My Factoid Trivium

June 10, 2008

Toxi published some images from his fiducial generator project; making keys for a reactivision setup (I guess…)

Reactavision, in action, can be seen here, rocking out with Bjork, no less.

You see the blocks they are using on the table? The underside has an image, which is a key, which connects to other objects in predefined ways – programmed as the image.

But the images,they’re great fun, just as images. They all have a MutantTeddyBearNess to them.

I couldn’t …resists…meddling.

Bit of context with warm sunny light.

Mocking something up on a side of something, gives context of sorts.

Viscousy and silk-screening; tacky pop.

TV themed, in a poltergeist kind of way.

And something you’d find on a techno album cover.

They kinda got darker as I went along, into the night, Gimping. I sucjk at photoshop.

Now, as they (the images) are ‘keys’, and he says they need only be binary (black and white), so colour has no impact on their function (their geometry gives the uniqueness, thus there can be maaaaaaany of them.), therefore, I guess they will still work, even if hacked with some poor ‘photoshopping‘ gimping.

Exploring the idea of keys having personalities, to the point where you don’t need the physical ‘key’.

Kind of like the ‘book people’ in Fahrenheit 451.

QR codes don’t really do it for me. They need to have more ‘personality’. Though I do like the term paper storage. Did you know you could get video encoded into coloured QR codes? You can, you know. Not available yet though.

As much as I liked pixelated animations, it takes some extremes to work in a (full functioning) QR code.

I picked up a book called Meet Mr.Product whilst in Dusseldorf, visiting the exhibition Tim Keil suggested over the twitterwaves.

Here’s some photos.

What a wonderworld that must be, if they could all live in a Truman show kind of thing.

Clear characters, with purpose in life, looking for friends, happy to help and eternally young.

It could be a world where brands could bred freely.

Could a multi-branded version of Spore, the new eagerly awaited game from EA, be educational or really annoying? (<- use this link if the video below has given up the game.)

See, a platform like reactivision, affords many, many, maaaaaaaaaany clear characters to exist, with purpose in life, looking for friends, happy to help and eternally young.

Platforms inspire a million characters, if they have a clear purpose within the context.

But, these characters are roles, if they have purpose. Roles are agents conspiring to bring conformation through differentiation; the fiducial teddy bears are the affordance of the platform; conformed in geometry logic, diversified through irrationalities.

The benefit to this: transmission.

Finding friction free, high capacity storage ‘objects’, needs for one thing – be able to transmit.

Technology is a real time story, looking to make objects that transmit.

Objects, that receive is not a request of technology, or any facate of craft, but a burden of language.

Language doesn’t learn to be better, users adjust it to work within changing frameworks.

To store changes, we have to extend language to work as containers, to which we can place ‘understandings’.

We create languages to store objects that relate; sub-languages such as slang, is used within peer groups, who want to describe ‘understandings’ in their social-economic contexts.

The relationship between language and object, is technology – the crafting – the act of transmission is a scribe within the objects construct. Technology gives us a timestamp to decode the relationships between objects, but cant itself create languages. Technology may give us daily, monthly, yearly, new parameters for ‘creating’, but the ability to create ‘storage’ objects comes from the limitations of expression within time.

Could it be possible to make zillions of boxes, and automate the storage of things as they ‘appear’ to us?

Without an understanding of surface, a complete understanding or the properties of the perception plane, the answer is no. The translation of ‘insight’ to the ‘physical’ requires a mapping of time to material – unless we can find ways of making things outside a linear production model. Open Source, which you may not consider a linear production model, is just that. Although all the tributaries flowing into a single build, the linearity occurs at the ‘gateway’.

It’s because things are not divisible by things. Everything is estimate; precision lies.

Although storage is amenable to the most awkward items, it handle infinite variants very well.

Gursky

Another Gursky.

As soon as a wrapper is applied to an object, the immediate context changes and thus invokes the story of the relationship between the storage and the contents.

This relationship is the root of the factoid, the point where fabrication and digestion of the narrative’s objects commences, unleashing it’s trivium. Because you apply a language to something, you are creating the relationship.

Thomas Ruff.

Another Thomas Ruff.

Note the jaggy jpg compression tearing (the pixelation), that’s intended. These are huge digital prints, made up of recursive colouring of the pixels. Here’s some more, so you get the idea. (I saw these in NYC last November, and feeling blown away by them.)

Both these artists studied under the Bechers , who did lots of this:-

Classic.

Comic.

It’s why this campaign is more than an advert. It’s demonstrating personalised recursive storage. The creative multiples the storage of the media space. Spaces within spaces within spaces, all ‘humanised’.

Check out the London underground carriage posters – they all have 3 ‘hidden’ smiles. Brilliant recursive design.

Using anthropomorphic storage platforms enables us to see ‘things’ as people and relationships.

We can engage in these relationships as we would people – on our own terms, our own language systems, our own arguments attended to.

A world of relationships, seen not as things.

A technology of stateless storage, recursively designing, producing and distributing relationships, for personal gain.

Which takes us into the uncanny valley.

An anthropomorphic system that responds with authenticity, requires a depth of experience that equates, not betters, the human relationship. Importantly, feedback time is critical to authenticity. The space of time that something is not doing something indicates factors of the transmissions.

The pauses between our spoke words are just as important as the words themselves.

This is a form of error handling for the transmission. Packets of data are sequenced with silence. Like music…

Scripting Artificial Intelligence will lend itself to one benefit: building a system to judge and attempt- it’s why they are so popular in gaming systems – A good AI is judged on the array of faults you can exploit, not the definition of it’s persona. In fact, the array of faults constructs the personality based upon your Factoid Trivium. Any faults in comprehension remains in the design of the key properties.

So where can character driven arrays take us if sequencing is initiated by investigation?

More likely to be this…

Designing for sustainability is a huge desire when considering ROI models for a project. As a client solution from an agency, digital media demands a mindset that seeks productions that persist through reuse: in short, digital should always be aggregating value. Digital should never have a half life. Digital is not for campaigns.

We’re living in a time where beta and ‘release early’ is a mantra, waiting for an audience to pick up on your communications is a requisite, and creating a ‘buzz’ about what you do is consider ham-fisted. Digital, being the youngest of offerings from communication agencies, is picking up bad habits from the elder modes of media, namely broadcast formats of print and TV.

It aways make me chuckle/snarl when a new website is marketed with other marketing. This is missing the point of being digital.

I want to discuss how digital is badly treated when consider an ‘execution’. Digital is business interface that needs caressing and attention – because as a medium, it’s going to change the fundamentals of how you maintain a service orient business (products are part of a service – in case you needed reminding).

Polemics of creative productions, driven by a business case (e.g. something has fucked up | market has changed | you’ve got a new invention you want to sell), clash horribly with expectations of virtue. This is true for all commissions, but for digital, the application of code requires fullfillment not appreciation. Working with a broad range of T-shaped creatives at Imagination, many who are very fuzzy, reveals a huge amount of possibilities and closures about how people should work together.

Now, every agency I’ve spoken with, regardless of their forward thinking team dynamics, billing philosophy or Raison d’être, all rely on people roles to coordinate, organise and deliver the client solutions as a job.

Account handlers, Planners, Creative Directors, Human Resources, Traffic, all have a similar practice where ever you go. Media law, recruitment law, pension schemes and personal assistants all rein in the affordance of the individuals freedom to perform. The context of production is the architecture of society not the business model of the agency owner/stakeholders/banker.

As digital storms through the traditional billings of broadcast media (TV, print and performance – well, anything that doesn’t base itself on audience dialogue), the agency’s role is to convert business requirements to something quite fabulous with a hook to sell, promote or defer the competition collapses around the moment when the teams realise that the story of the construct requires huge amount of faith, believability and patience of an audience.

Brand-as-a-narrative has served Market Communications for hundreds of years, today, we see/hear/look at platforms for the facilitation of conversation – the emperors new banter – with only a thread of brand DNA to hide the hook’s modesty.

Building us towards freeconomics, friend following and DRM free productions, is a belief that there is an audience that is intentionally rebelling against the Market Communications from your clients. The slogan “You don’t own your brand, the audience does” has been dragged through the blogosphere to the point where it realises that it’s being pushed by consultants eager to recount stable reads such as Naked Conversations, Cluetrain and Here Comes Everybody as billable insights. We’ve all done it, haven’t we?

Solutions to business problems, by sucking on the business cases, has been the stock process for devising, designing and executing since someone thought about thinking about solutions. Arguably, the mutha of all invention is bare necessities, and I say arguably, because the agency model, networked or a team of 2, will always be at odds with a guarantee of success. That’s why you must embrace failure.

Indexing with ROI for KPIs are all indicators of reasoning within myths. The belief that x will happen is y and z interact, belongs to the clinical abstraction of calculus, a language non-compatible with myth, but as said, within myth. (Planners – take note)

And here lays the problems with any notion of integration – that is – blending the channels of 360 marketing with that of transmedia narratives. The belief that participation is desirable is at odds with commuication being logical. You don’t ever get what you expect – comprismise is latent in every reception, awoken only by distraction. Choice has begun to chew at the hand that invited consumers to be free.

If we look at the success of software, where scalabity, features and transparency have lowered the access points to diverse interpretation of engagement, the learning curve of use has been inversed by the audience who, when confronted with personal affordances of simple applications (think twitter, friendfeed, yahoo pipes), the question mechanic that always appears is “What is this for?” not “When do I need this?”.

And the answer is always defered by the retort, “you get out of it what you put into it.”

I think I’ve written about roles in system design before, UML using the term Actor, to define the types of users within a system, human or not. What we are seeing today is technology being rolled out freely, inducing individual’s performances confiscating demographic averages whilst establishing Social Graphs (plural) upon reputation and attention not perception of desire.

This freedom of role undermines the need for defining what the experience of your client’s communication solution business solutions is. Rolling in branded utility motifs may save you from having to induce accents of need in presentations, but the role that an agency plays in the progressive design of effectiveness becomes reduced to translator of what the client thinks might happen within a market.

Agencies are bookies if they are left to define client requirements without a framework of the social ecosystem that is defined by freedoms of engagement induced by open-use software. An agency that isn’t gambling on an outcome is playing safe to the point that they wont impregnate the audience with seeds of joy.

This is very different to thinking about how an agency has a ‘digital’ division – normally, they would ‘use’ the digital channel to get at the ‘difficult’ consumer – them the ones not watching the TV. Hmmm, brilliant.

Digital is not a channel, it’s the business interface that can be amended, grown, shrunk, adapted, designed to be adaptive and fundamentally, in the possession of the customer. Emotion is the only channel left in the world of 360 planning, digital is the gateway – either via production, distribution or design.

Twitter is wonderful for all kinds of social discourse, but under the hood, the genius is in the API model. Talk though Twitter any way you want – use a phone, a desktop client or the web.

Imagining buy anything you want through any form of transaction you want. Not just trade (“I’ll give you three horses for that cow.”) but trade through proxy – where currency is not of issue, but affordance of you’re gesture is valued because it’s reusable by the vendor.

Stay with me, there’s a money shot here, somewhere.

Compare Google, a wealth of functions backed up with some outlandish brute force technology, with the late ‘n’ great Jackson Pollock, a wealth of gestures with a brutal temper.

The value in discourse between an individual and a system is retrieval: recalling what options have been preferable may induce you to think along the lines of AI, or training a system, but what really is becoming, for an agency model, is stimulation of creativity for a client so that it’s a recursive feedback loop. This is in fact intercourse for reproductive, relational, and recreational needs.

Ok, let me come at this at another angle.

You know when you look at a image, that you find appealing, you can say, “It hangs together”. The aesthetics is being converted to a value only you appreciate. Ignoring all the talk from peers and critics, it’s your experience that underwrites the value of the image.

Converting that to currency, or better, to business, is where an agency can get to grips with media integration and client gratification.

The joy of a fine production, is unfortunately in the ego of the producer. An audience does not give a monkeys moment to the joy of the producer. If you ever read about Da Vinci’s Last Supper, you see that the artist will always have the last laugh at the cost of the commissioner and the audience. (Da Vinci knew the painting would collapse if he used Tempera.)

Agencies need to work for the audience, not the client.

There, I’ve said it.

This is not to be confused with how a TV broadcaster seems to pander to an audiences desire for programmes, in the process, shafting the advertising industry, forcing them in to 30sec spots/branded evenings / programmes or events.

An agency must develop relationship working processes with the non-client business market, by doing so, gratification comes from reflecting the ego of the audience whilst delivering work that is loved, respected and enjoyed – an agency that gives to an audience, receives attention from a client.

Now, this may start sounding like Agencies need to be rock/pop/hip-hop stars ‘n’ bands. It’s intentional. The problem is, bands are volatile (Spinal Tap). Agency’s tend to have a turn over of staff (The Fall). Client’s objectives change with the Chairman’s wife taste in soft furnishings…

But that’s all good. Because the audiences kind of interested in who is messing with the band’s soft furnishings or if there is a pillow fight kicking off somewhere.

Agencies, on the whole, are not public facing entities, they’re private clubs for clients ‘steaked’ out in cool venues in hip cities. Night clubs for the day time, refreshments and air conditioning on tap, possibly some designer furniture to ease the pain of spending money on myth making.

Now, before that thought of your agency becoming Radiohead (and buy – you want that I know), let’s have a think about your band members, who’s on drums, bass, lead, rhythm… woah! STOP.

Radiohead are a buch of guys who can play. Just play. They are T-Shaped and they are fuzzy. One prefers drums, the another bass. But they swap when they can sense an oppotunity to try something – so to invent. (Go back up and see the fuzzy link if you’re confused..)

Hands up who would like to see the Head of Client Services to the banner adverts tomorrow?

Hands up who wants to do the book keeping?

Hmm.. see. Tricky.

Multidisciplinary teams are visioned as agency roles – planner, account, designer, producer yadda yadda.. making these roles fuzzy (a designer who can do 3D, motion and loves paper stock) is one thing, but find me a designer who is willing to do / try / be interested in co-ordinating travel logistics and (actually – I’d book that person), I’ll be impressed. Find me 10 and I’ll set up a specialist agency tomorrow…

My point is, diversity of teams can help integration if there is a keeness to trade time with other roles, not faking it, but genuinely migrate skills and interests so that the organisation is well, more like an organism. It’s a way of learning. Like jamming in a band.

Now, client side employees already work like this, it’s how the business gains a richer understanding of it’s abilities = staff are encouraged to take a path through the company – it’s good way to retain value as an employer. Agency side, account handlers may move to planning, planners may move into design, sometimes. This is all good. But an audience will only see the benifit when the organisation begins to create with them in this manner. If you become diverse, you will become more open. If you don’t then you’ve misunderstood why you’re in a creative environment.

An audience wants to relate to people, not roles (Britney, Madonna, Vanilla Ice, George Bush) – people who demonstrate a love in being a part of something that evolves. Something substainable so that they can invest their time | attention | money into.

Just as you may read Campaign or Advertising Age, the movers and shakers that move from agency to agency – this is you investing time into your industry. You are building an industry out of attention, not work.

Gratification scales too, it’s a system that you can keep adding to; sometimes bit’s fall off, but it scales. Integration is something that requires no attention when it works – the desire for intergration is the warning call of systems failing to scale.

As advertising disintegrates into marketing which is in turn poisoned and/or digested by culture, we will see the job dissatisfaction of producing for what seems like an ungrateful audience evolve into the stasis of performance – a mode of practitioning that works neither from script nor from rehearsal, improv nor applause, but necessity of creation.

Whilst we live through this open-use software induced transition of production, look around at how your colleagues interact with each other, how the communication of daily agency life is centric to, and it really should be this order, else you’re nuts: the work, the client relationships, the team.

We’re facing a transition towards : the audience, the client relationship, the work.

What happened to loving the team? Who said they were keepers? Teams need to wander from shop to shop. The role of agency is to be part of the audience, not part of the client’s team. It’s access to the audience that you will be charging for, not the productions.

So you see, the team, the people around you, need to be polyworkers, not just for their sanity, but for the relationship with the audience to become rich and meaningful.

As client-side has more and more taken over the business of market insight, looking and crunching the numbers, reviewing ‘segmentation’, the role of agency is to perform to these numbers – but in the persuit of client love the agency model has begun to drift away from the audience – and the work in hand.

Does this help the role of ‘commercial’ communications? Does this help bring “Brand and Consumer Together?” Does this help the audience?

The work is relationships with an audience; making stuff for them is just the easy way to do this.

And so on to the punch line.

The business models of supply and demand are influenced by the same mechanisms the agency uses to convey, construct and cash in on.

Digitalness is meddling with the notion that product is the transactional inducer for profit.

Microsoft don’t make product, they assemble code. As does Google, as does Proctor and Gamble as does any corporation, SME and individual. As this becomes more and more loosely coupled, we’ll see the shibboleth materialise as a currency devoid of form. Data is without form. Data is open for connectivity.

We’ve watched the collapse of the publishing businesses with no great surprises other than the likes of Radiohead, Prince, Madonna and those guys teaming up with Bacardi, invent what is for sale. Exposure. Ambient Exposure. Voyeurism. It’s a game of two halves.

Rock stars acting like an agency for brands to connect with consumers.

They’re just doing their thing without the brand sponsor making minute by minute demands. Owning an artist is a frightening business – ask Sony BMG about George Michael – so brand sponsorship is handled, not with radioactive gloves, but an understanding that the messy business of making creativity is best left to those who love their art.

But the product is not important in any of this. Data supporting the business model, more precisely, the ingredients of data, are the valuable assets within this equation.

CRM is a toe curling concept – not that it is about harvesting email addresses (with permission) but that the concept of data is so poor. Of course a marketing department wants to know as much about you as possible, but CRM will always give a poor approximation – no one hands over habitual data without cringing. Even Nectar card holders.

But, ask the audience(s) if they would like free goods in exchange for their social graph data, and the game becomes interesting. At present you see Facebook, crunching your social graph data as you use it’s people management applications – sucking out all the little nuances about you life as it’s defined by context of your ‘friends’. Imagine a manufacturer doing this. Can you imagine a product developer migrating their business from product to data?

Any organisation, with trust, that has the richest data and uses it to create new, disposable, fragile markets will dominate the consumer/producer lifestyle. Choice within choice becomes infinitely possible when audience participation of product (the transaction receipt – not the economic shibboleth) is the conversation.

Digital is about grooming data – sifting, expanding, performing and refining, the relationships between things in abstractions that defy the premise of spoken/written languages. Invention is within the patterns of existing human activity, the market is the catalyst induced by the audiences request for bespoke productions.

It’s an investment in ego. The participants ego. The sponsor must be modest to be loved.

This leaves the (digital) agency in a curious position – are they to be production centric or performers – their attantion spent on creating or extracting value from audience engagement?

When publishing was backed by advertsing, strict controls were placed to prevent distribution of exclusivity. When the publisher model is replaced by a brand, the business of piracy is the finest way to spread the message.

Excitement must be fluid. Mess is Lore.

If anything, it confirms the notion of integration within the agency context as not a skill based concern, but as a audience based concern – how does an agency operate like a ‘new media’ platform?

Look at Mahalo as a model of this. Pure Splogging mind you, but beautifully riding the Google engines.

Look at the Human Genome Project. Every breath you take, we’ll be watching you.

Look at Top Up Travel Cards. It’s a loan system for the city plus you hand over your travel data – for free!

Agency, will be creative for the remit of a sponsor. Agency, will be loved by an audience. Agency, will be staffed by those who insist on the last word on creativity. Agency will be the gratification of disintegration.

Integration is the speed bump of social realism in the transition from producers to artists.

Ask a Rockstar. Or better, just play with them.

Update. Just spotted this article via Digg. [Link to original article]

When “Grand Theft Auto IV” launches April 29, it’s expected to gross a record-breaking $400 million worldwide in its first week. That’s good news for the game biz, but daunting for execs in other sectors of the media industry.

Last summer, “Pirates of the Caribbean 3″ broke all box office records, with a $404 million worldwide haul in its first six days, roughly the same amount expected for “GTA IV.”

Image Credits

Hot Coffee Mod for GrandTheftAuto: San Andreas

http://patrickw.gtagames.nl/

Video of the Mod in action

http://www.gtasanandreas.net/news/single.php?id=1469

Identify and promote the anomaly.

(If you have a fever and need more cowbell, the original dosage is here)

If you have to work with a FatBoySlim tack, make the most of it.

Question authority.

Be your designs.

Write to the beat.

Reviewers are useless and dangerous.

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

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.

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.

Design for mobility, not for Mobiles.

Design is Everything divided by Something.

Design by blending, not by positioning.

If it Doesn’t Kill Ya

January 5, 2008

Adbusters have always had this problem. Brands love criticism – all publicity is good publicity – and parody is the highest form of flattery.

Artist, Steve Lambert, teamed up with EyeBeam in NYC, to hijack and close all 85 of the Manhatten McDonalds restaurants – See above. There’s a video of the performance below.

The project ‘Ronald’s Crisis’ is lovely example on how to hack social concerns, but the target needs to be understood. Brands are not people – people have feelings.

Steve has a great ‘artists’ statement on his website:-

For me, art is a bridge that connects uncommon, idealistic, or even radical ideas with everyday life. I carefully craft various conditions where I can discuss these ideas with people and have a mutually meaningful exchange. Often this means working collaboratively with the audience, bringing them into the process or even having them physically complete the work.

Spoken like a true marketing man.

The thing is that McDonalds Restaurants are franchises – someone has to pay to run a McDonalds store. If you want to influence the Brand, appeal to the guy who is trying to make a living from being part of a chain. Attacking a franchise means that some guy/gal is having his income damaged – and that get’s personal – really personal – we all have bills.

This guy/gal is also in no position to change the menu, they have less influence than the customers. If anything the store owner is going tobe more resilient to negative feedback, it’ll make him/her stronger – more wary, more defensive.

Sarah Nelson Wright has done a smart write up here.

Because the project is in the street, in the environment we live in, and it transforms that environment, it impacts us differently than, say, reading an article that tells me McDonald’s is bad (which, according to Steve, we all already know). It intervenes at the moment of the behavior, collapsing the distance between our theoretical lives and the lives we actually live. Because the story is so dynamic and unusual, it lingers in our thoughts: it visits me as I shop at another corporate outlet; I tell the story to people I like to amuse. Interestingly, Steve said that his biggest audience is not the people in the street; it’s the people who read about the event on the internet.

I think this is really interesting – how you can use point-of-sale as experiencial that is worth sharing through correspondance, blogs, etc. The media from the performance is the catalyst for awareness; repackage the age old message (junk food is bad for your daily diet) with a thread of the brand’s DNA and see what can be spawned. If you’re going to hack a brand, then you need to create siblings that will grow. Don’t be the Dr. Frankenstein, be Chance the Gardener.

But the efforts of the project could have been better used if the activist participants consider sending the franachise owners a list of alternative, more profitable, careers. Do we expect McDonalds to revise their entire supply chain and thus business and ultimately Brand, to deliver something else? It’s easier to start a new enterprise rather than rework the values of an existing chain business.

At least, give advice to the staff that run the counters and fryers. If McDondalds cant staff the restaurant because there are better things to do, then they cant operate the store…

Or make the last day of the month “McDonalds Day”; give everyone the focus to go to MacDonald’s on a specific day of the month, leaving them to choose something else for the other 30 days of the month. Super Sizing the issue doesn’t give people the mental space to block out the problem, instead, it raises awareness that ‘treat-yourself food’ is available all the time. Think about how this would effect the price and supply chain of a fast-food franchise business..

To hack Friedrich Nietzsche warning,

Battle not with clown,
lest ye become a clown,
and if you gaze into the makeup,
the makeup gazes into you.

A Cup of Bricks

January 4, 2008

If you haven’t watch ’2 girls and a cup’, then don’t.

If you have, you know you wish you hadn’t.

There’s a whole series of video responses to that video and they show something really good. Media lubricates conversation; it produces a shared moment. We love to spectate another persons response to the unpalatable because a truth reveals itself in the moment of realisation. And these are rare moments.

We used have the water cooler moment when TV was great. Now there is Facebook trying to make every moment a water cooler moment. But it doesn’t. The noise to value ratio is far far too low to retain attention. And why didn’t the applications retain interest? Because they lack depth of affordance due to the paltry information that all users supply about themselves. FB came out of closed beta status far too early to ensure longevity.

Media, episodes, any motion graphics need not be series based now that TV has lost a temporal audience. Timeshifting has broken the habit of watching without intent. Media producers have lost the confidence to make a point; instead aesthetics (post production) is the cliff hanger than destroys the reason for a narrative.

Allegory fell out of art when the minimalists explored formalism; audiences, mass audiences, still stare at Carl Andres ‘Equivalent VIII‘ with horror, in so much that they fail to realise that meaning is something that has been so tightly spun as a moral.

Equally, audiences appreciation of mastery, comes of concern to any media producer. From film to software, what has come of the mastery of manufacturing?

american-gangster.jpg

I watched American Gangster the other evening – a production of the highest values as one would expect from Ridley Scott, but the story? Based upon the ‘true strory’ of Frank Lucas, we follow 2 narratives obviously needing to collide. The tale of the honest, but domestically troubled detective and the tale of Lucas, his rise in wealth, capture and ultimately grass on every bent copper in the NYC drugs divisions.

Both come out heroes and the moral vanishes into a plume of heroin smoke.

The first weekend’s box office takings were around $46m. Lucas was reported making $1m a day from ‘Blue Magic’ back in 1970. The profits from moral-less activities go undetected when the lure of aesthetics is promised but without the gloss an audience demand meaning.

Why is this so?

I think it’s because we don’t know the ‘form of truth’, because the values of truth are always migrating away from experience. No one can handle the truth because we want the truth to belong to a notion of ‘Other‘, located across the way in a greener field.

Religion has used the notion of truth to gain a following; centering belief structures within folk allegories. Unfortunately, this power has been duplicated in mass communications. Truth and Sex are equivalents when stripped of any aesthetics – and so our psychological drugs need dressing to bring acceptability to our morals.

Like ‘Blue Magic’, we rate purity higher than a hybrid cocktail. Just like in the movie, Lucas bitches about one of his dealers cutting his ‘pure’ brand with impurities, comparing it to Trademark infringement. You can catch part of the scene at the end of Jay-Z’s inspired track..

You may have spotted the Hirst spin painting behind da man. It’s of no surprise – Hirst’s life’s work celebrates this connection between man’s beliefs and ultimate reality. His aestheticisation of aesthetics, making the palatable digestible; when parodied, it becomes a numbing truth.

I still cant find the answer to why the gloss of aesthetics is so needed; why do we as creatures of such diverse communications require stimulants? As creatures of activity, they make even less sense. Perhaps we cant consume, use or value without pedagogical fears. What could be worse than that?

Frail Nets

January 3, 2008

The problems with social networks is that it’s full of young people – and young people don’t die frequently – not like old people.

You see, networks are only strong when they rely on the ability to collapse between nodes. The Internet works this way – it’s always looking to optimise when failure in the system occurs. That’s what ARPANET required. The public internet took this resilience as a good thing. It’s good for uptime, but not good, for human meaning.

Frail Nets are the key to sustainability. Look at the human species – we continue to exist and evolve (slowly) because of the lifespan that the DNA has clocked us for. Evolution, and thus, social relations would be impossible if we all lived for 200 years – our societal habits would not require the cramming of knowledge – time would appear differently – frequency would be lower for communication needs.

I was pulled into a non-work conversation about establishing a Social Network for retired executives – you know, money and time rich, lonely, and devoid of the powers when they had an office. The plan was more a subscription service than a free social network (I pointed out this flaw, especially after being asked to invest in the idea – with cash, mind you!) but I didn’t receive a great piece of insight.


(Click for a bigger version of this great FB parody)

When you retired, say 55, you lose your daily contact with people – colleagues, dining friends, commuters etc. This is psychologically breaking, especially if you have maintained DEO status for many years.

What someone of this this stature, and probably, anyone of this age, retired, needs is a minimum of 16 ‘friends’. These people should be your regular contact with the world at large, your source of deep personal emotion – people you can confide in.

But at this age, natural death, looms. Your 16 will not be here forever, thus you get a rotation, a refresh of your 16, making the network stronger, richer, more meaningful. For humans, Networks need invigoration. Likethe current play of Facebook – it’s interest is begining to dry up because it’s possibilities are becoming exhausted – to poke or not to poke is a dumb ass question because poking meant nothing in the first place.

Yochai Benkler’s Wealth of Networks is a hefty read, an introduction to Network Values, and is free to download here. But the book is a much easier thing to handle – the page count is enormous. (He should have done it on a wiki. He has!) But as far as I can find – I’ve not read the whole thing – he doesn’t mention the strength of Network failure, nor the curse of Network Fatigue – the staleness that occurs when the network has no needs.

VC money is dependant on locking in users, at least, retaining them with editorial – may this been peer appreciation or media files – but regardless, the funding model – namely – an exit strategy from critical mass and acquistion from a needy/threatened business (Google/Microsoft/Yahoo!) – corrupts the Networks modal intent – that is – failure is good for the system.

Failing Faster is a good motif for agile productions, but an agile network produces huge amounts of value as different people use the system for different reasons, and thus old uses die, new uses are born. That’s why protocols are interesting. HTTP and TCP/IP are good examples – they are passing new formats of data collections because developers are creating, evolving new needs from the affordance of the design.

Humans are, basically, data packets, on social networks – producing vectors of relationship, and inturn, momentarily becoming themselves On-Line nodes. This means that an identity is constructed, which we believe to be representational of out On-Land identities. The fact that Facebook hates fictional characterson their Platforms is based upon non-inertial nodes that collapse the data exchanges that stablise their network.

But lets take this another way. Let’s look at old age as a form of data encryption. Time encodes our feelings, thoughts and knowledge by folding in influences. The theory that you are not the same molecular person you were when you were a 5 year old is chilling to most people. Over a 20 year period, most, if not all, of your molecules have been replaced with new ones. You are being cooked by time.

This syncronisty between us all is damaging to social networks, there becomes very little in the point of difference at a human level. Our thoughts and interests may give shades of difference, but there is no real value between avatars. But, it is this micro variation that is of value to technologists, because this smallness can be measured, valued and predicted, creating a baseline of prediction, which can be bet against.

Mark Wallinger, winner of the 2007 Turner Prize, tackled Nationality, Regality and Identity in the mid 90′s using the theme of horse racing. His interest in the populations interest in thorough breds drives home the uneasiness of our own self’s ability not to fundamentally change, just wither.

Whilst the value of social nets are speculated in the arena of web2.0, the techno-regal-proprietors are looking at which individual will be the next horse into the Knacker’s yard. Technologists look for the point of failure on everything they do; with social nets, the user is the weakest link.

Wallinger’s work, Sleeper, submitted for the Turner Prize persists with the themes, but curiously, close to the problem with have with social networks, namely, the evolution of identity through storytelling.

A film of a performance in which, over a period of 10 nights, he dressed in a bear suit and wandered aimlessly around an art gallery in Berlin, startling unsuspecting passers-by.

The video of him talking about it is here.

And here’s Bowie in 2003 aged 57 talking to Parkinson (with Posh Spice and Clive Anderson) about the years galloping away with him.

Compare Rock n Roll to Social Networks. You’ll begin to ask what is staged and what is the stage.

And here’s young Bowie trying to get a social group together. If only he had Facebook back then…

Social Networks requires, no, demands, the participants have to be actors in the widest sense. It’s the basis to software modeling. I think this is the basis for the next generation of media production – social networks will become the foundation of storytelling – not with peoples lives, but with the roles that people wish to experience. Age will be a huge informer to the roles, and thus, our human timescales become in-sync with how we model the (software) tools we need to remain connected, entertained and perform within our lives.

You have to perform to live. Now tell me about User Generated Content.

Art is code. So when Nick compiled a list of his top 10 programmers, mainly based around game deveopment, he raised the issue about why great coders are aspiring.

For me, a good coder is like an artists who aspires towards a career in art. The paycheck for ‘production’ becomes their foundation. They shift cliched objects around a virtual space, solving problems based on to them – may they be client change requests, a project managers fuckwit shortcut to deliver or another lazy attempt to entertain the user.

For me, Ward Cunningham, is possible one of the most valuable coding minds we have seen. Ward infamously invented the Wiki model back in 1995 through a need to be self organised but (being lazy) without wishing to do the heavy lifting himself – instead he ‘saw’ the ability of a community to do they organising – aka Crowdsourcing.

This pulls him in-line with Paul Graham, author of Hackers and Painters.

Ward, like Paul, are artists who play with Language. Like, my hero, Lawrence Weiner. Here we are at the opening of his first Retrospective: As Far as the Eye Can See at the Whitney in November this year.

Lawrence’s ‘art’ defined the opening of conceptual art. Alongside Daniel Buren, they helped creativity manifest itself as the play within language; a play that sought to overcome the burden of meaning – eroding time into an object, usable to dissolve language’s grasp of context.

Here’s a nice statement from Lawrence, that I swiped from http://www.personalstructures.org, here.

When we speak of time, especially since so much art since, I can almost say, since Mondrian, is involved with the passage of time – not the reflection of time, but the passage of time, reflections of times or nostalgia at present. And that’s all we have in our lives. Time is relative to expectations, and it’s based upon the real-time needs to fulfill those expectations. We have no other means of judging the value of time. Essentially, to be really vulgar, it can’t be about lifetime, it can’t be about lifespan. It’s the same problem that all artists have. We all make movies, and yet, a movie is the great imposition on another human being, because it asks them to give up their real time. Your real time is making a movie. I don’t know if their real time is watching a movie, because it’s an imposition of time.

Necessity may have been the mother of invention for many, but the harsh reality is that it is idle meddling that attempts to make a problem out of nothing which leads to invention, understanding and ultimately language regression.

This meddling leaves seeds of curiosity for us all to pick over, accidental hybrid, trade and profit from. Stuff is built not by design, but by constructing problems that arrest us.

Haacke is for me, is the artist that has taken the operations of ‘conceptual art’ and successfully hacked the MarComms businesses, politically and aesthetically. His installation at Der Bevoelkerung stands testament to this. (If someone knows an English transaltion to this project online – please let me know.)

This is why I think the consensus of architecture is flawed. Design-to-build removes the participation of creation that is essential to the constructs future affordances. Imperial casts of iconic skyline buildings shadow the genius of ‘squatting‘.

The best programmers, like artists, seek to unlearn. That’s how they build inventions. Innovation is something we can live without, it has no use value. Only the doing of thinking constructs. The Thinking of Doing collapses the use value.

Why I’m still in awe of Ward Cunningham, well, he’s still playing. Last year, the Graffiti Research Lab drop kicked in the LED Throwie. Ward has hacked this concept with the Talkie Throwie. By programming the LED with Morse Messages, the Throwies now talk. In turn, the race is on to build video recognition applications that LISTEN to the messages.

Forget HD TV, forget AI, forget meaning. Let objects ‘talk, listen and build.’ They ‘mean’ nothing to each other, yet inspire us to react, redo and rediscover. Language is a stepping stone, not a destination. Have a look at “Les Deux Plateaux” by Buren, for example.

Working for a design company, my comments about using design to find the problem are usually met with a sharp in take of breath, at best. Designers, on the whole, have a fixation with makig stuff look and act great, nah, brilliant-fantastic-charming-clear.

BUT, we live in a world where design has to be used to enclose the audience, to help them find a space to occupy, NOT try to satisfy them with aesthetics du jour.

Apple, a design company that uses technology well, is possibly the biggest culprit in closing down progression in the use of aesthetics. Sure the products have charm, I picked up an iTouch recently – it’s a genius product, but it doesn’t need the Appleness for it do it’s job. If anything Aqua and Web2.0 screen furniture are failed languages, they’ve prevented a evolution where Useful (User) Experiences should have diversified and spawned languages; instead we are left with cliches. Interface design should not suffer the same inadequacies of architecture that induce the Stenna chairlift need.

Ben and Karsten are the smart practioners of design. Ben’s Hackable Aesthetics for Interesting2007 are about reuse values within existing cultures as a platform for innovation.

Whilst Karsten is playing between software (Processing) and hardware (Arduino). As a designer, the tool set is never essential, it’s the consideration is expanded when your tools have a broad affordance.

But for both to operate like this, the Ingredients of Data, have to be understood. Artists have always understood their material, from marble (Michangelo) to language (Weiner); today, in the realm of Being Digital, understanding how data is constructed has to be the basis to any designer/artist/creative.

It may seem dull, but understanding how a carrot grows is essential to a farmer. Understanding how Photoshop works is not necessary to use it, but to get the best from the system-as-application, knowing more about the under lying code is more important than understanding complementary colours. That’s why Rob’s Minara is such a smart way to think about the relationship between design and software.

But non of this is of any value unless you wrap in the role of the user/audience/participator. The viewer has a role in a designers work – they are the interpreter – regardless of what ‘message’ you are trying to send. The User centricity of User Experience, covered in length by Armano, has resulted in some pretty lame executions – any web2.0 application that claims to do one thing well, has sucked in 37signals ‘Getting Real’ manifesto. The reality is that no one wants a singular experience, like Photoshop or Illustrator. The ‘I Want to Be Alone’ singualrity of the creative is way past being useful – like Twitter, designers must have Peer Appreciation. By this I mean that conversation between likeminded, non-likeminded and the resulting audience must be in the pre-production, production and the execution.

As soon as designers can get out of the Ivory Tower and get with the participation that has made their technology based tools possible, then we might just get an industry that is more interested in find the real problems for creativity- and I think it’s based in Error Handling.

Ward Cunningham’s thinking evolved Pattern Language.

A pattern language is a structured method of describing good design practices within a field of expertise. It is characterized by

  1. Noticing and naming the common problems in a field of interest,
  2. Describing the key characteristics of effective solutions for meeting some stated goal,
  3. Helping the designer move from problem to problem in a logical way, and
  4. Allowing for many different paths through the design process.

Think about his Throwie Talkies, think about the mentality of design that encourages Stateless Communications, and then remember the Gorilla Advert. Think how utility can become fun – fun as in learning – education through creation.

None of these modal approaches to design were borne out of necessity – they were evolutions from seeds of boredom. Programmers, like artists, like some designers, hate the thought and practice of spending their time producing the mundane. If they don’t mind – you should question the people on your team – and juniors who do the ‘grunt’ work should consider getting the hell out of there.

Laziness is the vision of the apathetic creative upon the inventions that are being played out by the beleaguered designer.

Architecting, designing, creating, erm, even planning, needs to be used to find problems, not solve them. In return the final product will be as interesting to the audience as it was to you.

I think I’m trying to nudge over Johnny’s Branded Utility concept, as Russell notes, It’s just Utility, and that’s agreeable a bit dull. Schutz and Webb are having a good play around with this too. But for me, as soon as the object-as-utility is defined by it’s use, it’s polydimensionality collapses and so does it’s longevity. Equally, the age old question ofwhat is ‘Brand Experience’, which for me is a simulation of a Brand, and really needs to step up to accountable transactions to be allowed to have the word Brand anywhere near any notion of Experience.

And it’s a bit too easy to point at Twitter and state it’s the way forward. It does have a superb mentality towards poly-dimensionality, but what makes it so? Evan and Biz knew, after Blogger, that the audiences interests were the operating system, and the technology just has to do the heavy lifting between them. It’s the Solow rule of ecconomics. What needs to be examined is the process of design for problem excalvation that’s benificial to the participants.

So, I want to recap on what I think the ‘user pathway’ translates to as a design, production and delivery process.

Previously, I explained that I see a user experience in 4 stages:-

1. Inspiration: Attract the User
2. Aspiration: Get the user to ask what they want
3. Insight: Deliever the request
4. Acquisition: Participate in a trade for the request

Mapping on some of the ideas above, I think the process for the ‘producers’ looks like this:-

1. Inspiration : Peer Appreciation
2. Aspiration: Hackable Aesthetics
3. Insight: Ingredients of Data
4. Acquistion: Useful Experiences

I’m still thinking this through; it’s being written on the wiki, so when I have a better idea about all this, I’ll update in another post.

If I can get this right, I think it’s the key to defining a model for Accountable Transactions for Engagement.

My Favourite Year

December 31, 2007

2007 was superb, not excellent, but superb.

As we close up this calendar, predictions and reviews gather anxiety and hope, I’m dwelling on what next year will relinquish.

Resolutions for the next 12 months are pointless when your focus is on the next 5 minutes, being agile affords the greatest creativity, yet I’m drawn to thinking that so much has been overlooked from this years endeavours. Im planning longer term now, much longer than the year ahead.

I ceased to write here after the launch of the Joneses; quietly I watch as the project unfolded across peoples interests in media rights and production. It’s been fascinating to be able to finally accurately gauge the knowledge about what creativity and production means to marketing, broadcast and technology industries. It’s shamefully low – you know that, yet so little is done to raise the bar.

Possibly because so many people working in these fields are doing it for reasons outside the interest in creativity; many believe they are creative, some are exceptionally divine in producing thoughts, texts, images, code and motion. But so few are within the businesses to learn, to study creativity and boldly move the locus of being creative. Why? Because it’s been so long since we experienced a fundamental change in WHY we make things. Equally, we ignore the restrictions of freedom and play quietly awaiting a pay check. Art in the Age of Network Ubiquities has yet to be written. It’s on my to-do list.

I’m looking forward to the 2nd of January; I looking forward to opening up much of this years learnings, explain how the future can be far more interesting when creativity seeps between industries, aligning production, design and distribution around the users of systems. The opportunity to make useful things that are built upon Common Rights instead of laboured inventions siloing Common Intent.

2007 was possibly my most favourite year because I made something that needed to be made – The Joneses. I gave away huge amounts of business concepts and was rewarded by some of the most interesting conversations I have ever had. In turn, this has become the bedrock to the next series of projects based around Media Clouds.

At this time the WGA are striking over being shafted for their creativity – this runs alongside the Marketing Industries futile attempts to produce mass media, meanwhile product development overlooks the basic of human interests, leaving science and engineering without vision, let alone, values that are relational to needs.

2008 will be the year that we’ll see a congealing of creative rationales that attempt to be the basis of creation. Moving away from user-centricity towards non-authorship, utilising shared responses to temporal descision. Digital will advance the need for destablised platforms; Frail Nets will flourish and reward particpation that does not seek measurement nor reward. A purpose to creativity will be bourne from not disactisfaction but from attempts are designing elegant problems.

Thank you everyone. Thank you for sharing your time and your problems.

Yes, we have no bananas.

September 4, 2007

No message. It just makes you smile as if you were eating a bar of sugar chocolate.

For some (accessibility?) reason, they published the transcript. So I added a line. It makes it feel more like Phil had some involvement in the ethos of the project.

We open on purple recording studio wall.
A title appears: A Glass and a Half Full Production.
We start listening to the first sounds of ‘In The Air Tonight’ by Phil Collins.

The camera slowly pans down as we hear the keyboard’s atmospheric intro. When we start listening to the first lyrics we spot a hairy thing in the edge of the frame. As the camera keeps panning, the mysterious figure gets revealed.

We realize that in front of us is a gorilla.It looks calmly to camera. Phil continues singing: ‘I can feel it coming in the air tonight.’

The massive Gorilla stares at us – concentrated.
We are almost sure that he knows we are filming him, but his eyes look through and beyond the lens. ‘I’ve been waiting for this moment for all of my life.’

The gorilla focuses back on the camera. All we see is neck and head . And hair. A fax machine delivers the message “Yes, we have no bananas.”

The camera gently zooms out revealing the Gorilla’s surroundings. We see more of the studio.
And we discover a series of metallic things around him.

We realize that the Gorilla is sitting in front of a massive drum kit. One of those Eighties big kits with loads of things to hit. Loads of tom-toms, hi-hats, double bass drum, etc.

We know that the best drum solo in the whole history of rock – ever – is coming. The Gorilla knows it too.

The Gorilla hits the drums with passion and vigour. Elegance meets power. He’s phenomenal on the drums – feeling every beat.
The camera leaves the ape and his drum kit in the studio.
The screen fades to purple. We see a Cadbury Dairy Milk bar of chocolate appear above the words ‘A Glass and a half full of Joy’

Did you spot it? Did you get the facts?

If Cadburys say: ‘Well it just seemed like the right thing to do. There’s no clever science behind it – it’s just an effort to make you smile, in exactly the same way Cadbury Dairy Milk does.’ then I couldn’t possibly recall my own facts about Phil the Drummer, could I? Nor could I remember Tarzan or any other jungle inhabitants. But they seems to be promising more of the same ‘association’ promos.

I’m evidently thinking about this too much, but I like the desire to make media that fills curiosity time. And curious time is about connecting facts together.

UPDATE (07-Oct-07): I’ve just seen the 5sec version in the Channel4 adbreak of Alien (Movie). 5sec! Ok, this is clear media spend.

Like W+K’s ‘Happiness factory’ work for Coca Cola. (Full respect to team Psyop too. Check out their anthem.)

But there’s something better. This..

But then, as I write this, I spot this…

Oh dear.

The opportunity in advertising, perhaps it’s saviour, is semantic binding. Loose associations that couple with other miscellaneous facts. I’ve been calling this ‘Stateless Marketing’, based upon RESTful services.

Much of my thinking on this, which I might get around to writing about here, is based upon ‘media as a platform’, the relationship between emotions and (social/software) functions and being able to model them for reuse. When you do this, the value is in the act of connectivity, not it’s duration, recall (memory state), proposition, knowledge transfer. If anything, a ROI model becomes the ‘frequency of the connectivity’. Wikipedia does over approximately 1m page serves a minute. Put that in your CPM pipe and smoke it.

When I see (superb) adverts such as Gorilla and Happiness Factory, I see the dynamics of ‘meaning’ dissolve in favour of connectivity that serves a moment of pleasure. Sequencing these, or rather, enabling the viewer-person-user-actor-punter to sequence them together would be ultimately orgasmic.

Media, participatory or not, has to be designed to fit into the overall seduction of the public. It’s a big audience, and you cant please all the people all of the time, but happiness is infectious and envy is a meal best served as humour.

I think there is a lot to be said for inappropiate behaviour. Yeah, the blog post is coming…

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