/ resource(s)
sometimes attaining the deepest familiarity with a question is our best substitute for actually having the answer.
chance is tricky stuff, because it intertwines hard math, human psychology, and all of the basic game mechanics.
... but this trickiness is what gives games their richness, complexity and depth.
our commitment to the technological civilization has accelerated, but unfortunately we have not as yet fully understood, much less accepted, the psychological and social changes associated with the new sources of energy, the exploration of space, and the computer revolution.
Creative Technology Superpower Game(s), where the main focus is to investigate playful applications of technology to emulate or support players' superpowers, such as invisibility, telekinesis, etcetera, in (for example) interactive space(s).
Our investigations involve workshop(s) in game design as well as application development as part of the creative technology curriculum, using all available resource(s).
communication is the key to creativity
imagination is the one weapon against reality
/ whatsthehubbub.nl / screen(s) / cycle(s)... immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.
play/game(s) is the key to innovation(s)
one of the most difficult tasks men can perform, however much others may despise it, is the invention of good games and it cannot be done by men out of touch with their instinctive selves.
stories and games can each be thought of as machines that help create experiences.
... the idea that the mechanics of traditional storytelling, which are innate to the human capability to communicate, are nullified by interactivity is absurd!
from game creators newsletter Nov 09
... ever get the feeling that life's a game with changing rules and no clear sides, one you are compelled to play, but cannot win. Welcome to gamespace.
Gamespace is where and how we live today.
navigable 3D spaces allow us to crawl, jump, fly, or even teleport through fictional worlds that come through life in our imagination. We encounter these space through a combination of perception and interaction.
... video game spaces stage our dreams and nightmares and they seem to get better at it every year.
... if communication technologies affect imagination(s), let there be an awakening of mental environmentalism(s) ...
... instead of 1 big brither, this is more like 10.000 little brothers ...
... part of the change from the fast and far reaching to to the close and slow ...
futurama 1939: ... the true poets of the 20th century are the designers, the architects, and the engineers who glimpse some inner vision, create some beautiful fragment of the imagination, and then translate it into sp;od actuality for the world to enjoy.
... well-being requires a better state of human activity ...
the push-button industrial machinery of 1939 and the virtual reality of 1989 both left the human subject(s) just sitting.
... interaction designers now turn to the patterns of the living world as something other than a clean slate, and something to be understood, not overcome.
... appropriateness surpasses performance
who programs all this apparatus, and who among us can accept just how things have been programmed?
... do smart machines generally force humans into stupid activity?
... how do you feel about things that think and spaces that sense?
... as modernity remade the world, at almost every instance it preferred motion to rest, the open instead of the concealed, and control rather than complexity.
with the lessons of cyberspace and ,a href=@s5-ground-future.html>futurama in mind, we turn to pervasive computing ...
... unlike cyberspace, which was conceived as a tabula rasa,] pervasive computing has to be inscribed into the social and environmental complexity of the existing physical environment.
... even before reliability becomes an issue, the programmabilty of the physical world has been the prime objection to pervasive computing ...
we have neither the time to prpgram so many systems ourselves, nor the willingness to accept how others might program them for us ...
... truly good design is about meeting people.
It is about opening doors.
Designers sometimes call these affordances.
I like to think of them as welcoming handshakes
visual clues that make you feel more comfortable.
... the transformation of a business-as-usual culture into one focussed on innovation and driven by design involves activities (*), decisions and attitudes.
(*) workshops, pilot projects, leadership, interdisciplinary teams, dedicated space.
... they subordinate humans to the inscrutable logic of the machine, they degrade and frustrate us, they compromise the quality of life and the efficiency of work.
(service) companies must (innovate to) improve the quality of life!
... all of these clever marketing tools not only were well executed, they also got people talking, and that became part of the story.
... in today's fluid business environment, innovation is key to competetiveness.
... others, less in awe of the cult of the designer, may confuse the mastery of the tools -- including the qualitative tools of brainstorming, visual thinking & storytelling -- with the ability to reach a design solution.
... design thinking is neither an art nor a science. it is the capacity, ultimately, for integrative thinking.
a culture that believes it is better to ask forgiveness afterward rather than permission before, that rewards people for success but gives them permission to fail, has removed one of the main obstactles to the formation of new ideas.
... we are at a critical point where rapid change is forcing us to look not just to new ways of solving problems but to new problems to solve.
... at the heart of every good story is a central narrative about the way an idea satisfies a need in some powerful way ...,
as it unfolds the story will give every character represented in it a sense of purpose and will unfold in a way that involves every participant in the action.
... it is essential that storytelling begins early in the lifecycle(s) of a project and be woven into every aspect of the innovation effort.
... designers may need a fully equipped model, but design thinkers can build prototypes in the cafetaria, a boardroom or a hotel suite.
... using design as a tool to improve the quality of life at every level, as opposed to creating the signature of objets that grace the pedestals of art museums and the covers of lifestyle magazins.
... we are entering an era of limits.
the cycle of mass production and mindless consumption that defines the industrial age is no longer sustainable.
design thinking needs to be turned towards the formulation of a new participatory social contract!
| existing users | new users | |
|---|---|---|
| new offerings | extend/evolutionary | create/revolutionary |
| existing offerings | manage/incremental | adapt/evolutionary |
... we rely on stories to put our idea(s) into context and give them meaning. It should be no surprise, than, that the human capacity for storytelling plays an important role in the intrinsically human-centered approach to problem solving: design thinking.
... the internet, in other words, characterized by dispersed, decentralized, naturally reinforcing networks, is not so much a means as the model of the new forms of organization taking shape.
... the fact remains that curiosity does not thrive in organizations that have grown cynical.
... they slow us down to speed us up!
... not minimalist, esoteric members of design's elite priesthood
but ... creative innovators who could bridge the chasm between thinking and doing because they were passionately committed to the goal of a better life and a better world around them. tomorrow -- today: around the world design thinkers have become activists and are applying their skills to sources of dysfunction.
... as the prototype unfolded, we learned that a story needs to be repeated many times before people understand howit applies to them and many more times again before they change their behavior.
a company's best defense is to diversify its portfolio by investing across all quadrants of the innovation matrix.
... the reason for the iterative, non-linear nature of the journey is not that design thinkers are disorganized or undisciplined but that design thinking is fundamentally an exploratory process
... this shift from physical to abstract, and back again, is one of the most fundamental processes by which we explore the universe, unlock our imagination(s) and open (y)our mind(s) to the new possibilities.
... people who practice design thinking rely heavily upon imagination, insight and inspiration, but at (...) they are equally committed to the rigors of scientific prodecure(s).
... storytelling needs to be in the toolkit of every design thinker -- in the sense not of a tidy beginning, middle and end, but of an ongoing, open-ended narrative that engages people and encourages them to carry it forward and write their own comclusions.
... design thinking can help us chart a path into the future ..
in an interdisciplinary team there is collective ownership of ideas and everybody takes responsibility for them.
... designing in time is a little different from designing in space.
verb(s) not noun(s)
... the trick is to do this without sucking the life out of the creative process -- to balance management's legitimate requirement for stability, efficiency and predictability with the design thinker's need for spontaneity, serendipity, and experimentation.
the casual revolution is a re-invention of both games and players.
... casual game design is a genuine innovation in game design and a return to lessons long forgotten ... while the idea of the less-dedicated, less-obsessed casual player helps us to move beyond the prejudice that video game players are nerdy and socially inept.
chartjunk is a clear sign of statistical stupidity.
THE HEAD AND IN FRONTAL ATTACK ON AN ENGLISH WRITER THAT THE CHARACTER OF THIS POINT IS THEREFORE ANOTHER METHOD FOR THE LETTERS THAT THE TIME OF WHO EVER TOLD THE PROBLEM FOR AN UNEXPECTED (GUEST)
from Claude Shannon A mathematical theory of communication
it is a miracle that curiosity survives formal education
design = to initiate change in man-made things
reason can dream what dreams cannot reason
it is the process of design, in which diverse parts of the give-world of the scientist and the made-world of the engineer are reformed and assembled into something the like of which nature had not dreamed, that divorces engineering from science and marries it to art.
... unlike the requirement that error must be removed from a computer program, however, the likelihood of error must be tolerated even in the normal individual if the brain is to confront novelty in an adaptive fashion.
evidence of the dream society can be found in business models that incorporate stories into products, services, strategies and advertising.
we're in a big social experiment,
where it ends up, I don't know.
failure is an unacceptable difference between expected and observed performance
structural engineering is the science and art of designing and making, with economy and elegance, buildings, bridges, frameworks and other similar structures so that they can safely resist the force(s) to which they may be subjected.
... but we are free after all, we are bound not by the laws of our nature but by the ways we can imagine ourselves breaking out of those laws without doing violence to our essential being. we are free to transcend ourselves, if we have the imagination for it.
the imagination jumps from present facts to future possibilities
the gamespace opens a critical gap between what gamespace promises and what it delivers
... the game is true in that its algorithm is consistent, but this very consistency negates a world that is not! what is true is not real, what is real is not true, this is what the double movement of allegorithm and allegory have to report.
... hacking is the art of creative problem solving, whether that means finding an unconventional solution to a difficult problem or exploiting holes in sloppy programming.
... relationships are things that happen only in a virtual world, and we are able to move backwards and forwards between the physical world of interactions (real events) and the virtual world in which these events are constituted into relationships in order to be able to understand what the significance of specific actions is or might be, or how two relatioships impinge upon eachother.
human computer interaction is a symmetric relation
... writing shares a strange feature with painting.
... the offspring of painting stand there as if they were alive, but if anyone asks them anything, they are solemnly silent.
the same is true of written words ...Phaedrus, 275d
to all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.
more is less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more less is more is less
... I don't see the deep thinking. I see superficial connecting of dots rather than logical thinking,
... a mathematician is like a blind man in a dark room looking for a black cat that isn't there.
Peter believes [1] that Jane thinks [2] that Sally wants [3] Peter to suppose [4] that Jane intends [5] Sally to believe [6] that ... her ball is under the cushion.
the quality without a name in us, our liveliness our thirst for life, depends directly on the patterns in the world, and the extent they have this quality for us
from: Christopher Alexander -- The Timeless Way of Building
... science is imagination in the service of verifiable truth
its ultimate power, of course, is in understanding, and as we see around us, its reach in technology is stunning. ... but the brain origins of imagination in science do not differ from those necessary for poetry, music or the building of ethical systems.
it is skill surmounting difficulty, and beauty triumphing over skill
(art) ..., to snatch this grace beyond the reach of art is then the height of art -- where fine art begins, and where mechanical skill ends.
the game is a knowable algorithm from which you know you can escape.
... gamespace is an unknowable algorithm from which there is no escape. the game is just like the gamespace of everyday life, except that the game can be saved.
a story can be regarded as a meaningful pattern of information
call-and-response is one of the oldest froms of music, ritual, theatre and dance
... these interreflecting themes, the prerequisites of creation, are playfulness, love, concentration, practice, skill, unsing the power of limits, using the power of mistakes, risk, surrender, patience, courage and trust.
... the professionalism of technique and the flash of dexterity are more comfortable to be around than raw creative power.
the heart of improvisation is the free play of consciousness as it draws, writes, paints the raw material from unconsciousness.
Such play entails a certain degree of risk.
how we are finally liberated -- to speak, or sing, write or paint, with our own authentic voice.
.. duration has traditionally been one of the greatest measures of quality
the use of silence in teaching becomes very powerful
... no, at the personal level, you should accept no less than the title of artist and aspire to earn the right to carry the title. And earning this right is influenced not so much by your accomplishments as by your approach: a relentless pursuit of perfection, where the journey is the destination.
www.bit-101.com / from: ActionScript 3.0 Animation -- Making Things Move
understanding the process by which engineers combine scientific knowledge, practical know-how, and human values to create the technologies of tomorrow ...
he knows that there are in the soul tints more bewildering, more numberless, and more nameless than the colours of an autumn forest.
G.K.Chesterton Infinite Symbols
taken from: Victor Onstein bekent kleur
| level | function | attribute | product | measure(s) | process |
|---|---|---|---|---|---|
| agriculture | extract | natural | commodities | quantity | trader/market |
| industrial | make | standardized | goods | price | manufacturer/customer |
| post-industrial | deliver | customized | service(s) | quality | provider/client |
| now | stage | personal | experience(s) | authenticity | stager/guest |
| post-experience | guide | individual | transformation(s) | change | elicitor/aspirant |
... now, to be clear, information and communication technologies are not augmenting or empowering in the sense just explained. They instead create environments that the user is then enabled to enter through (possibly friendly) gateways. It is a form of initiation.
... terwijl het gebruik van 'social media' professioneel toeneemt, velen het een verrijking in hun leven (prive en werk) vinden, zien we een Koningin met een waarschuwende vinger wijzen naar Internet, Twitter, Hyves, Facebook ...
how we ought to interact with technology in the new world ...
... moral investigation of why technology has a role ...
other discipline(s) from the arts & humanities will become more relevant ...
disclaimer(s): some of the material may seem distasteful or even shocking, and as such do not represent the panel(s) opinion. Æ
To produce a media literate citizenry, media literacy education will have to be included across the curriculum and at all grade levels, including higher education, with each educator doing an appropriate piece, and each piece being valued for its contribution to the ultimate goal.
the erroneous or fanciful perception of a clear pattern or meaning in something that is actually random or ambiguous.
... we shook hands, my inability to remember that particular moment more precisely is disappointing: the handshake is the treshold act, the beginning of politics.
anonymous: primary colors -- a novel of politics / space(s)
educational principles
It has been one of the grave misconceptions of new media art to assume that new technologies would break with the paradigm(s) of representation(s), perception(s) and cognition(s) to the extent that the effect(s) of that break could exclusively be articulated by means of these technologies.
data shadow = digital profile generated from data garnered from a user's online habits
being human is not simply a label.
... it is about a set of aspirations. Recognizing those aspirations and striving to realise them can make the world we live in one to celebrate rather than fear.
... in a media culture in which violence and suffering become an endless show, be it in fiction or in infotainment, indifference to the vision of human suffering gradually sets in, ...
... why do people do and believe weird things? Because in the end, feeling alive is more important than truth.
We have evolved in living creatures to express ourselves, to be creative, to tell stories. We are instruments for feeling, faith, energy, emotion, significance, belief, but not really truth.
As creative engineer(s) our graduates will distinguish themselves by their level of technical expertise.
requirements
human factors
design
business
Theoretician, artist, do you intend to embellish the existing conditions with the ornament of your abstractions and to give theory or art an appearance of depth at variance with the truth, or do you intend to make (y)our thinking an instrument for the reshaping of these conditions?
As I leant against the wall the University indeed seemed a sanctuary in which are preserved rare types which would soon be obsolete if left to fight for existence on the pavement of the Strand.
Virginia Woolf: A Room of One's Own (1928, p. 9)
In addition to taking role model of the media artist as a reference in educating our students, exhibitions in digital art, that is art that uses digital technology in an essential way, can be taken as example playgrounds, exploring the relation(s) between space, digital technologies and human perception and emotion. Such experiments may indicate new ways to deploy technology and provide a reference of how technology may influence human experience, and provide the intellectual and cultural background against which student projects and experiments can be set.
/ fun
/ ground(s)
/ science(s)
/ value(s)
/ cycle(s)
/ Æ
