My Factoid Trivium

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

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

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

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

I couldn’t …resists…meddling.

Bit of context with warm sunny light.

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

Viscousy and silk-screening; tacky pop.

TV themed, in a poltergeist kind of way.

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

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

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

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

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

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

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

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

Here’s some photos.

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

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

It could be a world where brands could bred freely.

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

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

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

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

The benefit to this: transmission.

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

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

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

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

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

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

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

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

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

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

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

Gursky

Another Gursky.

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

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

Thomas Ruff.

Another Thomas Ruff.

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

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

Classic.

Comic.

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

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

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

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

A world of relationships, seen not as things.

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

Which takes us into the uncanny valley.

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

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

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

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

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

More likely to be this…