Memory and Rhythm

 

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I’ve been easing myself back into academic writing. I want to say it’s been like easing myself into a warm, soapy bath, but I’d be lying. It’s been by turns puzzling to read over old writing and think, OK, I wrote that, and trying desperately to remember the motivational factors that drove me to commit those words to silicon in the first place. Then, looking over densely packed notebooks, I also got a sinking sensation that the order of reading and writing was completely out of sync with how I feel now and where the thesis I’m working on for my SMARTlab PhD is going…

However, once the caffeine has worn off and I calm down, I think about memory and rhythm (which is handy as they are part of my PhD thesis) and I remember events where I’ve been that still inspire me, installations I’ve seen that I’m still processing, and all the old films I’ve been watching over recent weeks (the most recent is the lyrical Tokyo Story from 1953).

I’m caught between two worlds in a kind of fold, a rhythm, a Deleuzian deterritorilisation. I’m neither the old or the new, I remember old events really vividly, that were both good and bad, and am caught in the present moment (which is both good and bad), and I want to clearly move to the future. But guess what, I expect that will have to follow the same rhythmic accent and be both bad and good.

I think love and care will see me through.

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Whitney Evolved at Kinetica

Last week and over this weekend just gone, I had a piece of projected art at Kinetica Art Fair 2012, thanks to being part of a hardy band of computational designers at Ravensbourne working with Evan Raskob on pieces in homage to 1960s generative art legend John Whitey Snr. A number of us worked on pieces using common mathematical functions to create unusual or generative effects. My piece had a giant red dwarf star circled with a writhing white line, intersected with springs and orbs that danced in time with an inaudible glitch track. It was great to see this looped with associated works at such an important and well admired new media and kinetic art exhibition!

Memory and Rhythm

lightwall

 

I’ve been easing myself back into academic writing. I want to say it’s been like easing myself into a warm, soapy bath, but I’d be lying. It’s been by turns puzzling to read over old writing and think, OK, I wrote that, and trying desperately to remember the motivational factors that drove me to commit those words to silicon in the first place. Then, looking over densely packed notebooks, I also got a sinking sensation that the order of reading and writing was completely out of sync with how I feel now and where the thesis I’m working on for my SMARTlab PhD is going…

However, once the caffeine has worn off and I calm down, I think about memory and rhythm (which is handy as they are part of my PhD thesis) and I remember events where I’ve been that still inspire me, installations I’ve seen that I’m still processing, and all the old films I’ve been watching over recent weeks (the most recent is the lyrical Tokyo Story from 1953).

I’m caught between two worlds in a kind of fold, a rhythm, a Deleuzian deterritorilisation. I’m neither the old or the new, I remember old events really vividly, that were both good and bad, and am caught in the present moment (which is both good and bad), and I want to clearly move to the future. But guess what, I expect that will have to follow the same rhythmic accent and be both bad and good.

I think love and care will see me through.

Internet of Metamorphising Things

Internet of Things

From http://www.geeky-gadgets.com/the-internet-of-things-is-coming-sooner-than-you-think-18-06-2011/

I have been writing a bit of an article about the Internet of Things, from the perspective of a design Institute, and what I have written so far is below, which is now crying out for some revision and development in more substantiated directions:

The way into and the way out of design was never all that clear-cut, but it’s becoming more difficult still. A major challenge traditionally has been about the way that clients of design products and services interacted with the often entirely human face of the design apparatchik. In other words, it was still very much about human beings talking to other human beings. Technology was a vastly interesting, exciting and often frustrating canvas that people painted on in various ways. This included developing broadcast tools and platforms, every kind of print media, and immersive online virtual worlds in which, with very human desires and agency, someone might get lost.

In the evolution of this world, in between the floating point numbers which fallaciously demarcate the movement between versions and network connectivity (1.0, 2.0, 3.0…) we woke up one morning to realise that the typical street down which we walk on a daily basis was suddenly talking to us, sending out data worth on average five tweets worth of data, and our electrical items were developing lives of their own, and were joining us on the web as the spoor of pattern matching and algorithmic exercise.

But where was design?

It was where design has usually been, biting hard at the edges and falling forward fast (as Matt Locke, then at the BBC Future Media team, famously observed in talks about commissioning and independent producers in the interactive space). It is all around us, all the time, but needs guides and shepherds (a word I have heard today at the BBC in Media Quays in Salford) to be fully contextualised and appreciated for the role it plays. We all understand the value of design it seems, when holding it in our hands, mobile or tablet, or accessory from a boutique fashion store. But it still falls to story tellers to plot the points on a map and show us the waves and plateaus that characterise popular design history.

The sheer scale of the fleets of devices and potential interoperability I detect scares even the most hardened and able designers. The European document talks of the Metamorphosis of Objects. What does this translate as in the mind of a designer. How do you uncover meaningful connections through design when it seems as all the objects obey an impulse to connect that is insatiable and ruthless. Where is the syntax, where is the grammar? In their classic and essential text on social semiotics of visual design, The Grammar of Visual Design, Gunther Kress and Theo Van Leeuwen cogently observe that all forms of design, situated in visual media from their perspective, cuts out and downplays what might be present in media with alternative syntax and narrative.

Computational Designer in Residence, introducing Evan

Above image originally found: http://gonsalves.anat.org.au/?cat=13

This week at Ravensbourne I’ve been reflecting on a new development for the Technology Team, working with our first appointment of a Computational Designer in Residence- Evan Raskob, pictured above. Evan is already an old friend of the Institution, but we’re extending his work with the interaction design course here through working on some interactive installations for a European project, and through working with our postgraduates. We’re calling this Computational Designing in Residence, and included is bits of advice and guidance for cool folks like Aleks Krotoski and the Serendipity Engine Project.

We want to develop curriculum resources here for a variety of exciting courses we aim to run in this space, over the coming years. There is so much happening on the Greenwich Peninsula around innovation business development, smart homes and connected communities (including the exciting Cisco project the National Virtual Incubator), that I feel open source hardware aand software hacking can bring much to the agenda in terms of tools, products but most importantly, fresh thinking and an inclusive approach.

The first workshops we ran yesterday were Processing related and for me- haven taken an extended break from coding bar writing one app- this is so refreshing to get back coding again, even though I am rusty as hell. One key motivator for me is a workshop I am running for the Higher Education Academy at the end of November during which I will be building a generative app with participants- some pressure and inspiration all mixed into one!

NESTA Hot Topics: Mind over Matter

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It could be that the brain makes everything up. Within minutes of being separated from a larger mass, neurons start sending out tentacles in the lab dish. Implanted chips rather than rubbing away our insulating skin with a metal rasp to get a decent EEG signals.

I’m at the NESTA hot topics debate – Mind over Matter: will computers enhance or limit our brains in the 21st Century. It’s funny- it seems all to be about the brains and the body is having a hard time. It gets ruptured, probed, explored, augmented. The perception from Professor Kevin Warwick is that the body is redundant and wasting time in the gym is pointless. I am uncomfortable with this view, as it suggests a forward global trend towards more cities, unlimited resources and a distance from physicality that hints at no way back.

However enthralling and compelling the visions of computer interfaces are, I am disturbed by the pooling of collective memory and processing power. The debate becomes very philosophical- where do we stop. The urge to move beyond communication into cyborg territory makes it a risky time for the biological brain.

Dr Anders Sandberg reminds us that we’ve always struggled to define the ‘self’. There is a kind of continuity between our life events but it’s difficult to say, this is the self. We are putting our thoughts into the world, the brain, databases (including notebooks) and then there is collective intelligence which is maturely symbolised by the Internet.

Emlyn Clay reminds us that our brain has special qualities in not being able to switch things on and off in a computational sense in the brain. For instance, our senses. The debate ranges over whether children have greater plasticity than adults, and that this gets less and less. The amazing recoveries made by stroke patients. The brain is very mercenary and has to be forced to do some things. It can also get very excited about things. Warwick believes there is evidence of a brain within a brain, something which tells the brain what to do. Sandberg reminds us that Parkinson’s Disease and the parts of the brain controlling motivation are closely linked. Plasticity can work both ways, you can unlearn and forget as easily as learn and remember. Everything you do for stimulation is a form of compromise.

Levels of Engagement

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At PICNIC 2011 today I’m listening to Dr Beth Coleman from MIT talk about ambient co-presence, and how our activity is a kind of modern media portrait. How are we manifesting co-presence- it’s the trail we leave when we check in with locations using social media as well as traditional forms of digital co-presence: skype, for instance. She is talking about visualised forms of our portrait, photo realistic avatars through to much more basic representations. She is talking about chatbots- because AI was too poor and the expectation is high- real time feedback even from an avatar dog. We need to think about gesture and interface not just photo realism. Real time is for people not for computers, and mediation using avatars is about mediation between people not people to computers.

Coleman sees this as shifting values, and a users ‘now’ is happening in various places and various times. She is talking about the phenomena of missed calls being used as both the carrier and channel of communication as well as signifier of something if you know the context.

In Coleman’s view we have arrived in a virtual world not from separated approaches of Second Life, but because we now have ‘ex realities’ when the ‘now’ can happen at any time. So we need designers and practices of engagement when the apparatus for projection and display are all around us.