to live within the architecture of life, not on the perception plane. Trying to get a purchasing audience to care about a Brand is costly compared to using your Brands affordances to improve the infrastructure of life. In this case giving is cheaper than advertising.

Branded Utilities, Branded Content and Brand Experiences are all ways of reshuffling the first order objects of the audiences relationship to a commercial service, but frankly, it doesn’t matter which part of the pizza you eat first, you’re participating in a fiction that delivers the need you wanted in the first place, but you have to go through the speed dating of a brand to get the money shot.

This maybe partially necessary, not for selling you the service/goods/lifestyle in the first place, but actually easing the guilt of the transaction. Consumerism has an after taste, and like a bottle of booze, it’s an acquired taste which comes through education. And guess who’s teaching you about after taste. Consumerism is not consumption in the personal sense – it’s a cultural activity. We share consumerism, we never personally experience it.

One of my persistent thoughts is how to get clients, brands, company operations into the infrastructure of life – – fundamentally, getting under the skin, or label, of society and ensuring the brand is doing something useful.

We’ve been repetitively told, we first we have to pass through Permission Marketing to get an audience to accept the narrative of a brand. It’s no more than the first question you ask a potential customer on the shop floor: “How can I help you?”. So much for big insights, Seth.
Take a look at this.

Tide, A P&G brand, rolled in to New Orleans, with the help of The Gigunda Group, during the aftermath of the Hurricane Katrina disaster with a truck stacked with washing machines capable of doing 300 loads of washing a day. Food, water, security and other key essentials where being laughably delivered by the US official task forces. What people needed, to get them back on their feet so that they could move forward with rebuilding their day, not their city, was clean clothes – an incredibly soft touch to a horrific disaster, but one that got people motivated. Need alone does not inspire people – desire/inspiration/care activates the cognitive value of meaning in people.

Once rationality is operating, construction ensues.

Once New Orleans stabilised, to the point of mild sanity (and sanitation) P&G pulled back the trucks but did drop in other initiatives – such as concert as a fund raiser and handyman around New Orleans – with R&B star and product placement God send, John Legend.

But I think P&G missed a trick here or it shows that marketing teams really don’t have any real business power inside the corporation – nor does Corporate Social Responsibility.

Tide’s, Clean Start, tactical Branded Experience may have put the heart back into people – but in times of catastrophe – natural disasters and war – aka Acts of God – it’s a sweet spot for a brand to step in a GIVE support. Now, most Acts of God, are the moment the military and corporations rub their hands and expect a spurge in profits – real needs equals real profits. This is essentially tactical thinking.

What is up for grabs is to get into the new infrastructure before it’s gets rebuilt under Government controls.

Now, most corporations will go after the bid for Government contracts – the legal framework to make dollar from crisis.

What if the corporation showed that it wasn’t making money from the short term tactical play upon the catastrophe?

BlackWater is a government commissioned mercenary enterprise. They tend to acquire No Bid Contracts, that is, they are GIVEN the contracts to do ‘stealth’ operations. Like the A-Team, without the humour, and people die. Quite a lot of them, actually.

Government contracts for Iraq are the lucrative. Massive risk, but lucrative. And owned by the participating governments, owned in the sense that Taxes are set.

Now, before we panic and thinking, heck no, we don’t want Coke and Mcdonalds being in the infrastructure of a societal rebuild, think what you the consumer are paying in taxes to the government for BlackWaters ‘unregulated’ services.

Consumer infrastructure services tend, on the whole, not to have a mandate, nor licence, to kill people. It is in their interest to make their lives more profitable, so that they can acquire more products and services.

ENRON, went for Infrastructure, just as Google is now. It’s the Accountability of the Transactions that will make the dfference if Brands engage with building cultural infrastructure.

Think about the long term play on this. It’s not about Brands ensuring their product is on display in the right stores, it’s not about the talkability of the Brands Ideals, it’s not about LoveMarks – these are all lowering purchase considerations.

Brands within the infrastructure of the cultural mechanism, are the verbs of life, they are not about trying to facilitate the consumers interests – it’s deeper, more transparent, more beneficial – it’s about the organisation working towards a common goal – and that is – mutuality.

A brand that is part of the daily exchange mechanism of language – not a parody of Just Doin’ It – but actually generating value in an individuals actions, is part of the fabric of reasoning, not a point of difference.

If Brands think that their role is to rise above ‘acceptability’, then they are going the wrong direction. Brands, if they want to be the life of the consumer, must be the reasoning of the consumer.

The way in, as above, is to GIVE operational support to the community; mesh your CSR into the habits of the communities – not fundraisers, not sponsorship nor charity, but become of institutional use. If your organisation is malfunctioning – “Nobody talks to anyone” mentality, then you’ll fail instantly. But maybe, if you start to get your organisations logistics closer to the communities, this could start internal/external conversations. Keep it at a personal level. “Brand talks to Man on the Street” is nonsense. “Man who works for Big Corporation talks to Man on Street” is good.

But think also about how this has to work on the web. Brands that help build the infrastructure of Communications, Manufacturing and Networks remain in the daily existence of the audience without the hoopla of permission marketing. Look how Web2.0 services that do small simple things reside in the daily activities of communication. Look at the first round VC money – it’s within any Global Corporations budget to invest, create and experiment within. You have to think functions, not applications. That’s what Google’s 20% rule is all about.

But before we all start thinking this is Corporate Social Responsibility extremity, focus the attention towards the largest global religion - Finance – because beliefs, although mailable, are the Social Object’s force in cultural frailness. And Frail Nets are Good. It is the Methods within the Financial-Social Object that require crafting.

links for 2008-01-06

January 6, 2008

People are interested in what other people are doing, not what you have made for them.

Communities are formed to share an interest, not to service the needs of a third party.

Audiences are a construct that paid-for producers are supposed to be addressing.

Audiences are a cheap Catholic bi-product. The Beatles are still “More Popular Than Jesus.”

Spectators are those who are gripped by the design ability of the author who is besotted with a problem. Spectators are dreamers; when their aspiration is being played out in front of them, they become transfixed. It is the Society of the Spectacle that persuades against dialogue.

If you set out to design for an audience, you design for nobody. If you set out to design for yourself, the audience will be intrigued. If you perform, the authenticity of your craft becomes questioned; if you break the Forth Wall, you may just find the mutuality that the audience respects.

Across all creative practices (science, art, business) everyone is in search of the ‘social’. Designing for Society will ultimately lead to a fascism – a belief in doing something for the ‘greater’ good. Unfortunately, the ‘greater’ lofty aspirations are a Faux Cult [sic], a society that doesn’t exist, a society that has needs beyond what we require. Our aspirations need to be rooted in personal achievements – only then can we work together through mutual interest. Narratives require an aesthetic that transfers its own space-time to your space-time without displacing your own journey through space-time. This conduit is Stateless, not Social. Antidotes and morals are not rewards for engagement, they are taxes – which is the storytellers goal.

Goals are for a player in a game that doesn’t want you interfering.

fantastic-four.jpg

If you want to keep designing for an audience, here’s your soundtrack. Good luck.
[via John Ottman’s website]

Here’s the video of Guy Debord’s Society of the Spectacle. Worth a watch. Play the ‘Fantastic 4 Rise of the Silver Surfer’ soundtrack in the background and read the subtitles…

And thus the problems with Social Objects; they are spectacles, deeply personal but utterly banal. Not because of the collective Methods the participants create, but for the need to identify cause, reason and outcome. Relational Aesthetics sought to escape the Object mentality; utilising institutional spaces for social engagement, to open the modality of definitions to see what is beyond a construct.

As Debord states in the video [38m10s]

“In this moving game-space, and from the freely chosen variations of the rules of the game, autonomy of place may be rediscovered, without reintroducing exclusive reattachment to the land, and thus bring back the reality of the journey, and life understood as a journey and having it’s entire meaning within itself.”

I’m spending time thinking about Stateless Objects – objects that have reception to mean anything the audience wish to attach to it, they are persistant because they have no value to dissolve, they are Useful and as Beautiful as the Engaged User wishes them to be. Stateless Objects are acountable, designed and measured through the transactional success within the object, the Usefulness of the Methods (peoples micro and macro actions). To design transactions, you need to understand the relationship between design, production and distribution and the Four Humble Demands. That’s what I’m using the Creation Plane for.

Audiences are without goals and thus only exist in the minds with goals. Here are some good speeches about this with a virtual audience within a simulacra of a spectacle.

  • RSS The Main RSS

  • RSS Clippings

  • Fresh on Flickr

    Small Worlds - rathergood.com

    Small Worlds - rathergood.com Screenshot

    Purefold

    what are you doing? - Wolfram|Alpha

    Wolfram|Alpha

    [Page 227] Stephen Wolfram: A New Kind of Science | Online

    noum (noum) on Twitter

    Katy Sissis (vromma) on Twitter

    More Photos
  • For the machines…

  • RSS Wordie!

  • Marketing Blogs - Blog Catalog Blog Directory
  • Follow

    Get every new post delivered to your Inbox.