Using Twitter as a command line (Tw00ts) is something that I’m keen on exploring- there’s a bunch of ideas in notebooks just waiting to be pulled into prototypes – but in the meanwhile here’s an example that I just threw together a couple of weeks ago.

Now, as a command line it’s syntax is pretty complex.

Let’s break it down.

First, it’s a mix of English, with bad grammar, mixed in with machine code, and using a currency which is timestamped.

Second, no license used. Attribution in username

Third, the arguments and methods:-

1. ‘Why’

Initiating the command by invoking a question. This pulls in the attention of the user base, acting as a single central processor funnel, thus maximizing on chances of a responding message.

2. Dont

Spelling mistake, but dropping the unnecessary characters acts as data compression.

start argument with a negative, to a tune to early adopters curiosity

3. we all

Maximise audience

4. just

this is not going to steal loads of time

5. Twitter

no need for www or .com

6. $2

respect to the location of the company

small amount, minor tip, about £1

major currency, easy to convert with twitter timestamp

7. to just

any improvement would be good

8. stable

Stabilizing is the preferred task, we would all guess

9 http://tinyurl.com/5vwnxt

URI, data compressed

Now, using twitter as a command line with such soft parameters, the service would have to be a complex system, superior AI, and capable of setting off a bunch of processes.

Fortunately, Chris Reed picked up the message and processed the command line, in a way pretty much as expected from the syntax. Though in hindsight, I should have appended the command with some extra parameters. More on that in a mo, for now, have a look at the response message.

It’s pretty clear to read, so I can judge that something is about to happen.

And the solution looks simple.

Twitterfund, the actualization of the command line I sent into Twitter, is in itself a curious project. I think it raises so interesting questions.

1. what happens when the community raises money, with or witout strings attached, to better a service and become more attractive then Venture Capitalist’s funds?

2. when running a campaign like this, who should be it’s Guardian’s, or do we really need them if we are all visible on teh interwebs.

3. What if Twitter doesn’t take the money: what do we do with the shared fund? Is it worth using it elsewhere?

4. Will people use the fund?

Chris and I had a couple of emails back and forth before all this was set up. I was keen on TweetCharity as a domain name so that we could use this piece of media.

But using the word Charity opens a another bag of worms.

So TwitterFund was selected.

Next, who owns the paypal account. You know, it’s like who has the ‘God like’ system admin password. I was keen on the hunt of for the most trusted twitter user, suppose it would have ended up with someone like Scobe. But at present Chris is holding the fort on this.

The additional parameters I need to think about compressing into Tw00ts are about tone. What happens when a project using a suite of online tools come together? Chris has Twitter, a blog, a domain name, a paypal account all sync’d. Sweet. Making the components come together, making them sing is another thing. This is now about art direction in 140 characters.

Anyway, let’s see what happens with the fund.

Follow the project’s Twitter feed and send what you think of the project to @fund.

The Failure of Space

January 13, 2008

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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.

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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.

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

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.

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.

The Joneses ‘family’ is growing within it’s audience.

Crazy

June 24, 2007

Sheer brilliant productions are inspired, inspired by the brilliance of technique and collaboration, in turn creating insight into design. When Danger Mouse and Cee-Lo Green collaborated as Gnarls Barkley and released Crazy in 2006 we all stopped to listen and watch the video directed by Robert Hales.

Watch the original here, as Youtube/Gnarls and Co. have stopped embedded sharing for this video.

Laughing Squid posted Randy George of The Ether and Aether Experiment cover of Crazy, highlighting the mastery of the Theremin – an instrument with complete hands off approach to performing music. Here, watch in awe.

The Gnarls Barkley collaboration, the ‘touchlessness’ of Randy’s performance and the many many inspired productions based upon Crazy show the real values in design, production and distribution – that being the ability to learn and build upon what inspires and challenges you.

When I was playing around with Flitter (in the same way as Karsten and Tim had. Do check out their uber mashup screensaver Fotzam) , I was interested in the video synthesis possibilities that were built upon RSS based services.

I wondered if I could take the Flitter experiment and reference the ‘culture of Crazy‘ – so this is what I did: -

First, Googled for the lyrics of Crazy. Not so hard. [Link]

Copied the lyrics into a Google spreadsheet and generated an RSS feed from that. [Link]

Used Feedburner to stablise the RSS feed [Link]

Added the new stable RSS to a cloned Flitter application on Yahoo!Pipes so that I could call Flickr images relating to the lyrics from Crazy. [Link]

Took the Yahoo!Pipes output RSS feed to the VVVV Flitter application and hacked it so that I could get the mirror image/Rorschach effect. Mixed in the elements of this crazy patch to get a sense of space.

Record 5 minutes of live RSS video mixing straight out of VVVV and then using the Microsoft Movie Maker, mixed in the Randy George cover by using DownloadHelper Firefox extension to aquire the Youtube video and then ripping the audio using FLV Extract.

And this is what you get.

No where in the same league as any of the above productions, athough it’s seductive to watch the endlessness of the locally running VVVV client. The client app grabs fresh images in batches of 50 just like Twittervision grabs tweets.

Now, I know using the lyrics and ripping the audio is technically ‘fair use’ as what I’m trying to demonstrate is the possibilities of design, production and distribution that can be achieved through web services by using media that itself is based upon free access. Through association, it’s Semantic Broadcasting. But, as described in the whole process of making my version of Crazy, it’s not straight forward nor is it generally accepted to build upon peoples work. I’m just exploring the possibilities of design, production and distribution. Is that so crazy?

From the ever correct Wikipedia:-

The song’s lyrics, written by Cee-Lo, were inspired by a conversation he and Danger Mouse had in the studio with the instrumental playing on repeat: Danger Mouse was “caught up in thinking that people have to believe you’re crazy to think you’re an artist. After the conversation, Cee-Lo recorded the vocals for the song in just one take.” [Link]

That’s real time improvisation over a foundation of production delivering authentic media. Sweet.

If anyone wants the VVVV patch, leave a message below.

Update: You can grab the patch from here. [Link] . Enjoy.

Where are the Joneses?

June 17, 2007

wherearethejoneses.png

Quietly on Thursday the first audience participation sitcom to use an open licence went live. It’s called “Where are the Joneses?

The synopsis is that Dawn (left) has found out that she is the child of sperm donor and she now has the list of the other 27 siblings who are scattered across Europe. After contacting her new found brother Ian (Right) they begin the search with Jonti, the director filming their journey.

The basis to the project is that it’s a marketing experiment for the Ford Motor Company. Together we have been developing the project for 6 months. Seeing this live is undoubtedly my proudest moment as it’s the form of communication that I left Channel 4 TV to pursue.

The experiment is to embrace the value of networks by using an architecture of audience participation to generate semantic broadcasting. As the actors and their roving production team of 3 explore Europe, they will be posting approx 5 minutes of video daily along with various tweets, image and text posts.

To do this several significant changes to the traditional method of media manufacturing had to occur. First, the use licence had to be correct so that any participation could be freely shared with collaborating communities – so we applied Creative Commons BY-SA 3.0. (For those who follow the Creative Commons project, I bet you’re a little surprised to find Ford being the first global brand to use the licence on a commercial media project. Personally, I’m delighted.)

Second, the project had to be built upon existing web(2.0) services so that we could take the project to an audience rather than drag people into the project. Youtube is being used for video delivery, Flickr for photos, WordPress for the Blog (where the comedy is ‘played out’) and wikidot (where the audience can collaborate with each other, the actors and their production team). Dapper, Yahoo!Pipes, Facebook, various Google Apps, Twitter etc etc are also used to manage data flow and generate material for the actors to work from. If you like, it’s a UGC authentic media comedy based upon RSS feeds generating free open media.

Such factors begins to blur the answer to ‘what is content?’ We invited BabyCow to work with us on this because of their ability to produce the highest quality comedy and evolve characters. Their team is headed up by Henry Normal (Steve Coogan’s writer and business partner) and Ali MacPhail (Who was the exec producer on productions such as Nighty Night and The Mighty Boosh). They have helped significantly in demonstrating that media can be produced for both entertainment and marketing, outside the normal broadcasting channels and platforms.

By working with a classic TV production company to create marketing that is based upon the audiences input is the opportunity to give the audience the entertainment they ask for. We are encouraging the audience to take part in the project in any way they wish to. Write scripts, design characters, recommend locations across Europe and if you want to, you can be in the production as a character – you may wish to become a Jones yourself. You can also take the media and ideas and use them for you own benifit.

I will post more about this remarkable project over the next few week as we watch it mutate. For now, I really want to praise my employer Imagination and the inhouse team for getting their head around this production, Rob Myers for the original conversation back in Nov 2005 and the continuous remarkable insights into new forms of media production, Loca Records for the music (licenced under BY-SA too) and of course Claire and Richard from Ford of Europe who championed The Joneses from day zero. In my book they are currently the most pioneering clients in marketing today.

I’ll leave you with the first episode of the project. (Don’t forget to subscribe to the RSS feed off the blog). I hope you enjoy the forthcoming 12 weeks of this project – lets see if it goes further than that.

Them who make me[me] do

June 11, 2007

So I’ve been tagged by the Punk Planner as one of these.

Right. So now I have to point and confess to 5 blogs that make me pause, scratch and sniff think.

Pink Air (Jeffre Jackson)
Because the agenda is always cloaked by the rhetoric of reason.

Rob Myers (Rob Myers)
Because of the relentless simmering of free culture.

Architectures of Control (Dan Lockton)
Because of the dedication given to liberating freedom from the design of engagement.

Data is Nature (Paul Prudence)
Because no one else finds the best visual algorithmic works than he.

Imagineering (Kristin Posehn)
Because of the constant reminding of looking over seeing. (And I miss her.)

Now, if Technorati want to think I’m a linkfarm for participating in this, gawd knows what they think of the daily del.icio.us links. It’s my blog and I’ll zero influence if I wanna.

Thanks Charles, that was actually fun and made me pause, scratch and sniff.

Update. 19.07.07

I forgot about Zeus Jones. Doh.
Because they are like a brother: so close yet so far away. Connected, but so elusive. Friendly, yet masterful.

myspace = ghetto
facebook = mall (shopping centre)
blogs = suburbia
facebook = bikesheds
digg = bus stop
google = neighbours fence
twitter = down the pub
linkedin = clubhouse
delicious = Garden allotment
secondlife = Anywhere, whilst drunk
WoW = Scifi Rugby
youtube = hairdressers
Bebo = village hall on a friday night
skype = telephone
AIM = water cooler

internet = salad bar

Really, where is disruption in our lives with online services? Where is the innovation? Where is the remarkable?

That’s the problem with pluralism and convergence. Exponential shifts are harder to see when network values modulate each other, defining each others identity.

As code and interaction increase each others ubiquity, you begin to develop perceptions of engagement; this maybe physical, mental or social.

As software negotiates with interaction, metaphor language assists in lowering access to entry. Inversely, how do social normals inform software development? This constant invariance, the basis to asymmetrical communications, is under the command of user experience and user interface ‘architects’. Both design by committee and design by author has been replaced by design by beta. But, the role of mediator (nee editor) holds the responsibility of social Velcro.

If we’re encouraged to rewire the web, we will fall prey to simulacra. Optimising for happiness is not a technology solution, nor is it editorial. Working with the flaws in communication, engagement and interaction makes life richer.

So consider changing some of your habits and watch how the software adapts.

I thought I’d post about a system that I’ve been using and evolving, basically, to get some feedback from you lovely readers.

As business requests come thick and fast for online projects I’ve needed to formulate a way to match clients needs with users needs. Too many times I get the request that a client wants x, y and z to appear on their website and had to explain the people using the site (customers and potential customers) are the ones who should be asked what they need from the site. It’s the transferal of image based thinking of the old school marketing minds to the knowledge based economy of the nu wave tinterweb school of communications. (Nod to John Grant.)

It’ll be of value if you look at the Creation Plane too, as the number one rule is putting the user at the centre of the experience, not the project sponsor.

The next step, like any good planner will confess, is that the proposition needs a narrative. Under the terms of interactive media, narratives are non-linear, there for you can use the ‘beginning, middle and end’ scope of a movie. For interactive design, pathways are a better concept than narratives, as we want the user to find their way through the work, using the media as they see fit in order for them to achieve their goal. Remember, folks are coming to your website in their terms, not yours. Consumerscapes and demographics are all very well for editorial tone, but they are friggin’ useless when you have no idea what they want from editorial (The times I’ve ransacked Flickr for visual metaphors stands testament to this point.) And users want to engage; use your media, add to your media, participate in your media. Broadcast media fails here but interactive excels if you get it right.

If the user comes to your website to achieve a goal, and you don’t deliver, don’t expect a return visit. Websites are software, emotional data that must be useful, not just entertaining. Software is for repeatability not a single fleeting exchange.

So, we have, what I call, The 4 Humble Demands (of the Prosumer) . The Buddhists and medically inclined might twitch at this point. The title is ripped from Buddhas teachings: The Four Noble Truths (the eight fold pathways don’t factor here, in fact I think they are a bit of red herring in the teachings, but that’s another story).

The Four Noble Truths are:

1. Identify Suffering
2. Understand the cause of the suffering
3. Identifying the cure to the suffering
4. Applying the cure

Many western medical councils use the same 4 steps in diagnosis, prognosis, cure and treatment.

The Four Humble Demands draws attention to the participation of the audience to the service provider, that is, identifying the physiological stages in a user pathway to achieve their goal – whatever it may be. So, I call the four stages:

1. Inspiration
2. Aspiration
3. Insight
4. Acquisition

Let me explain.

Inspiration

You need to attract the user to your service, and once they have discovered you, how are you making yourself and your message attractive. The user needs to admit, “this is looking like this place can help me.” Which is all very well, but if you are addressing an infinite consumerscape, you need to help them refine their questions/quest so that you can help them achieve their goal. This is where Aspiration comes in.

Aspiration

You need to ask the user what they are looking for. Now, most websites have a navigation system that ‘guides’ the user in the right direction. An information architect will convert business requirements to navigation elements, may they be global, secondary or page local. Which is fine to a point. But what you should be thinking is what functions help the user ask the question. Search is fine, but retrieval is a better way to think about it. If you understand the semantic web, then you’ll understand why tag clouds are so brilliant. Because they get the user to the Insight phase fast. This is ‘editoral as navigation.’

Insight

Now, as much as I love Jaffe point about insight, I use the word to identify the stuff the user is after, that is editorial. This could be interactive, this could be text, images video, code. It’s the stuff they came to your site for. The better, more useful it is (and that includes being able to use it – and that means using an open licence.) If they can use it, they have achieved a goal. If your audience at this point has a lovely warm fuzzy feeling, a sensation of achievement, you’ve set yourself up for the payoff, that is Acquisition.

Acquisition

So your site visitor has got what they came for. It was quick, easy and fulfilling. Congrats to you pal. But before they go and all you have is some site stats of their visit (w00t!) and possibly some free marketing when they use an image of yours (which has been offered under an open licence), I’d guess you’ll either be a little smug (erm, myopic) or underwhelmed because you have’t sold them your best thingy. What you have to achieve is this transaction. Maybe not today, maybe not tomorrow, but soon.

At the very least you need to get the user to work with you in spreading the idea of your service. If they’re ones listening, then they are the ones who will spread the word. Social bookmarking, ‘send 2 a friend’, subscribe to updates. All these functions can be introduced at this point.

Either way – if you have helped them find what they are after, in their terms of engagement, then they are more likely to come back and purchase your ‘wonder product’.

Further, you can make the Acquisition phase become the driving force behind the project’s ecosystem. If your website users are in a mode of co-creation, or at least rating and promoting editorial, this can influence the navigational elements (remember, your editorial is their navigation). Work with your audience, understand their outputs and make them your inputs. Together, your media becomes more relevant to their network.

The Eightfold pathways, if you felt I’m being a little dismissive about Buddha’s elaboration of ‘treatment’ is aligned to functions of Acquisition. The various emotive frameworks of functions dont seem to fit his original manifesto, mainly because of the ‘righteousness’ of the declaration. I think dictating what righteousness is a little overbearing. In principle, yes, ‘be nice’, but I don’t want to be told what is nice and what isn’t. One man’s niceness is another man’s nagging.

So when you’re planning your interactive work, cross reference your content verticals (about us, what we do, who we do it for, why we do it yadda yadda) with these four stages. Then you’ll see where to drop in functions to pages and when not to. You’ll also see the range of functions you need across the site, thus optimising your production schedule.

If you haven’t read TIGS’ Transmedia planning, you might want to after this. The Four Humble Demands is not restrained to online digital communications. If you want to play nicely with the audience, you need them to feel they can take from you.

Happy to elaborate on any of the above, just let me know in the comments section below.

Taxing Sparks

November 27, 2006

“The value of the image depends upon the beauty of the spark obtained; it is, consequently, a function of the difference of potential between the two conductors.”

Adam’s been promoting creativity and surealism again, this time at an Internet People event. Roving digitali Jemima Kiss has the write up here. Adam (aka the ArkAngel) has left some further insights into his vision of the creative process in the comments section.

un-chien-andalou_montage.jpg

Adam continues: “The strength of an image or an idea is largely dependent on the potential between two disparate things that you bring together. The further apart they are, if you can make that creative spark leap between them, the stronger the thing you come up with.”

Which nobody can disagree with; it’s how the juxtaposition occurs that matters. The evening seemed to ask where the creativity resides in the UK, especially initiatives such as start ups, webby ones specifically AND if the US is ‘more fruitful’ than Europe. Sigh..

It seems that the desire to make money talk and the BS walk is still the moniker of media commerce. At a time where transactional business models that are based upon peer trust dominates the concept, design and manufacturing of software, there are still the confused to believe there is the need to pursue large cash rewards for being able to do what you want to do.

I wish I could remember where I heard “Profit follows meaning” as it’s the best advice for business pitches I’ve ever heard.

gate_brunel2.jpg

What’s missing from both the observations is the taxation. Copyright, taste ‘n’ decency, geographical restrictions/licences to transmit are relatively new concepts that neither the Surrealists not the forefathers of software commerce had to worry about when executing their projects; Bill Gates used the code that was available – Luis Buñuel shot the scenes he wanted to. Since their free run of ‘invention’ (and patients), the ability to free spark has become elusive; there are just too many legalities that prevent juxtapositions. Or is that too many are trying to clone the recipes of yesterdays successes. Online video services do seem to be suffering from this - and the consumer is less than enthused.

And there lies the debate: what does make sense at the intersection of communications, manufacturing and networks?

As you begin to try and answer this, the creative questions will give birth to commercial solutions.

agedor2.jpg

Back to Adam’s interest with surrealism: Buñuel’s cinema works Un Chien Andalou and L’Âge d’or (Yeah, both link to YouTube – beat them for a find!) both build meaning based upon beliefs that he held – not anyone else – just Buñuel (OK – Dalí had some input..) Regardless, it’s this type of determinism that brings the everyday into a new light and a light that the audience will bath in.

And they will because there is space in the works for them to occupy and make their own meaning. Once the audience gain their own understanding, they would have already entered into an exchange – it’s the strength of the work that retains the ability of the exchange. Both Gates and Buñuel knew this. The ability to execute their work is a tribute to the vision.

Today with the need to include the participation of the audience to ‘complete the work’, execution is a factor that needs to be designed in to the concept. The audience needs to be in position at the intersection of communications, manufacturing and networks. Something that perhaps we used to refer to as the Sweet Spot. Today, the audience have to be the spark, and we have to make that space for them to spark. Legal taxes such as ‘rights’ that prevent us making interesting work for the audience to occupy has to be questioned; equally, we have to ‘tax’ the brains enough for the spark to happen..

Here’s the brilliant Jaffre explaining it in an interesting way..

MiniBar – London

November 10, 2006

book_feed.gif

I’m not one to spend time at the large social networking events, especially the technology ones – in fact I avoid them – namely because there’s too many of the same type of thinkers in one place.

MiniBar might turn out to be something of a refreshing change. Organised by the champions of openness – Open Business, and they’ve asked MagnaTune’s CEO John Buckman to sponsor the event – in fact he’s buying the drinks..yay!

MagnaTune has been trying to turn the Internet distribution reality into a business model with not just dynamic pricing of music – but offering the audience the right to say how much they want to pay for the rights to download and own a copy of the music. Here’s an article by USA today about the concept.

John also launched BookMooch - a service to enable people to share books. That’s loveliness and ‘interestingness’ wrapped up in a single software service. Great stuff.

I’m sure there will be a unhealthy appetite in web2.0 but hopefully we’ll be treated to a wide range of interesting folk who just like sharing ideas.

Full details here. See you there.

spindrum.gifA few years ago I was mangaing a Nesta Project called Muzantiks. During this time I booked a developer who was just out of his MA course at Middlesex, the unfortunately name DIM (Design for Interactive Multimedia). Thor had been working with Enrike developing interactive musical instruments and were about to go their own ways back to their native countries. I suggested they formed themselves as a artists group and carry on with the projects- and so ixi-software was born.

Since then they lectured, toured, performed around the world, demonstrating the possibilities of screen based interaction for music.

Originally, the applications were sampled based tools;’ now they produce interfaces for high powered Open Source audio engines such as MAXMSP, PureData and Supercollider, so incorporating a vast array of synthesis and sampling. The interfaces they design and produce are perhaps best described as non linear composition tools (as seen here with SpinDrum), lending themselves to live performances more than studio based tools. The genius of them, aside from the design of the GUI’s that step away from traditional modes of address when producing music, is that their applications are loosely coupled with the audio engine through a protocol called OSC. Open Sound Control is a way to transfer information, rather much like MIDI, but with the ability to transmit abstracts not literal information. Less about telling a system to play D#, rather play harmonies around D#…

Thor has been talking a lot about affordance recently; Affordance is how something is identified as useful in a certain situation, sometimes outside the expected or designed use of the object. He’s now released a paper as part of his Phd and is a fantastic accumulation of thinking and doing in the realm of interactive media. The paper, titled Affordances and Constraints in Screen-Based Musical Instruments, is available here. Here’s a quick insight on the nature of the paper:-

“As opposed to acoustic instruments, the screen-based digital instruments are not of physical material so all mappings from a GUI element to the sound can be arbitrarily designed. This arbitrariness is even more apparent as there is hardly a tradition for creating such instruments. The metaphors we use in ixi software are new in a musical context and deliberately have no musical reference. (such as depicting keyboards, strings, notes, etc) The decision to exclude metaphors from the world of music comes from the aim to get away from the cultural constraints that are connected to the historical instruments or their parts.”

Faris from Naked Communications has also been talking about Affordance his blog - in relationship to marketing consumer propositions.

I think there is something very potent here that has yet to be factored into the communications industry. Messages are usual so refined so that there is no ambiguity and thus very little affordance. Imagine producing messages that allow a vast array of communications thus extending the value of the work. Brands, when polyphonic, allow such affordance.

Video is the hot subject of internet commerce, yet still it’s a linear model of communications. The use of tagging does open up it’s use and ability to shift context and this model is exemplified in the Chris Andersons book: The LongTail.

As media producers comprehend there is no singular destination for their work: the pda, the laptop, the television, the ipod are all nodes in the communication framework – and so by making not only the portability of the communication part of the production affordance, but also the meaning of the communication to be as affording as possible too.

One way the media industries are looking to expand the affordance of their productions and that is to extract meaning from video streams. This is a buggy workaround to a problem that is best solved through design of the media and not through trying to hack media objects to acquire their affordance. Here’s a short video interview with Suranga Chandratillake of Blinkx. Blinkx as he says in the video was set up to solve the in video search problem, and interestingly he acknowledge this is not a technical solution, but a creative one.

Context advertising thrives on the ‘refindability’ of media – thus the value of the media is squared to the retrieval-ness. If the retrieval-ness was actually driven by downstream usability, that is, the ability to incorporate the communication with other media to expand the value of both communications, the audiences ability to construct relevant narratives latches their desire to engage in dialogue with the publisher.

This is affordance via licence – if media objects have an open licencing or reuse, the value of the message persists.

This brings the attention back to the HCI; the way the audience interacts with media objects such as audio and video. Much of the success of the relentless bombardment of web2.0 applications is based around doing something very simply which in turn give buckets of affordance when you mix these services. I’m referring to web API’s, where by the extraction of data from various sources can be ‘mixed’ to produce new meaning and use of the various data sources. Dapper and SalesForce are examples at either end of the enterprise spectrum. Here’s a trilogy of video clips featuring Jeff Hunter of Electronic Arts talking about their use of SalesForce’s services. Considering, it’s been said to me, that Electronic Arts put the EA in sweatshop (ahem), this is one company that a) understands interactive media b) expects a lot of affordance from the user experience. c) understands talent affords the company it’s ability to develop better products.

[Part 2] [Part 3]

In terms of the use within the communications businesses, lets turn the model around; think less about what you want to say, but what you dont want to say. This is about building in restrictions of the use of the media – some form of protection about who the media cant be missused, missuntersood. This is aligned to the thinking about the role of Digital Rights Management (DRM). This annoys the heck out of most people who want portablity and freedom to use media.

ipod-strip_resize-copy.jpgSo, how do the web2.0 services deal with this affordance. Well, there is the XML-RPC protocol. This enables one service to access meaning from another service without accessing private data. It’s a gateway, not an open door. Rob has done a lovely little write up on this recently.

Consider iTunes|iPod combo – it’s a gateway to the Longtail of music, but it’s not the source of expression as their campaigns may lead you to believe. The itunes|ipod service, indeed the Apple business model is to attach you to their gateway, not for you to be a value added network to their network. By all means promote their services (the ubiqitous white headphones being key), but don’t interfere with the source of expression, namely, sharing their clients copyrighted material. Remain an individual and rock on…
[iPod — Silhouette (Love Train theme by Wolfmother)]

As we see with SalesForce, the concept of the mashable web is about to saturate the enterprise media platforms, under the heading of Service-Oriented Business Applications (SOBAs). Jason Bloomberg, who was to present at this, describes the role of the enterprise mashup as:-

“For a mashup to be an enterprise mashup in that it addresses a particular business problem, tight coupling between provider and consumer software would be a serious concern. Most of today’s mashups, however, care little about loose coupling. Mashups that meet business needs, therefore, will require SOA, and the SOA infrastructure necessary to guarantee loose coupling. Without that loose coupling, mashups are little more than toys from the enterprise perspective. “

So lets think about Service Oriented Media Applications – software solutions that generate media propositions, that afford the user experience to be expressive. If you’re thinking this is User Generated Content, then you’re not imagining hard enough. A SOMA should inherently have a licence to create, and any such creations should be reused, reworked and help other users to experiment and be expressive. A brand that develops SOMA’s, becomes the ‘source of expression’, not the framework of expression – and if you manage the source of a SOMA, you’ll have a loyal user base which starts a whole range of traceable dialogues. These dialogues are markets and the brand becomes a maker of instruments not melodies.
Affordance implies a freedom to experiment, to find expression where none was expected. Where services and communication defer the audience to participate in expression, we can expect to lose their attention – and that’s something you cant afford.

Paying for your media may seem like a very non-new-media past time but payment is not always a cash transaction. The financial gain of online ‘content’ has previously been through the exchange of time, namely eyeballs-for-adverts. Social network based sites have begun to transform this tit-for-tat hindrance for something far more subtle – that is tracing, your social habits in exchange for access and conversation with your peers.

ICQ, MSN and the beloved AIM systems have always enabled this (with or without advertising) – but the inherent value of your profile page is being aggregated as indexing fodder. Google and Yahoo! love these pages – they can identify the meaning of social groupings which have a rich value to advertisers needs. Think of them as meta-earsdropping dressed as liminal questionnaires.

With free to access video luring the traffic to online communities – the concept of user payment is going to become far more of a social identity concern than credit card fraud. Who you talk to, listen to and comment upon are going to start stacking up your social baggage if your communications are through a hosted service or public ISP.

Since Scoble and Israel’s Naked Conversations, the media industry has been under inspection by investor and consumers alike. The social expose of the ‘Blogosphere’ has lead not to a richer media environment but a climate of peer relevancy and verification, rather, “You are who you know.”

As the content and media publishers continue to discuss with their lawyers on ways to control the flow of media-as-datadesignall.jpg whilst grabbing the hands of their audience through social networks to form a walled garden is the failure to notice that this audience are actually the scaffolding to their core services to advertisers – a support they desperately need whilst publishers convert from the commissioning model to scafolding their own professional and prosumer audiences media requirements. These requirements will be bared by the revealing of users passions and dislikes cross referenced with thier consumption and production of data. Fundamentally – this is your identity as it’s communicated as data. It is not the identity that we (narcissistically) present. Equally as they maintain a grasp on your profile page, you should consider your identity sold. MySpace offers no way to export or delete the data attached to your profile. Neither does many, ahem, ‘social’ networking systems.

The Hero Samy is a great example of how this can be faked. By code. By anyone.

Dick Hardt make a fantastic presentation at Etech earlier this year. His video presentation (now on youtube, see below) begins to explore the verification of webservices of a users identity thus avoiding a lock-in with any one ‘authorised’ identifier, such as bank.

Back to Scroble, who bitch slaps the Linkedin recently – just as they announce their Service Provider Reccomendation system. I’m a fan of Linkedin as it’s a simple centralised way to keep track of people you meet during ‘work’. It’s a network purely for business contacts. Yes – it has it short failings – there are no APIs, I cant get my contacts and the relationships out of the system easily and migrate them to another system. This mapping data is Linkedin’s property – they borrow your identity to satify the service they offer to users. This short-falling has been picked up by Marc Cantor with People Aggregator, but waiting for a mass migration of users to an Open Social Network is massively optimistic. pete-and-jordan.jpgOpenness as an incentive in it’s own right is not enough. Users need ‘value conversation’ for their time. And this has been served by text, image and video services from Media Owners and publishers since 1996. But the freedom to re-purpose ‘datamedia’, to revision the permutations of the ideas of communities is framed by notions that originality persists. This vanity forces mockery and legal entanglements for no other purpose than to feed litigation proceedings. But as with Peter Andres and Katie Prices latest media offering, even pastiche as authentic media has may have merits. [mp3] [video]
This need not be the most obvious proposition to deliver to niche groups/communities. Take for example Spencer Tunick’s art works (see above). Why do many many people strip off, lay down and participate in his photographs?

Because they want to. Because they want to be involved with a phenomenon. Because they understand that rare oppotunities in life that afford a personal meaning to their time. It’s something personal and public they can discuss and share. It’s something that just increased their personal value.thou-shall-not.jpg

But identity, arguably a social construct not a personal one, is a narrative. Culture is the by-product of the lives that interweave the construct of communities. The narratives are not always intentional, yet the are fabricated by human distraction. When simulated, narratives pertain to a myth construct, yet much of our bearings within culture are devised by stories that are evolved from one generation to another. StoryTron is a software system that is being prepared for launch shortly – it’s a system for generating interactive narratives. Pending the success of this system, we could be seeing ‘natural’ and ‘synthetic’ narrative structures entering into out social network structures. For individuals, the ability to interweave personal and synthetic narratives, rather much like the duality of participants of Second Life, opens up virtues of liminal expereinces – the ability to coexist within several communities simultaneously whether conscious of this or not.
The impact this has on the media publishing industry is worth a wry smile. How do you trace these lives and narratives for conversion into media for tradable time? How do you convey a complexity of an individuals identity when parts of their fictional, virtual or augmented lives collapse without concern? How is value to be applied to unqualifiable, flux narratives?

The audience has for as long as recording has been possible lent their lives to publishers so that others can share in their 15-mins.jpgtime. Now, we seen this loan being called in with the rise User Generated Media, the fall of Copyright respect and the rise homogeneous formatted based production such as ‘WifeSwap‘ and ‘Get me out of here, I’m a ..‘. It’s as if the heart has been removed from the production community; content is merely the blood that flows through a man made aorta.

The implications point to the audience getting their ‘pound of flesh’ from the services that offered conversion of their narrative to media. An API for my identity to be translated to a dataset for tradable time. An individuals story in formats that are devised by the audience of 1. Blogging demonstrated this, but it’s not everyones bag. How do monitize everyones narrative? And when you have, where is the rarity? Is it in anonyminity?

This is a far cry from pound of flesh the publishing industry is trying to acquire through the expected income through copyrighted material.

For the past 20 years we have seen the tabloid media relish in constructing individuals identities, if only to seize the power to control and destroy that persona for ratings. This junk bond media documented by Piers Morgan in the TV show ‘The Importance of Being Famous‘ details the thrill in being able to manifest identity for the sake of the readers lust for thebank1.gif least objectionable fish’n’chip wrapping.

Fabrication of narratives has always been a social requirement for peer acceptance; taxation of these through niche skills/techniques such as ‘Editorial’ is resulting in rejection of singular publishing authorities. An audiences choice of ‘info-tainment’ is about to get a lot more complex to manufacture as sources and syndicators realise that they are part of the consumers mix. Roll in the prosumer model and publishing is faced with having to be a high street bank – where users can deposit and retrieve their media contributions. Consider the identity mortgage schemes…if you want to reinvent, add a new dimension to your narrative, the Banka de Disney will be more than happy to lease you narrative constructs. And if you don’t keep up your narratives payments, well you could always try and remortgage your morals rights..

Ok – this is an exaggeration, but the role of the media publishing industries, if they are to see longevity, will have to maneuver to community development via individuals – and this means enabling them to achieve what they cant do alone. And achievement is all about having a good yarn to spin. With enough inertia behind your tales, you could always consider the personality bond market.
pacino.jpgSo, how can publishing remain a result of fabrication when the participation of social networks are in themselves creating the media that produces the myths, morals and fortitude that entertain and educate?

It seems like the deal of consumption is not being replaced with participation – traditional rights holders in media do not want to relinquished the easy financial interest of the audiences time. As with Shylock, their faith has to change. An audience will maintain the respect for the media if the bond is one of use, not values. A communities value system is not a tradable commodity – it is the reason why the community exists.

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