Category: design-and-ideas

Parody videos – the start of a remix

Hugh pointed at the importance of parody videos as the start of an important conversation.

I was speaking to a group of students at Salford University earlier this month about the cultural value of parody videos. Even the terrible ones. I made the arguement that the really terrible ones may be more important than the really good ones.

Let me explain.

As I pointed out yesterday most people are waiting for permission to make their moves. As social creatures we take our cues from those around us. We are a nation that needs nudging. We like to copy. Mark Earl talks about this in his book ‘I’ll Have What She’s Having‘.

I explained to the students that for every terrible parody video on Youtube there will be hundreds of super talented viewers saying to themselves “I can do better than that”. The terrible parody video is what it took to kickstart their creative career.

He’s right…

Growing up in cultural revolution of Acid, House and Rave. Not only were these forms of music demonised by the mainstream (can never forgive BBC Radio 1 for not playing Rave music). They claimed there was no talent involved and it was simply pressing buttons.

This may have been true in some cases but frankly it inspired a whole generation of other people to give it a try and write their own tunes. Some of them were successful and others just had fun.

So no matter how much I hate the gangnam style stupid dance. Hopefully it will encourage others to do there own thing instead of just jumping on the bandwagon.

The remix is one of the most important trends we have and it does fit with hugh’s people are waiting for permission too.

The power of narrative

Children at First Lubuto Library

While working on Perceptive Media, I came across many examples of narrative and the power of storytelling. Something which I’ve been trying to demonstrate in my presentations pointing at how little subtle things can have huge effects. Recently I saw this which reminded me I haven’t posted anything about it recently

Telling stories is not just the oldest form of entertainment, it’s the highest form of consciousness. The need for narrative is embedded deep in our brains. Increasingly, success in the information age demands that we harness the hidden power of stories…

…in four decades in the movie business, I’ve come to see that stories are not only for the big screen, Shakespearean plays, and John Grisham novels. I’ve come to see that they are far more than entertainment. They are the most effective form of human communication, more powerful than any other way of packaging information. And telling purposeful stories is certainly the most efficient means of persuasion in everyday life, the most effective way of translating ideas into action, whether you’re green-lighting a $90 million film project, motivating employees to meet an important deadline, or getting your kids through a crisis.

When I was training to be a designer, it was drummed in to our brains that you need to have a story to explain the product, service, etc… Without that story or narrative your on a loosing road. Not only that but you want to give them the least distractions as possible.

Stories, unlike straight-up information, can change our lives because they directly involve us, bringing us into the inner world of the protagonist. As I tell the students in one of my UCLA graduate courses, Navigating a Narrative World, without stories not only would we not likely have survived as a species, we couldn’t understand ourselves. They provoke our memory and give us the framework for much of our understanding. They also reflect the way the brain works. While we think of stories as fluff, accessories to information, something extraneous to real work, they turn out to be the cornerstone of consciousness.

Enough said… but if you do get the chance to read all 3 long pages, it will be worth it…

The making of Perceptive Media’s Breaking Out

I have been talking about Perceptive Media to many many people. Some get it some don’t… Everytime I try and explain it I use my perception to work out what method would work for them to understand it. When I did the talk at Canvas Conf way back in September I wanted to go into real depth about what we had done, but I had to explain the concept which takes a long while.

However now we got enough feedback, its time to reveal what we done to make it work. Theres a blog post coming soon on the BBC R&D blog but till then… Happyworm have done a excellent blog post explaining the whole thing down to some serious detail, including how to reveal the secret easter egg/control panel!

How to open the easter egg

To open the Easter Egg, Breaking Out must have finished loading and then click under the last 2 of the copyright 2012 on the bottom right. You’ll then have access to the Control Panel.

The easter egg, really unlocks the power of Perceptive Media like never before.

Everything is controllable and the amount of options is insane but all possible with the power of object based audio (the driving force behind perceptive media).

Breaking Out Control Panel

Practically just changing the fade between foreground and background objects can be a massive accessibility aid for those hard of hearing or in a noisy environment like driving a car? Tony Churnside is working on the advantages of object based audio so i won’t even try coming with conclusions on whats possible but lets say, the whole turning your sound system up and down to hear the dialogue could be removed with Perceptive media. Because of course perceptive media isn’t just the objects and delivering the objects, its also the feedback and sensor mechanisms.

Mark Panaghiston writes in conclusion…

The Web Audio API satisfied the goals of the project very well, allowing the entire production to be assembled in the client browser. This enabled control over the track timing, volume and environment acoustics by the client. From an editing point of view, this allowed the default values to be chosen easily by the editor and have them apply seamlessly to the entire production, similar to when working in the studio.

Web Audio API was amazing… and we timed it just about right. At the start of the year, it would not have worked in any other browser except Chrome. But every few months we saw other browsers catch up in the WebAudioAPI front and I’m happy to say the experiment kinda of works on Firefox and Opera.

One of the most complicated parts of the the project was arranging the asset timelines into their absolute timings. We wanted the input system to be relative since that is a natural way to do things, “Play B after A”, rather than, “Play A at 15.2 seconds and B at 21.4 seconds.” However, once the numbers were crunched, the noteOn method would easy queue up the sounds in the future.

The main deficiency we found with the Web Audio API was that there were no events that we could use to know when, for example, a sound started playing. We believe this is in part due to it being known when that event would occur, since we did tell it to noteOn in 180 seconds time, but it would be nice to have an event occur when it started and maybe when its buffer emptied too. Since we wanted some artwork to display relative to the storyline, we had to use timeouts to generate these events. They did seem to work fine for the most part, but having hundreds of timeouts waiting to happen is generally not a good thing.

Yes ideally we would want to be able to turn a written script into a Javascript file complete with timings. Its something which would make perceptive media a lot more accessible to narrative writers.

And finally, the geo-location information was somewhat limited. We had to make it specific to the UK simply because online services were either expensive or heavily biased towards sponsored companies. For example, ask for the local attractions and get back a bunch of fast food restaurants. But in practice though, you’d need to pay for a service such as this and this project did not have the budget.

Yes that was one of the limiting factors which we had to do for cost. And because of that we couldn’t shout about it from the roof tops to the world. However the next experiment/prototype will be usable worldwide, just so we can talk about perceptive media on a global stage if needed

As Harriet said, “OK, I can do this.” And we did!

Yes we did! and we proved Perceptive Media can work and what a fine achievement it is! This is why I can’t shut up about Perceptive Media. When ever we talk about the clash of interactivity and narrative I can’t help but pipe up about Perceptive Media, and why not? It could be the next big thing and I have to thanks James Barrett for coming up with the name after I had originally called it the less friendly Intrusive Media.

Not only did we prove that but it also proved that things off the work plan in R&D can be as valid as things on it. And finally that the ideology of looking at whats happening on the darknet, understanding it and thinking about how it can scale has also been proven…

I love my job and love what I do…

Happyworm were a joy to work with and the final prototype was not only amazing but they also believed into the ideals of open sourcing the code so others can learn, understand and improve on it. You should Download Perceptive Media at GitHub and have a play if you’ve not done so yet… what you waiting for?

Creative people are the whores of capitalism?

POT POTW Challenge 20080202 - 20080208 (Creative) - #1

Herb tweeted this and I thought it was going to be a story like mine, but what I was surprised to find a critical look at the creative economy…

This has come as quite a shock I can tell you. I think, I’ve come to the conclusion that the whole thing was a bit of a con. A scam. An elaborate hoax.

The scam works like this:

1. The creative industry operates largely by holding ‘creative’ people ransom to their own self-image, precarious sense of self-worth, and fragile – if occasionally out of control ego. We tend to set ourselves impossibly high standards, and are invariably our own toughest critics. Satisfying our own lofty demands is usually a lot harder than appeasing any client, who in my experience tend to have disappointingly low expectations. Most artists and designers I know would rather work all night than turn in a sub-standard job. It is a universal truth that all artists think they a frauds and charlatans, and live in constant fear of being exposed. We believe by working harder than anyone else we can evaded detection. The bean-counters rumbled this centuries ago and have been profitably exploiting this weakness ever since. You don’t have to drive creative folk like most workers. They drive themselves. Just wind ‘em up and let ‘em go.

2. Truly creative people tend not to be motivated by money. That’s why so few of us have any. The riches we crave are acknowledgment and appreciation of the ideas that we have and the things that we make. A simple but sincere “That’s quite good.” from someone who’s opinion we respect (usually a fellow artisan) is worth infinitely more than any pay-rise or bonus. Again, our industry masters cleverly exploit this insecurity and vanity by offering glamorous but worthless trinkets and elaborately staged award schemes to keep the artists focused and motivated. Like so many demented magpies we flock around the shiny things and would peck each others eyes out to have more than anyone else. Handing out the odd gold statuette is a whole lot cheaper than dishing out stock certificates or board seats.

3. The compulsion to create is unstoppable. It’s a need that has to be filled. I’ve barely ‘worked’ in any meaningful way for half a year, but every day I find myself driven to ‘make’ something. Take photographs. Draw. Write. Make bad music. It’s just an itch than needs to be scratched. Apart from the occasional severed ear or descent into fecal-eating dementia the creative impulse is mostly little more than a quaint eccentricity. But introduce this mostly benign neurosis into a commercial context.. well that way, my friends lies misery and madness.

It turned out to fit with my ex-boss’s idea of creative people being the whore’s of capitalism… (sure he came up with that). Its harsh and something I’d considered a while ago and I justify it by working for the BBC rather than some faceless entity…

#What is a Cubicgarden?

Recently there has been a little bit of a hunt to find the answer to what a cubicgarden is on twitter using #whatisacubicgarden

Some people found this while digging around the web… I forgot I wrote it while at BarCampLiverpool…

Cubic Garden by Ian Forrester (105 words)

A cubic object is a mathematical thing while a garden is a natural thing which strikes as organic opposed to the sterile mathematical nature of cubic.

You can get cubic gardens but when saying “cubicgarden” it doesn’t strike up visions of a sweet garden. Even if you did, it wouldn’t be a cubic garden.

References to cubicgarden online point to a guy called Ian Forrester. What caused him to choose cubicgarden, a lot of people ask? Why not Qubic garden or even square garden?

In Donnie Darko one character says the most beautiful word in the dictionary is “Cellar door.” I would contest it’s “Cubicgarden”

Challenge is on…

 

Connected Social: Design based thinking

My parents were deeply worried that I was doing too much again. Specially after what happened to me with mybrushwithdeath almost two and half years ago. I can tell you and them that my blood pressure is normal…

So what have I been up to…? Because my blog has also suffered due to the hectic schedule.

On Tuesday 30th Connected Social and 31st EpicWerewolf…

BBC Connected Social

BBC Connected Social

I stopped arranging events because frankly my skill isn’t in arranging or managing them. Something Matt Cashmore was much better at than myself. However I’m good at being the spark and inspiration for the event in the first point.

After watching a few Connected Studios it become clear something was need to make it a more complete experience for people involved. Hence I convinced my manager of this need and we tried out Connected Social in July. That went well and after a bit of a break it made sense to bring it back.

The evening was all ignite style talks around the theme of design based thinking.

BBC Connected Social

It was a good night of talks and further concentrated the need for a social event following the connected studio events in my mind. Maybe a little shorter and around one set of talks instead but everyone still enjoyed it.

Of course by the end of the night I was glad it went well and I was able to create a good informative event for people, however I was already thinking about Epic Werewolf…

Post Pam Warhurst to Wikipedia

Pam Warhurst

I received this in my Flickr Mail the other day…

Have you thought about uploading one of your Pam Warhurst pictures to Wikipedia? Her profile (en.wikipedia.org/wiki/Pamela_Warhurst) doesn’t have one and I think www.flickr.com/photos/37421747@N00/7323713702 would be a good fit.

FYI: I am publishing a quote using this picture, credited, on Feb. 27 on my blog yahooeysblog.wordpress.com/

Must have been a slight mistake because looking for the quote I had to do a tag search for Pamela Warhurst. Finally I found this page. Right day wrong month.

“There’s so many people that don’t really recognize a vegetable unless it’s in a bit of plastic with an instruction packet on the top.” — Pamela Warhurst, How we can eat our landscapes

To be honest I’d love to have one of my pictures used for the wikipedia entry but its a real pain uploading to wikipedia when you forgot the account details (*smile*). So once I sort out the login, I’ll make the changes to Pamela’s entry. May have to do the same for a few other people…

Done….

Decentralised networking is hard, no really?

Sydney, January 2009

Straight out of the “No Sh*t Sherlock…” book….

Although I think its amazing what developers do, I can imagine how hard it must be to write decent decentralised software. The Diaspora guys spell out how difficult it is… which Adwale likes to make sure I and others fully understand.

  • If you build a decentralized application, you actually need to ship software. You need to package, test, create installers, test on a variety of platforms, write defensive code to work around misconfigurations your customers are likely to create, etc. For a centralized website, you can often edit files in place on the production server.
    Result: decentralized is 10x harder at least.
  • Somebody somewhere will run every single version of your app that you ever shipped. It will be badly out of date, full of security holes (you fixed years ago), outmoded graphics etc. It will cost you additional support, and your brand will suffer. Almost nobody upgrades to the latest and greatest within a life time it seems.
    Result: decentralized is less functional, less pretty, and less secure.
  • Decentralized software is much harder to monetize. You can’t run ads on somebody else’s installation. You can’t data mine your users (because most of them aren’t in a place that you have access to, it’s somebody else’s installation). You can’t do cross-promotions and referrals etc. You can charge those people who install your software, but there’s a reason most websites are free: much better business.
    Result: decentralized produces less money for you, so you have less investment dollars at your disposal.
  • Database migrations and the like for decentralized apps have to be fully productized, because they will be run by somebody else who does not know what to do when something fails 15 minutes into an ALTER TABLE command.
    Result: decentralized is 10x harder at least.
  • Same thing for performance optimizations and the like: it’s much easier to optimize your code for your own server farm than trying to help Joe remotely whose installation and servers you don’t have access to.
    Result: decentralized is slower, more expensive, and harder.

Frankly although I take the points… If you want to stand out in a clearly over crowded field, and one which has a major elephant using up all the space. You need to think differently (to quote someone we all know too well).

This means doing the difficult things which no one understands and owning the platform!

Your business model should/could be charging other developers to build and be creative on top of your platform. App.net have got the right idea, charge the developers who then create the experiences. Your focus should be on managing the platform and supporting their creativity. Anything else is greed and/or lack of focus.

What do I mean by creativity? Think about Tweetdeck…

Tweetdeck innovated on top of the Twitter platform and in the end the platform twitter bought them (stupid move). Tweetdeck for a lot of people made twitter usable at long last. The amount of news rooms I’ve been to and seen tweetdeck with a million panels open is untrue. The same isn’t true now… Tweetdeck guys innovated on top of Twitter and instead of sharing revenue with them or something. They bough them…!

A quote which comes to mind is something like…

The train company thought they were in the railroad business, what they didn’t get was that they were actually in the transportation business.

I really like twitter but frankly their control/greed/whatever is getting out of control. While on a panel yesterday at the London transmedia festival in Ravensbourne College. I was sat with Danielle from Tumblr, Bruce from Twitter, Cat from BBC and Doug Scott from Ogilvy. Although its tempting to make a few comments about there change in stance, I passed. Although I did notice say something which could be seen as slightly negative. Doug said how useful Twitter is for understanding users and I agreed but I said,

“Well its important to remember Twitter is only explicit data, implicit data is the stuff people really want to get there hands on…”

Anyway, the point stands and its hard to see how Twitter will get into the implicit data game at this point. If they acted like a platform, maybe someone else would do the innovation for them. But back to the main point why would you do it on someone closed system?

Decentralised network systems are harder but will drive much more interesting creativity… I can see how this might be at odds with setting up a business, startup and having investors etc… But I’m sure I could make a argument that its better in the long run…