June 10, 2008
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.
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.
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.
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:-
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…
April 24, 2008
Let’s play a game to demonstrate that the future of movies is dead.
First, pick you favourite movie.
I’ll wait… I know it’s a tricky question
OK, Good choice.
Imagine you have it on DVD, and you ripp it to your laptop as a 5 Gigabyte file.
Ok, What’s you second favourite Movie?
Ah! Crafty one.
Imagine you have it on DVD, and you ripp it to your laptop as a 5 Gigabyte file.
Right, third (and final) favourite movie choice.
Heh, ok.. I see what you did there.
Ok, you know the score, Imagine you have it on DVD, and you ripp it to your laptop as a 5 Gigabyte file.
You now have three movie files on your laptop, all 5Gb in size.
We wont mention this to the copyright authorities. It’s between you and me.
The thing is, you only need the one file for all three movies. The data for each movie has been conformed to the same size, it’s the sequence of the data that enables the viewing of the movie – through the player that understands the codec.
You see, any movie that has ever been made also exists within the single 5Gb file.
Still with me?
The data file is just noise, it’s how you tune out the movie you want is the trick.
But the fact that every movie that has ever been made is held within that data file also means that every film that will ever be made is within that file.
[Pause for thought - I know you're thinking at this point.]
Think of it like radio, you have to tune to the right sequence of the data to get the movie you want or the movie you can imagine you would like to see.
Now, for the technical reader, I know you’re snarling at this – yes – it’s a question of retrieval and we don’t have the technology nor the methodology to tackle this puzzle.
But it does indicate a finite number of movies that can be made. It’s a huge number – but it’s finite.
Look at it from an single image perspective.
If you have a jpg file, 800pixels x 600pixels, the limitation of the dimensions, that is, the number of pixels multiplied by the colour depth is the limitation of the format of the image.
As screen/image performance ‘increases’, the colour depth improves and thus more variation can occur, but there is a limit somewhere. 32bit colour depth is probably what you have your monitor set to. Hi Def Tv blows this away, but the visual plane of us creatures is limited to a spectrum. We can only see so deep.
But back to the movie puzzle.
Schrödinger set a thought puzzle back in 1935,
He proposed a scenario with a cat in a sealed box, where the cat’s life or death was dependent on the state of a subatomic particle. According to Schrödinger, the Copenhagen interpretation implies that the cat remains both alive and dead until the box is opened.
You can read the whole cat debacle on Wikipedia.
If you have a 5Gb of data, the movie you want is in there if you can perceive it.
Now, there’s an alternative view of this puzzle from proposed in 1987 by Hans Moravec and in 1988 by Bruno Marchal. Their experiment essentially involves looking at the Schrödinger’s cat experiment from the point of view of the cat. It’s called the Quantum Suicide.
Which makes me think what will power does a movie that has never been made have, to fight it’s way out of the 5Gb of noise, sitting on your desktop?
What ‘will power’ do characters and scenes of movies that, don’t exist, have?
This question shows how our minds project emotive responses towards fictions, how we project our own sensibilities onto formats of existence. Narratives act as vehicles for our own perceptions, but do they have a magnetism to the needs of conversation between ourselves?
It makes no sense to reference movies that don’t exist because they are not a shared point of understanding – we tend to use the past as a reference, not the future. But as the sum total of all possibilities of movies can be formulated if we understand how language informs communication, then reference points remove any notion of authored time – that is, what will be and what has has no hierarchy – that is, the past is no more informative than the future.
But I digress.
If every movie can exist within 1 file, have a look at Amazon, Blockbusters, netflix and youtube. That’s a lot of duplication, a lot of technology used to propel unit sales where instead we should be looking at the solution of movie automata – growing movies – so that we are freed up, to move on to something else.
If you’re in marketing, especially planning, and tuned into the digital storytelling scene (ahem), you’ll know about Faris’s Transmedia Planning essay. You’ll probably know that it comes from Henry Jenkins notions of Convergence Culture, and you might know that he took it from Nicholas Negroponte, Director of MIT, book called Being Digital, where he talks about Bit Streaming. Bitstreaming is where the point of production which becomes the point of consumption (basically – think about Lifestreaming, User Generated Content and Conversation On-line). Your doing is the act of consumption. To use is to learn.
BitSteaming is not Transmedia, something has got lost along the way here. We have to stop thinking in terms of making media; production and distributions are side effects of design, they are not a means to an end.
Design, as an act, infers solution. Design is much better at finding problems than having to abuse creativity to produced polished productions for consumption.
Brilliant things are the messes we are fixated upon. Headlines in the press attract attention, not for the morbid cultural events but for the persuit of reason. A mess is a loose space that we can occupy mentally. There is peace in the eye of the storm. Time stands still in this space.
There has been so much written about this area within marketing, and I think Marcus bagged the best review so far, but it all amounts to avoiding the subject that authorship does not matter. It matters not for an audience nor for the producer, authorship is a channel for communication. Communication, does not need a singular writer to produce media. Films may have a director, but there is almost a countless cast of assistants required to design, produce and distribute.
There’s is also the notion of copyright and licence. That was demonstrated in Where are the Joneses?
You may want to look at Roland Barthes ‘Death of an Author’ or Walter Benjamin’s ‘Art in the Age of Mechanical Reproduction.’ Both have indicated the moral and virtues decline in the notions of authorship. It can be argued that authorship maintains our identity as humans. Crosbie and Doc Searles may debate that synthesis of human authorship is almost upon us. Though Andrea may not agree.
Digtal methodologies, as we have seen within all forms of publishing, does not honour the author as a predicate for future productions. From Markov chains to Bayesian search theory, pattern matching of semantics is beginining to be taken seriously as the direction of technology which will author our future. BookLamp is doing something interesting in this area (Thanks to Ben for the link). We will be experiencing the automaton of narrative far beyond the postmodernism of Baudrillard’s Simulations and Simulacra as seen in those Matrix Movies.
This is why Hollywood is dead wood, tinsletown will burn to the ground.
We’ll be left with an ever present of change, a shifting sifting of values that look more like noise than logic.
The Semantic hope of web3.0, where stuff talks to each other, means that we are the participating audience of a story that we all know even though it has not been written, and constantly trying to escape by retuning the aesthetics back to what makes us feel comfortable. It’s going to harder to be feel secure in the thought that you have a fate, destiny or an objective future when the principles of subjectivity are iterations of a systematic upgrade of general consensus – you belong to your peer’s perceptions.
Narrative may well collapse into pace determined by a rhythm of participation. The story and melody could be perceptive instead of prescriptive.
From storytelling to synthesis, we see performance and identity central to the act of engagement. The human centrality is the primary node within a creation plane, which is pure transaction – an act. It’s how you map the individual the execution of transaction that will make the semantic web, not the alignment of meanings within language. An act is a meaning – a word is a symbol. Signs are conduits between the two.
Life will become a pure dress rehersal because the movie will never be made. Maybe this is the constant betaness. Maybe this is how we should never to be afraid of making mistakes. This sense of ‘incomplete’ or ‘disconectivity’ makes us relate more to each other.
Our patience for this consistant change will be subject to invariants. Just as the notion of interestingness is based upon anomalies; configurations, standards and useful protocols that provide moments of clarity, will become the Greek island oasis that defines peace – and maybe peace of mind. While Advertising hates this, marketing loves this. Disruptions in perception are only useful when you want someone to believe that they are in control – isn’t that so tiger?
But I digress, again.
I’ve no idea on how to retrieve the finite collection of movies within the 5Gb of data, but I’ve started using Twine to collate the ideas and references that made me thinking of this problem called Schrödinger’s Movie . If you’re using Twine, do pop by and have a look, help out, or comment.
Either way – the song remains the same. Open up.
Update [27-04-08] There is now a really interesting thread on Yahoo!Groups about this post.
Now open up
You changed the stakes
Magnet toss that pie in the sky
Unrehearsed let the bubbles burst
All in all a three-ring circus
Of unity with parody tragedy or comedy
Make room for me
Now open up
Make room for me
Lose myself inside your schemes
Go for the money, honey
Not the screen
Be a movie star Blah, blah, blah
Go the whole hog
Be bigger than God
Burn, Hollywood, burn
Taking down Tinsel Town
Burn Hollywood, burn
Burn down into the ground
Burn, Hollywood, burn
Burn, Hollywood, burn
Take down Tinsel Town
Burn down to the ground
Down into the ground
P.s. Ask me sometime how I know Peter Andre is responsible for LeftField’s first 2 albums.
April 20, 2008
You can argue there is a right time for everything; you could say that the unexpected is always a jolt to your perception.
Either way, there must be a correlation between usefulness and uselessness and the sweet spot must be a time based ideology.
Now, if time has curves to it, then the act of serendipity acts like a magnet to possibilities, and possibilities are either useful or useless, depending on what you think you are looking for.
Being in a state between passive and alert, shall we say ‘open’, at what point in the cycle of interaction of stuff do we identify possibility?
Basing this upon the 4 Humble Demands, and mapping on LongTailness (Green line in the diagram above) [via Chris Anderson] and The Dip (Blue Line in the diagram, above) [via Seth Godin], with an understanding that inventions are either pushed onto audiences (Advertising) or pulled into markets (Marketing), we can see two points of attraction/repulsion that seem to occur in society debate: Criticism and Appropriation.
Godin’s point about the Dip is one of persisitance and quitting – identifying what you are expert at and disgrading the rest of your work – as ever – the persuit of the remarkable.
Andersons, well discussed, model of markets as a Long Tail, where there is more possibilities in the tail, than in the head of market releases, that is, your back catalogue is of more value (if not the same) than your new inventions.
I’ve nudged Andersons long tail model to have a bump, so to reflect the point of interest in a back catalogue. Let me expand upon this.
When a new movie comes out (normally pushed) it will pass through criticism and drop to a level of the market, after which referals to the movie will be peer or algorhythm based (Amazon/Netflicks) after which the title will fade to obscurity (either being watched lends itself to being shelved or that the referal wasn’t adequete).
Therefore the bump in interest is the secondary market moment.
Now, as with the Dip model, a market that examines your efforts (criticism) increases your desire to succeed until you find a moment of self doubt, which makes you rexamine your interest in what you are going. It’s during this Dip that you look around for something that will help you understand and refine your offering, and if you get out of the Dip, you know you’ve found something useful.
It’s the point at which The Dip and the secondary Market meet each other that is of interest to me. It’s where a connection is made that either enables the Longtail model to revive a market or an inventor to disolve an interest. It’s a point of grave decision on what to do next.
Let’s look at the time factor, between the Slow and the Fast.
Releasing an invention (book, film, lawnmower) is a done with some form of promotion: with (creative) agency engaged, the clock starts to tick because the billings have kicked in. You have stock in the warehouse and you have to shift the glorious invention. Time is money at this moment. Costs are driven by a demanding ROI.
Equally, those who invent in public (always in beta) are looking for feedback – the faster it comes, the faster the product can be refined.
In both states, adrenaline is pumping – it’s exciting to be involved with inventions. It’s a birth thing…
But the thing about enthusiasm, it wains, and even if you artificially pump the enthusiasm with buzz and PR, unless the invention finds a residency in usefulness, the interest levels drop to what a market will find acceptable. The pace of conversation around your invention will naturally succumb to banality, because there is always something else that is being invented, released and hopefully criticised.
On the other end of the spectrum of pace, is the slow time, the pace of acceptance and controllability. This the audiences control over the objects in circulation. It’s the pace at which a decision (acquisition) happens.
The 4 Humble demands (Inspiration, aspiration, insight and acquisition) are charted as volumes of time, not spped of time. I have a base line ratio of these 4 psychological phases, there are:
Inspiration – 30%
Aspiration – 20%
Insight – 40%
Acquisition – 10%
So as acquisition takes up the smallest amount of time (this is the actual transaction) it also happens with a pace of consideration. Insight on the other hand, has more energy and more depth to the action. Insight and Aspiration, although have a greater degree of excitement, the attention or dwell time is less significant.
So you get the idea.
Now, back to the point of this, finding the point at which invention becomes a useful, or why inventions don’t become useful.
There are two significant moments of in the diagram that influence the outcome of invention. First is initial criticism, which either way creates buzz for you (No PR is bad PR) and the second is the point of the invention being picked up for REUSE. Now this is likely to be of renewed interest based upon a contextualisation of circumstances, or that there is a detail in the invention that is applicable to something unrelated; regardless, the Appropriate Moment is activated when retrieval and doubt meet.
Uniting the sought and the lost which make a connection happens pace begins to slow down; the attributes of the seeker and the object are identified, connected and revived because of time resisting to be used as a catalyst.
This point in the curvature in time can make a journey become fascinating; renewed understanding of the relationship of things can not happen when an accelerated conversation is happening, nor when the audience is asking what, why, where, when or how (Aspiration phase).
The implications of this are curious – the mid paced ethos of curating has more value to society than the release of new inventions – it’s the recycling of the existing which hold the value of markets.
I think we know this deep down.
Equally, the Dip is nothing more than an opportunity to explore markets for cross-selling and product development.
Now, I could go off on a tangent to mark that commercial appropriation only really works with a Creative Commons BY-SA licence, though many IP lawyers will point out that the largest market for them is the abundance of patents their clients own make them the most money – and of course these are activated financially at the Appropriate Moment.
But I wont.
Instead, the lesson from this is that the channels of pace are widely overlooked in terms of marketing.
Instead of the heady pace of releasing the new (and The Shock of the New is worth a read to understand when an art market goes nuts the quality of production’s interestingness plummet), the area to focus on is around the Appropriate Moment, the space where the audience can gather, create and refine their interests.
It’s some time after the time where they ask questions (“Do you have these in a Blue?”) but before they make a purchase decision. Hmm, that’s a bit obvious isn’t it.
Ok, the Appropriate Moment is when the audience / prospect is beginning to considering.
You know that moment when you get cold called and the smart ass broker is yakking and yakking, you said yes to a couple of meaningless questions and then they drop the line on you and you pause to think…
That’s the moment.
It’s the moment that useful and useless collide and all you can see is possibilities.
That’s the invention of use.
Use does not come from invention but a grasping of the affordances of oppotunity.
An invention is just a configuration of what already exists because the inventor found an Appropiate Moment.
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.
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.
September 4, 2007
No message. It just makes you smile as if you were eating a bar of
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…
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…
August 25, 2007
Definitely the most significant reappraisal of image creation value has arrived. Shai Avidan and Ariel Shamir have published this paper describing a process to ‘retarget’ images for viewing contexts. But, by doing this, they’ve uncovered something about the properties of an image that has never been seen: Seams of Meaningless.
By filtering the image to see energy maps, the software ‘optimises’ the ‘content’ to remove or expand apon intent. This approach was conceived as a way to avoid the scale/crop approach to remove unnecessary information in an image.
Watch the above Youtube video for full details and application examples.
If this ever gets released, our perception of images will never be the same again. For a start, the shared experience of an image vanishes outside perfectly mapped geo-temporal contexts. Further, our semantic relationship to information exponentially expands – every image becomes a catalyst of singularities – a far cry from any notion that an image ‘can be read’.
This Seam Carving brings not a new dimension to image making, but a distinction of re-co-ordinating information – Polyphonic Targeting. Compositions will be considered inspiring for manipulation not a destination for knowledge transfer. Editing will be acute to use. Publishing will be Rejection because the release of information will be accepted as a juncture of simulacra not simulation. Meaning becomes Indifference.
And it’ll play havoc with Photosynth. Mwahaah!
We should consider how this innovation could be received commercial. Betting that patients are being written; what we have here is an approach – a grammar in information design. The principles are in the open – these cant be guarded of with IP laws. Absurd as this sounds, the future looks more Open and Meaningless than ever before.
More details about ‘Seam Carving for Content-Aware Image Resizing’ here: http://www.faculty.idc.ac.il/arik/
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.