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…
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/
August 5, 2007
Rob and Crosbie have been kicking off about the idea and use of Gift Economy in the comments section here – which has led to the idea of some lovely GPLv3 wrapping paper, which I’d love to hand over under a Creative Commons BY-SA licence – but then I realised it’s probably just easier to make some Creative Commons wrapping paper, which is tempting to licence under GPLv3, well, the source file. But you can get the logos yourself and a copy of Gimp and you’ll be done in 5minutes anyway.
If you’re wondering what I’m talking about, here’s a video of Richard Stallman explaining the GPLv3
And as I’m at it, here’s a classy sheet of GNU gift wrap.
Remember, free software is for life, not religious ceremonies, like Festivus .
Bloody hell, there really is a company that makes Festivus Poles. Viva free culture!
Seriously – watch this. And again if you’ve no idea what I’m on about watch this video.
Here’s the best of Festivus. Enjoy
May 27, 2007
It’s a shame these 2 events are overlapping in time. Both are encouraging the media meddling mentality. Interesting2007 is encouraging/challenging the emotions of engagement, whilst Hackday is exploring the techniques of engagement.
April 29, 2007
I’ve been wanting to set up a community song lyric site for a few weeks now, in fact I started it during the Easter break. The site is running off wikidot (a superb wiki farm – modules galore, rss friendly and free to use) and is now in what only can be descriped as a ridiculously early alpha build. It works, but you might not understand what to do. You can register and write some lyrics and tag them, but I really need to write some more help texts. The basics are here and some banter about it is here.
The idea behind this is that if we all write the songs under an open licence such as Creative Commons Attribution Sharealike, then musicians can use these songs without permission. This means that fans can write songs for their favourite singers and bands. The bands are free to work with the material.
It also means that songs that get published can’t shouldn’t charge for the songwriting, only the performance of the song. Songwriting makes up the highest portion of royalty charges for labels, but if your fan base is writing the songs the sales figures should go up.
So, I thought I’d get the site under your noses, so that you can watch the development from scratch. Yeah, someone might stream ahead and build a better version before I complete the style sheet. I don’t mind. In fact – I’d just like to see this form of economics in place.
Anyone fancy giving me a hand with this, drop me a line, or post something below in the comments section.
April 29, 2007
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:
Let me explain.
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.
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.’
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.
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.