Current NM Final Questions Review
Can a cultural object be purely an algorithm?
*Can cultural object be purely an algorithm* --No, algorithm and database work together
What is Bio Art concerned with?
- critically challenging emerging life science applications -stimulating of scientific thinking -contributing to new research questions and new technologies
What is Critical Making? (Unit 5)
-the making of hands on project linking technology to social issues
What does it mean to reduce any kind of cultural object (or phenomenon, or person, for that matter) to data structures and algorithms?
1) Data Structures - objects in the world is modeled as data structure -Ex: population of a city, weather over the course of century, chair, human brain. 2) Algorithms - any process or task is reduced to an algorithm -A final sequence of simple operations which a computer can execute to accomplish a given task.
In terms of Database Cinema, you need to know Vertov, Whitney, and Greenaway.
1)*Vertov* - film director, one of the major "database filmmaker" - his films (like "Man with a Movie Camera") consist of at least 3 levels: a) the story of a camera filming material for the film b) the shots of an audience watching the finished film in a movie theater c) the film - consists from footage recorded in Moscow, Kiev and Riga and is arranged according to a progression of one day: waking up, work, leisure activities. (If the 3rd lvl is text - the other 2 lvl can be thought of as its meta texts) -What makes the film striking is not the subject, but Vertov's establishment between them to impose "the communist decoding of the world" of film techniques - Film techniques: fades, superimpositions, freeze frames, acceleration, split screens, types of rhythm and intercutting. -Proposes an untamed, unwinding of cinematic techniques , use contemporary language, "effects", as cinema's new way of speaking. -"kino-eye" - use to decode the world -Vertov's goal is to seduce us into his way of seeing and thinking, to make us share his excitement his gradual process of discovery of film's new language -In the hands of Vertov, "database" ( a normally static and objective form) becomes dynamic and subjective - merge database and narrative into a new form. 2)*Whitney* - never produced a complete, coherent movie on the analog computer, because he was continually developing and refining the machine while using it for commercial work. -However, Whitney - did assemble a visual catalogue of the effects - His film, "Catalog" (1961) (many prefered his analogue work over his digital computer films) -countless music videos are variations of Witney's "Catalog" - the only difference is that the effects are applied to the images of human performers. -variations of elements and to act as a filter, transforming its input to yield a new output, becomes the logic of culture at large. 3)*Greenway* - one of the major "database filmmaker" of 20th C. - film director concerned with expanding chinema's language - complained that "the linear pursuit - one story at a time told chronologically - is the standard format of cinema" - working on a problem of how to reconcile database and narrative forms -Many of his films progress foward by recounting a list of items, a catalog which does not have any inherent order (Ex:Prospero's Books) -Working to undermine a linear narrative, Greenway uses different systems to order his film "If a numerical, alphabetic color-coding system is employed, it is done deliberately as a device, a construct, to counteract, dilute, augment or ocmpliment the all-pervading obsessive cinema interest in plot, in narrative, in the "I am going to make a film _ Greenway's favorite system is numbers. By using number, Greenaway "wraps" a minimal narrative around a database. -Greenaway does not abandon narrative, he continues to investigate how database and narrative can work together. Ex: "The Stairs- Munich-Projection" - a 100 screens - each for a year in the history of cinema, throughout Munich -a spatialised database with narrative. - the project uses Greenaway's favorite principle of organization by numbers: the projection on the screens contain no figuration, just numbers. (numbered from 1895 to 1995, each projection is slightly different in color, 100 colored squares form an abstract narrative of their own which runs in parallel to the linear narrative of cinema's history) - The basic narrative of the project - 100 numbers, standing for 100 years of cinema's history - "neutralizes" the narrative, forcing the viewer to focus on the phenomenon of the projected light itself, which is the actual subject of this project.
How can the narrative of a computer game can be different from the algorithm?
Computer games -experienced by players as narratives - Narrative is a shell of a game, masks by simple algorithm -Computer games do not follow database logic, they appear to be ruled by algorithm (demands a player execute an algorithm to win)
What is an obvious/traditional computer database? Give other examples? (Manovich's Database as Symbolic Form)
Database - a systematized collection of data that can be accessed immediately and manipulated by a data-processing system. - it is open, can be added to Traditional Database Ex: phone book -dictionary -doomsday book (database of people and stuff in England) -Card catalog
What is Speculative Design? (Unit 6)
Speculative Design - the use of design as a means of speculating how things could be -This form of design thrives on imagination and aims to open up new perspectives on what are sometimes called wicked problems. -create spaces for discussion and debate about alternative ways of being, and to inspire and encourage people's imaginations to flow freely -Design Speculations can act as a catalyst for collectively redefining our relationship to reality
How are narratives and games similar? How are they not similar?
computer games experienced by players as narratives, wich all elements are motivated
How does Manovich apply the ideas syntagm and paradigm to New Media?
http://changingminds.org/explanations/critical_theory/concepts/syntagm_paradigm.htm *Syntagm* - signs appear in sequence or parallel and operate together to create meaning -Syntagmatic experience: - although the user is making choices at each new screen, the end result is a linear sequence of screens which she follows. *Paradigm* - individual sign may be replaced by another *Paradigm -explicit Ex: interactie objects presenting user with a number of choices at the same time - a screen contain a few icons; clicking on each icon leads the user to a different screen. Ex: presenting user with an explicit menu of all available choices.
What does Manovich mean when he says "algorithms and data structures have a symbiotic relationship"
"algorithms and data structures have a symbiotic relationship" - the more complex the data structure of a computer program, the simpler the algorithm needs to be -Together, data structures and algorithms are two halves of the ontology of the world according to a computer 1) Data Structure: CD Roms, and Web database 2) Algorithms: Computer games
What was meant by the refrain "Actually, it's about ethics in game journalism"? Is it? Justify your answer with evidence.
*"Actually, it's about ethics in game journalism"* -discussion about ethical problems in game journalism
Know the four methods used in generative art and be able to give an example of each
*4 methods used in Generative Art:* 1)*Randomization/Indeterminacy* Ex: Mozart's Musical Dice Game Ex: Cut-up Technique -some Dada poetry -William S. Burroughs' poetry and novels - cut up poems Ex: John Cage, using I Ching and random sound behind silence or 4'33'' piece - much unconscious( or at least unexplicit) use in design (random scattering in space or time) 2) *Combinatorics* Ex: Sol LeWitt's wall drawings ad sculpture of towers, pyramids and geometric shapes. Raymond Queneau's Cent Mille Millard de Poemes - "Hundred Thousand Billion Poems" - set of ten sonnet in a book, each line seperated into stripes which can be combined with any other lines of poems. 3) *Artificial Intelligence* Ex: Conway's Game of Life Ex: Harold Cohen's Aaron painting program Ex: CityEngine - generating ancient or modern cities from Shape Grammar Ex: Postmodernism Generator, Kant Generator, etc, using context-free grammar Ex: Computer Games 4) *Genetic/Evolutionary Art* - Uses small algorithms, which are crossed, mutated, and bread - Almost always abstract -Music -Graphics -Can be focused, via selection pressure, on particular styles or forms
Matt Nish-Lapidus describes a set of aesthetic qualities foundational for design in networked systems/environments: Texture, Agency, Opacity, and Reflexivity. Pick one, describe it (in its UX/IoT sense) and explain it's importance
*Aesthetic qualities foundational for design in network systems/environment: 1) *Texture* - texture of the network is what we think about when we look at how easy it is to interface with its different parts Ex: if the connections are obvious and accessible, we might describe the interface as smooth. - Texture can be applied to graphic interfaces, gestural or spatial interfaces, hardware controls, APIs. Ex: ATM, customer service, transfer between institutions,etc. -How the piece interacts with the whole and how the system responds to those inputs. 2) *Agency* - What is the component's capacity to act on the other part of the network or system as a whole? -The agency of each actor within the system depends on its role. -An agency can describe how much power a user can exert on other parts of the network, versus being limited to specific actions in specific context. - Different actors will have different amounts of agency at different times. 3) *Opacity* -How clear is the network from the perspective of a participant or observer? -Are the connections easily visible or are they hidden? -The opacity of a network can influence how much agency each actor has and help to create the desired texture. -Ex: Traffic Lights -a very opaque system, one where the means of interacting are often completely hidden -It would be easy to interact with the system and still not even know that it exists. -In this case, the opacity has a direct impact on a person's agency. -Rough will be apparent if the system misbehaves and nobody can see what is happening 4) *Reflexivity* -How do you know what is happening in the network? -How does it inform the different actors, both human and nonhuman, what state it is in and if there are any problems? -Reflexivity is the way in which the particular system provides feedback based on states, actions, and behaviors -Indication that the rules of the system are enforced. -The quality of this feedback is important to crafting the aesthetic of the system, is it friendly, verbose, human readable? *2 types of systems and products describes the aesthetic language:* 1) *Hard System* - system model that is concrete and constructed to achieve an objective -easy to analyze and model because they are generally made up of discrete pieces that each plays a set part, most often actual thing that exist in the physical world. 2) *Soft System* - system model that is fuzzy and focuses on the understanding of the system from many perspectives. -In this type of model each piece of the system is based on subjective understanding of the whole, rather than specific objects that exist in the world.
Data seems passive but is (sometimes) continually added to. Does that make it active? Or just not static?
*At first sight, Data seems passive, but algorithm is active* Ex: a program reads in data, executes an algorithm, and writes out new data. -"data processing"- computers were mainly associated with performing calculations over data. - However, the passive/active distinction is not quite accurate since data does not just exist - it has be generated.
Is Bio Art, a New Media by Manovich's definition? Why? Give evidence.
*Bio Art as New Media Object* *Tissue Culture* 1) Numerical Representation - No 2)Automation - Biological growth 3)Modularity - Yes (cell, organs) 4)Variability - Yes (think of dog breeding) 5)Transcoding - Yes, but slow 6) Database- Not particularly *Prosthetics* 1) Numerical Representation - No 2)Automation - No 3)Modularity - Yes 4)Variability - The Main point 5)Transcoding-Yes, but slow and mindbending 6) Database-not particularly *Genetics* 1) Numerical Representation - Yes 2)Automation - Yes 3)Modularity - Yes 4)Variability - Yes 5)Transcoding - Yes and mind bending 6) Database - Yes
Be clear about the difference between Biologically Inspired Art/Design, Biomorphic Art/Design, and Bio Art. Be able to provide examples of each.
*Biologically Inspired Art/Design* Ex: cave painting, mural, still life, patterned wallpaper, avant garde architecture *Biomorphic Art/Design* Ex: Tanguy's paintings, abstract sculpture *Bio Art* -Characteristics: wet, sometimes digital (= DNA bases, not 0101), very reflexive, conceptually grounded, especially in moral issues. -Based on biomedical technology (tissue culture), biomechanical technology (prosthesis) or genetics. Ex: skin and muscle of animals and humans can be readily cultured in the lab, or bone ring, victimless leather
Be clear about the differences between Biomechanical Art/Design (eg. Prothsetics) , Biomedical Art/Design (eg Tissue Culture), and Genetic Art/Design (using DNA manipulation). Be able to provide examples of each.
*Biomechanical Art/Design* (prothsetics) Ex: steal hip replacement, human pacemaker, prosthetic leg for runners *Biomedical Art/Design* (tissue culture) Ex: victimless leather ,or extra ear by stalerc , bone wedding ring, semi-living steak *Genetic Art/Design* (using DNA manipulation) Ex: Eduardo Kac's "Alba" - rabbit with a GFP (green florescent protein from florescent jellyfish) gene Ex: DNA as Graphic Motif - DNA sequence tattoed onto skin. -Genetically modified glowing plants
What is a Creative Commons license?
*Creative Commons License* -1) Attribution - Others who use your work in any way must taht suffests you endorse them or their use. 2) ShareAlike - You let others copy, distribute, display, perform, and modify your work, as long as they distribute any modified work on the same terms. If they want to distribute modified works under other terms, they must get your permission first. 3) NoDerivatives - You let others copy, distribue, display and perform only original copies of your work. If you wat to modify your work, they must get your permission first. 4) NonCommercial - You let others copy, distribute, display, perform, and modify and use your work for any purpose other than commercially unless they get your permission first.
What is the idea of Architecture as an Interface important?
*Importance Architecture as an Interface* -digital realms built for use for specific individual, based on necessity for specific tasks as declared by individuals
Is the Genetic (not generative) wing of Bio art, New Media according to Manovich? Why/why not? Give evidence.
*Is Genetic (not generative) wing of Bio art a New Media according to Manovich* Ex: Eduardo Kac's "Alba" - rabbit with a GFP (green florescent protein from florescent jellyfish) gene Ex: DNA as Graphic Motif - DNA sequence tattoed onto skin. -Genetically modified glowing plants *Genetics* 1) Numerical Representation - Yes 2)Automation - Yes 3)Modularity - Yes 4)Variability - Yes 5)Transcoding - Yes and mind bending 6) Database - Yes
Is the Post-Human/Prosthetic wing of Bio art, New Media according to Manovich? Why/why not? Evidence.
*Is Post-Human/Prosthetic wing of Bio art a New Media according to Manovich* Ex: steal hip replacement, human pacemaker, prosthetic leg for runners *Prosthetics* 1) Numerical Representation - No 2)Automation - No 3)Modularity - Yes 4)Variability - The Main point 5)Transcoding-Yes, but slow and mindbending 6) Database-not particularly
Is the Tissue Culture wing of Bio art. New Media according to Manovich? Why or Why Not? Give evidence.
*Is Tissue Culture wing of Bio art a New Media according to Manovich* Ex: victimless leather ,or extra ear by stalerc , bone wedding ring, semi-living steak *Tissue Culture* 1) Numerical Representation - No 2)Automation - Biological growth 3)Modularity - Yes (cell, organs) 4)Variability - Yes (think of dog breeding) 5)Transcoding - Yes, but slow 6) Database- Not particularly
What was John Philip Sousa's point about phonographs and gramophones?
*John Philip Sousa* -complained about the talking machine (phonograph/gramophone) "We will not have a vocal chord left" people once sang current songs and old songs as a group, now it can be played over and over again.
Beyond aesthetics, what is the key issue that Bio art addresses?
*Key issue that Bio Art address* - ethical issues, social, cultural and environmental issues -rise awareness on moral implications like leather production, animal extinction.
Who is Lawrence Lessig and why is he important?
*Lawrence Lessig* - Founder of Creative Commons, a non-profit organizaition devoted to expanding range of creative works avalible to others to build upon and to share legally - American academic, attorney and political activist - Proponent of reduced legal restrictionson copyright, trademark and radio frequency specturm, particularly in technology applications -the author of Remix: Making Art and Commerce Thrive in the Hybrid Economy
The article on Generative Art describes Literature as a type of Generative Art. Describe an example covered in lecture.
*Literature as a type of Generative Art* - Writers such as Tristan Tzara, Brion Gysin, and William Burroughs used cut-up technique to introduce randomization to literature as a generative system - Philip M. Parker - written software to automatically generate entire books -Jason Nelson - used generative methods with Speech-to-Text software to create a series of digital poems from movies, television and other audio sources.
Give an example of a database that existed before computers. Explain why it is a database.
Traditional Database Ex: phone book -dictionary -doomsday book (database of people and stuff in England) -Card catalog
What genres/fields do you see Generative Art in?
Types: Music, Visual Art, Software Art, Architecture, Literature, Live coding 1)various experiments in traditional art 2) electron music and composition 3) computer graphics and animation 4) game art and design 5) industrial design and architecture
How is a web affordance different from what Norman calls a real afforance? (Unit 1)
Web affordance vs Real affordance *Web Affordance* - applies to websites, like links (click here) *Real Affordance* - way to make sure the affordance are clear - using labels, use signifiers
The article on Generative Art describes Live Coding as a type of Generative Art. What is Live Coding, and which of the five key trends of contemporary art does it connect to?
*Live Coding* - generative systems may be modified while they operate Ex: using interactive programming languages like Max/MSP, vvvv, Fluxus, Isadora, Quartz Composer and openFrameworks - progaming by artists - used to create live music and/or video by manipulating generative systems on stage -emphasis human authorship rather than autonomy - creative technique centered upon writing source code and use of interactive programming in an improvised way (Ex: light systems, improvised dance and poetry, computer music) * Key trends of Contemporary Art connected to Live Coding* 1)Performance Art, 2)Installation Art 3) Video Art 4) Community Art 5) Conceptual Art
What are Manipulatives? What are Virtual Manipulatives? What do they lack that traditional manipulatives have? How can that be overcome?
*Manipulatives* - tangible learning objects that help in the transfer of new knowledge. Ex: Cylinder blocks designed by Maria Montessori: good learning objects -these cylinder block toys help develop a child's visual discrimination of size and indirectly prepare a child for writing through the handling of the cylinders by their knobs. *Virtual Manipulatives* Ex: online learning program, will adapt which which lesson is recommended next based not only the correctness of an answer, by by "capturing the strategies that students use to solve problems, not just that they git it right or wrong" Ex: by observing how a student arrives at an answer, by monitoring movements of the mouse and what students "drag" over, the system can determine if someone has truly mastered the skill(s) need to move on.
The article on BioArt mentions a significant piece created in the 1980s by Joe Davis called Micro- venus, the first art created with the tools and techniques of molecular biology. Describe it.
*Microvenus* - the first art created with the tools and techniques of molecuclar biology -"proof of concept" that information could be inserted into and retrieved from bacterial DNA -"Microvenus" was the first of many experiments, which generic information was inserted into living organisms in the form of synthetic DNA (conducted for scientific purposes) -Ex:Joe Davis (artists) collaboration with Dana Boyd (Harvard geneticist) (1980s) -Project involving interstellar radar transmissions for extraterrestrial intelligence Limitations of radar technology -DNA synthesis, purification, and cloning with E. coli
Compare the Modernist and Postmodernist takes on Generative Art. How do you think this debate will progress as technology improves?
*Modernist on Generative Art* *Modernism* - Univocal (there is only 1 truth and 1 aesthetics which form a Master Narrative) -Universal - content is irrelevant, and only one meaning of an artwork -Orthodax (Pure) (keep out content & context) -True Artist = Genius -True Artwork is Autonomous (greatness is inherent and independent of context) -Materially Reflexive (focus on its own materials and media) - High Art is True, Low Art is Kitsch (tacky) -Rigid standards known to Elite (what is good/bad) -Artist built from fragments to make whole -Artist/author is creator (personal perspective, lack of context, purity, genius of artist, autonomy of work, univocal master narrative, rules, high vs. low, materially) *Postmodernist on Generative Art* *Postmodernism* - Polyvocal (many truths and aesthetic, all are valid) -Contingent (different truths apply in different places) - content is crucial, and many meaning of an artwork - Heterodox (content & context all mix together) -Everyone can be an artist - Artwork is dependent on context and interpretations -Conceptually Reflexive (focus on own interpretations) -All art is equal (Van Gogh an soup can designs are =) -Flexible standards/ No standards (all values are equal) -The Viewer builds from fragment -viewer/reader is creator (polyvocal, contexts(many kinds), (limited) relativity of aesthetics, visual culture rather than art, importance of reader, culturally reflexive, less about individuals)
For Manovich, how can montage allows for both realistic and impossible compositing of images?
*Montage* -the default visual language of composite organization of an image -However, just as a database supports both the database form and its opposite - narrative, a composite organization of an image on the material level supports two opposing languages Two opposing languages: 1) modernist-MTV montage -two dimensional juxtaposition of visual elements designed to shock due to its impossibility in reality 2) Representation of familiar reality as seen by a photo of film camera (or computer simulation, in the case of 3D graphics) -Renaissance of montage took place in visual culture, in print, broadcast design and new media
How is Mozart's Musical Dice Game, a work of generative art? Give evidence.
*Mozart's Musical Dice Game* - system for using dice to randomly generate music from precomposed options
Do databases and narratives in culture need each other to work?
*Narrative and Database* -"as a cultural form, database represents the world as a list of items it refuses to order this list" - Narrative creates a cause and effect trajectory of seemingly unordered items (events)
How are the interfaces for traditional art objects and new media object different? What does it mean to be the "user" of a narrative?
*New Media Object* - appear as collections of items which user can perform various operations: view, navigate, search. - The "user" of a narrative is traversing a database, following links between its records as established by the database's creator -
What does Manovich mean by "the projection of the ontology of the computer onto culture itself "?
*Ontology* - study of nature of being - Ontology in Information Science - formal naming and definition of types, properties, and interrelationships of entities that really exist for a particular domain of discourse -Fields of artificial intelligence The World is reduced to two kinds of software objects: 1) Data Structures 2) Algorithms
Lessig, what is Read Only culture? Read Write culture?
*Read Only Culture* - individuals absorb culture and do not add to it or further their participation *Read-Write Culture* -individuals absorb culture and add to it.
What is a real affordance, a perceived affordance, a hidden affordance? (Unit 1)
*Real Affordance* -do not always have a visible presence -signs indicate what you can do -the icon provides a target on where should be clicked *Perceived Affordance* -user knows what to do just by looking -help people figure out what actions are possible without the need for labels or instructions -the designer cares more about what actions the user perceives to be possible than what is true. *Hidden Affordance* -Possibilities for action, but not perceived by the actor -Ex: should I push, pull or turn the switch for shower)
How does Remix Culture map onto Manovich's Database model of new media objects?
*Remix Culture map onto Manovich's Database model* *Culture* - the beliefs, customs, arts, etc. of a particular society, group, place, or time, includes: art, dress, theather, beliefs, music, dance,etc.
Why is Speculative Design valuable according to Dunne and Raby? (Unit 6)
*Speculative Design according to Dunne and Raby* -create spaces for discussion and debate about alternative ways of being, and to inspire and encourage people's imaginations to flow freely
Describe the semiological theory of syntagm and paradigm
*Syntagm* - the chosen signs or items -Ex: The cat sat on the mat -Chosen decision, Ex: the particular outfit you chose -In Narrative, the syntagm is explicit (material and privileged) - In New Media the Syntagm is implicit *Paradigm* - the range of possible signs or items (possibilities) -Ex: the cat (jumped, peed, sat, slept) on the mat -All the clothes in your closet (possible combinations) - In Narrative, is implicit -In new Media Paradigm is explicit
How does new media reverse the traditional relationship between paradigm and syntagm?
*Syntagm* - the chosen signs or items -Ex: The cat sat on the mat -Chosen decision, Ex: the particular outfit you chose -In Narrative, the syntagm is explicit (material and privileged) - In New Media the Syntagm is implicit *Paradigm* - the range of possible signs or items (possibilities) -Ex: the cat (jumped, peed, sat, slept) on the mat -All the clothes in your closet (possible combinations) - In Narrative, is implicit -In new Media Paradigm is explicit
A traditional linear narrative is one, among many other possible trajectories. Are all narratives? Are all new media objects?
*Traditional Linear narrative* -a particular choice made within a hyper-narrative (interactive narrative) -Traditional cultural objects can now be seen as a particular case of a new media object ( a new media object which only has one interface) -Traditional linear narrative can be seen as a particular case of hyper-narrative. *Are all narratives?* -No -The "technical" or "material" change in the definition of narrative does not mean that an arbitrary sequence of database records is a narrative. -To *qualify as a narrative, a cultural object has to satisfy a number of criteria*, which Mieke Bal defines as follows: 1) should contain both an actor and a narrator 2) should contain three distinct levels consisting of the text, the story, and the fabula 3) its "contents" should be "a series of connected events caused or experienced by actors" - Not all cultural objects are narratives -However, in the world of new media, the word "Narrative" is often used as all-inclusive term, to cover up the fact that we have no yet developed a language to describe these new strange objects -Usually paired with another over-sued word: "interactive" - A number of database records linked together so that more than one trajectory is possible, is assumed as "interactive narrative" -But just creating these trajectory is not sufficent, the author also has to control the semantics of the elements and the logic of their coneection so that the resulting object will meet the criteria of narrative above. -Another Erroneous assumption is: creating her own path (choosing the records from a database in a particular order) the user constructs her own unique narrative. - *Database and narrative do not have the same status in the computer culture* -In the database/narrative pair, database is the unmarked term -Regardless of whether new media objects present themselves as linear narraties, interactive narratives, databases, or something else, on the level of organization, they are all databases -In new media, the database supports a range of cultural forms which range from direct translation (Ex: a database stays a database) to a form whose logic is the opposite of the material form itself-- a narrative. -A database can support narrative, but there is nothing in the logic of the medium itself which would foster its generation
What is UI? How is it different from UX?
*UI - User interface* - the visual design (color, fonts) *UX - User experience* - the process of interaction with the product -user's ability to interact with a certain media (computer, smartphones, brochures, packaged products or language lessons) in a way that is constructive, productive, and beneficial to workflow and customer satisfaction Ex: valuable, useful, desirable, accessible, credible, findable, useable. Ex: visual design, information architecture, content strategy, interactive design, user research - quantitative and qualitative)
How does UX design apply to architecture?
*UX design apply to architecture* - user-related input to a system in his or her environment can also be extracted or sensed by the environment Ex: APPLE store - sleek industrial design, harmonious whole that users love. Feel like a gathering place, the bright lights makes the costumers feel like they are at an event than a retail store. Ex: BMW - designing for emotional impact as part of company's worldwide Ex: high temperature sensor - adjust temperature without involving the user
Usability is a major component of UX. What are some key features that lead to good Usability
*Usability of UX* -seeing, touching and thinking about the system or product (admiring presentation) -Pragmatic component of user experience (including effectiveness, efficiency, productivity, ease-of-use, learnability, retainability, and the aspects of user satisfaction)
What is User Experience Design? (don't be tautological)
*User Experience (UX)* - the totality of the effect or effects felt by a user as a result of interaction with, and the usage context of, a system, device, or product, including the influence of usability. - the usability, accessibility and pleasure provided through the interaction with the product. -Useful, easy to use and delightful to interact with. -user's ability to interact with a certain media (computer, smartphones, brochures, packaged products or language lessons) in a way that is constructive, productive, and beneficial to workflow and customer satisfaction
Can a cultural object be purely a database?
- Database at its most pure form: the set of elements not ordered in any way (it the elements exist in one dimension (time of a film, list on a page) - they will be order. (then not pure) -elements of database are spatialized within a museum or even the whole city. -The only way to create a pure database it to spatialize it, distributing the elements in space Ex: Greenaway's 1992 installiation "100 Objects to Represent the World" - proposes that the world should be understood through a catalog rather than a narrative.
Manovich notes the open nature of the web and that web sites never have to be complete. How does this fall in the logic of narrative?
- website's database can always be added on and changable
Gamergate Questions about Anita Sarkeenian's videos (what was their point? what evidence did she use,?what were the responses? what evidence did they use?) and about the Gamergate Controversy (what does each side say it was about? what evidence do they use? what has been the response of the broader media?).
- stereotype, dismal in distress trope, sub-culture, minority. *Gamergate Controversy* https://en.wikipedia.org/wiki/Gamergate_controversy concerns issues of sexism and progressivism in video game culture, stemming from a harassment campaign conducted primarily through the use of the Twitter hashtag #GamerGate. Beginning Aug, 2014. - Gamergate targeted several women in the video game industry like Zoe Quinn and Brianna Wu and female media critic Anita Sarkeesian -Zoe Quinn After a former boyfriend of Quinn wrote a lengthy disparaging blog post about her, ther people falsely accused her of entering a relationship with a journalist in exchange for positive coverage and threatened her with assault and murder. Those endorsing the blog post and spreading such accusations against Quinn organized themselves under the Twitter hashtag #Gamergate, as well as on Internet Relay Chat (IRC) channels and website such as Reddit, 4chan, and 8chan Harrassment campaigns against Quinn and others were coordinated through these forums and including doxing (spread of personal info.), threats of rape, and death threats. Gamergate hashtag Many of those organizing under the Gamergate argue that they are campaigning against political correctness and poor journalistic ethics in the video game industry. But many commentators dismissed Gamergate's purported concerns with ethics and condemned its misogynistic (hatred & prejudice toward women) behavior The controversy has been describes as a manifestation of a culture war over cultural diversification, artistic recognition, and social criticism in video games, and over social identity of gamers. Supporters of Gamergate: Many oppose what they view as the increasing influence of feminism on video game culture They claim to perceive collusion between the press and feminists, progressives, and social critics These concerns have been dismissed by commentators as irrelevant to the actual issues of ethics. Such concerns led users of the hashtag to launch email campaigns targeting firms advertising in publications of which they disapproved, asking them to withdraw their ads. Industry Responses to Gamergate - Negative The Entertainment Software Association and Sony Computer Entertainment have condemned Gamergate harassment Intel pledged $300 million to support "Diversity in Technology" program Gamergate Result Led to both inside and outside the industry to focus more on better methods of tackling online harassment. -More on Zoe Quinn Independent game develop Released "Depression Quest" - an interactive fiction browser game The game has positive reviews but also recieved hate mail upon its release By Aug. 2014 Quinn has been target of 18 month of increasing harassment In Aug. 2014, Eron Gjoni, Quinn's former boyfirend, published the "Zoe Post" A 9,425 word blog post that quoted from personal chat logs, emails, and text messages to describe their relationship Complained about other things that Quinn entered a romantic relationship with Nathan Grayson, a journalist for the Gawker Media video game website: Kotaku. Result in: post linked on 4chan where some erroneously claimed the relationship had induced Grayson to publish a favorable review of "Depression Quest" Truth: Grayson had never reviewed Quinn's games and Grayson's only article for "Kotaku" mentioning her was published before their relationship began. (Gjoni later updated his blog post to acknowledge this) "White Knight" or "Social Justice Warriors" (SJW) -Phil Fish One of the "white knights" or "social justice warriors" (SJW) who defended Quinn Were also subjected to threats and had his personal info and password hacked and posted online. -Anita Sarkeesian Feminist media critic Been a target of online harassment for her Youtube video "Tropes vs. Women in Video Games" Which analyzes sexist stereotypes in video games Cancelled Utah State University after school recieved threats of massacre at the event Alluding to the Ecole Polytechnique massacre, 1989 mass shooting motivated by anti-feminism -Brianna Wu Another independent game developer and co-founder of video game studio Giant Spacekat Saw her home address and other identifying information posted on 8chan as retaliation for mocking Gamergate Also became target of rape and death threats on Twitter and other sites Wu filed to the police, and fled her home with her husband and announced reward for any info leading to the conviction of those involving her harassment Felicia Day, actress and gamer Blog post about her concerns over Gamergate and her fear of retaliation if she spoke against it. Immediately home address and phone number were posted online, leading to harrasing letters and calls. Wil Wheaton (actor) and former NFL player Chris Kluwe also posted criticisms of Gamergate and were not threatened like women of gamergate were. Steven Williams Youtube personality - remarked that his address was posted online and his wife's life was threatened. Bomb threats have also been made towards events attended by Gamergate supporters How the harassment started: Early Gamergate IRC discussions focused on harassment of Quinn by using astroturf campaigns to push attacks against her into mainstream view. Sockpuppet accounters were made on Twitter to be used to popularize the Gamergate hashtag. Organizers deliberately attempted to cultivate a palpable narrative for public consumption while internally focusing on personal grudges against Quinn Gamer-gate's structure: anonymous swarm allowed it to create an environment where anyone who criticized it or became its target was at risk, while allowing them to avoid individual responsibility for harassment. Gamer Identity Gamergate situation is often considered to be a reaction t the changing cultural identity of the "gamer" Growing popularity of games expanded their audience to include many who did not fit the traditional gamer demographic Games with artistic and cultural themes grew in popularity and independent video game development made these games more common, while mobile and casual games expanded the scope of the industry beyond the traditional gamer identity. 2014 survey of EA showed nearly as many women played video games (48%) as men This broader audience began to question some assumptions and tropes that had been common in games. Sexualized games aimed primarily at young men might eventually be replaced by less sexualized games marketed to broader audiences. Critics became interested in issues of gender representation and identity in video games Anita Sarkeesian - "Tropes vs. Women in Video Games project Believed women are targeted because they are "challenging the status quo of gaming as a male-dominated space." Targets of Gamergate supporters have overwhelmingly been women, even when men were responsible for the supposed wrongdoings Simon Parkin, writer of The New Yorker, observed that Quinn was attacke dwhile the male journalist who was falsely accused of revieewin gher work favorably largely escaped, reaveling the campaign as "a pretense to make further harassment of women in the industry permissible" The Law: FBI had a file regarding Gamergate, but no arrests nor charges have been made Former FBI supervisory special agent for cybercrimes, Tim Ryan, stated that cyber-harassment cases Gamergate has been criticized for focusing on women, especially female develops, while ignoring many large-scale journalistic ethics issues. An online abuse panel at the 2016 SXSW festival said that there was no technological solution to the problem of harassment given human nature; although policy changes have been made, the larger issue is more societal than platform-specific. *Anita Sarkeesian original video series: Tropes vs Women in Video Games. * "Feminist Frequency" "Dinosaur Planet" Crystal, strong women hero saving the world (game never got released) Instead, Crystal was transformed into a damsel in distress in skimpy outfit in the Star Fox series Damsel in distress became sensual plot device for film, animation and video game Nintendo's "Jump Man" or "Donkey Kong" Princess Peach - damsel in distress Women, a prize won, an object stolen from the protagonist and became a central object of competition between men. (Ex: Mario vs. Bowser for Peach) Damsel in Distress trope - a female character to be reduced to a state of helplessness, from which she requires rescuing by a typically male hero for the benefit of his story arc. "Legend of Zelda" franchise - All incarnations of Princess Zelda have been kidnapped, cursed, possessed, turned to stone or disempowered at some point. (never been a star in her own series) However, Zela is occasionally given a more active role to play than her counter (Peach) in Mushroom Kingdom Unlike Peach, Zelda is not completely defined by her role as Ganondof's perpetual kidnap victim She rides the line between Damsel and sidekick of Link The Helpful Damsel - Zelda takes the form of Sheik in Ocarina of Time and Tetra (young pirate captainin The Wind Waker. However, when she turns back into Princess Zelda, she's captured within 3 mins. Her rescue became central to Link's quest. Tetra -When's her Zelda form is revealed, she's told that she's no longer allowed to accompany Link on the adventure. (Because it's too dangerous for her. And was kidnapped) Zelda is still damseled at least one in every game Damsel in distress - not just a synonym of "weak", no matter of their power, strength they are still need to be rescued. Heroine compared to damsel: Male Heroine can also be imprisoned, but they rely on their intelligence and skill to escape the prison. They are able to gain back freedom (unlike damsel is incapable to escape and must wait to be saved) An increasingly important and influential part of our larger soicla and cultural ecosystem Damsel trope is used in real world context - sexist attitude, large population still thinks that women, as a group, need to be sheltered, protected, and taken care of by men. Not saying that all games using damsel in distress plot are sexist or have no value...but it is undeniable that popular culture is a powerful influence in our lives. Damsel in distress is a recurring trope. *Response to Anita's Women in Video Game* -Double Dragon Neon's Damsel in Distress ended in damsel punching the villan in the balls... Hero saving a abducted love, shows healthy relationship, they care for the other. Or seeing it as loved one to be helped instead of seeing women as an object Willing to sacrifice is a sign of caring Heroine doing the dangerous work for the women, knight puppertered by the princess to go through this quest that he dies over and over again to save the princess. Man are easy to control Men and women are made to have different traits In the comments: Feminists need to be more educated. (Vicious reaction to what Anita is doing) A week's worth of hate tumbler from Quinn: http://femfreq.tumblr.com/post/109319269825/one-week-of-harassment-on-twitter Gamergate Internet Meme "Actually, it's about ethics in games journalism" *Women defending GamerGate, using hashtag NotYourShield Response #NotYourShild* Point out that you cannot use minorities, women, and others as a defense to deflect criticism of poor ethical practices and standards in game journalism Oppose Corruption in media and bias in game journalism Support fair and ethical journalism *Advantages of Gaming While Male* 25 benefits: Male can choose to remain completely oblivious, or indifferent to the harassment that many women face in gaming spaces Male was never told that video games or the surrounding culture is not intended for me because I am male. Can publicly post my username, gamertag, or contact information online without having to fear being stalked or sexually harassed because of my gender. Will never be asked to "prove my gaming cred" simply because of my gender If I enthusiastically express my fondness for video games no one will automatically assume I'm faking my interest just to "get attention" from other gamers. I can look at practically any gaming website, show or magazine, and see the voices of people of my own gender widely represented. When I go to a gaming event or convention, I can be relatively certain that I won't be harassed, groped, propositioned or catcalled by total strangers. I will never be asked or expected to speak for all other gamers who share my gender. I can be sure that my gaming performance (good or bad) won't be attributed to or reflect on my gender as a whole. My gaming ability will never be called into question based on unrelated natural biological functions. I can be relatively sure my thoughts about video games won't be dismissed or attacked based solely on my tone of voice, even if I speak in an aggressive, obnoxious, crude or flippant manner. I can openly say that my favorite games are casual, odd, non-violent, artistic, or cute without fear that my opinions will reinforce a stereotype that "men are not real gamers." When purchasing most major video games in a store, chances are I will not be asked if (or assumed to be) buying it for a wife, daughter or girlfriend. The vast majority of game studios, past and present, have been led and populated primarily by people of my own gender and as such most of their products have been specifically designed to cater to my demographic. I can walk into any gaming store and see images of my gender widely represented as powerful heroes, dastardly villains and non-playable characters alike. I will almost always have the option to play a character of my gender, as most protagonists or heroes will be male by default. I do not have to carefully navigate my engagement with online communities or gaming spaces in order to avoid or mitigate the possibility of being harassed because of my gender. I probably never think about hiding my real-life gender online through my gamer-name, my avatar choice, or by muting voice-chat, out of fear of harassment resulting from my being male. When I enter an online game, I can be relatively sure I won't be attacked or harassed when and if my real-life gender is made public If I am trash-talked or verbally berated while playing online, it will not be because I am male nor will my gender be invoked as an insult. While playing online with people I don't know I won't be interrogated about the size and shape of my real-life body parts, nor will I be pressured to share intimate details about my sex life for the pleasure of other players. Complete strangers generally do not send me unsolicited images of their genitalia or demand to see me naked on the basis of being a male gamer. In multiplayer games I can be pretty sure that conversations between other players will not focus on speculation about my "attractiveness" or "sexual availability" in real-life. If I choose to point out sexism in gaming, my observations will not be seen as self-serving, and will therefore be perceived as more credible and worthy of respect than those of my female counterparts, even if they are saying the exact same thing. Because it was created by a straight white man, this checklist will likely be taken more seriously than if it had been written by virtually any female gamer. *Response to advantage of gaming while male. Scott Anderson Blog *- White Male who grew up persecuted too. -Scott Anderson is an MIT Professor- post on nerd trauma and male privilege -Prof. Walter Lewin, MIT professor was stripped of his emeritus status and barred from campus for sexually harassing students online. -Wish that I could simply devote my life to math, like my hero Paul Erdos did. Anything really, other than the curse of having been born a heterosexual male, meant being consumed by desires that one couldn't act on or even admit without running the risk of becoming an objectifier or a stalker or a harasser or some other creature of the darkness. -Despite my ironclad commitment to women's reproductive choice and affirmative action and women's rights in the developing world and getting girls excited about science, and despite my horror at rape and sexual assault and my compassion for the victims of those heinous crimes, I might react icily to the claim—for which I've seen not a shred of statistical evidence—that women are being kept out of science by the privileged, entitled culture of shy male nerds, which is worse than the culture of male doctors or male filmmakers or the males of any other profession. I believe you guys call this sort of thing "blaming the victim." From my perspective, it serves only to shift blame from the ass-grabbers onto some of society's least privileged males, the ones who were themselves victims of bullying and derision, and who acquired enough toxic shame that way for appealing to their shame to be an effective way to manipulate their behavior. As I see it, whenever these nerdy males pull themselves out of the ditch the world has tossed them into, while still maintaining enlightened liberal beliefs, including in the inviolable rights of every woman and man, they don't deserve blame for whatever feminist shortcomings they might still have. They deserve medals at the White House. *Another response to male gaming advantage* NewStatesman On Nerd Entitlement By: Laurie Penny -White male nerds need to recognise that other people had traumatic upbringings too -- and that's different from structural oppression MIT professor Scott Aaronson's post about nerd trauma and male privilege Is a part of a larger discussion about sexim in STEM subjects -Aaronson's position on feminism is supportive, but he can't get entirely behind it because of his experiences growing up He describes how mathematics was an escape, for him, from the misery of growing up in a culture of toxic masculinity and extreme isolation - a misery that drove him to depression, anxiety, and suicidal thoughts. "Much as I try to understand other people's perspectives, the first reference to my 'male privilege' — my privilege! — is approximately where I get off the train, because it's so alien to my actual lived experience . . . I suspect the thought that being a nerdy male might not make me 'privileged' — that it might even have put me into one of society's least privileged classes — is completely alien to your way of seeing things. I spent my formative years — basically, from the age of 12 until my mid-20s — feeling not 'entitled', not 'privileged', but terrified." -- Scott Aaronson -As a child and teenager - shy, nerdy, and crippling anxiety, feeling lonely, ugly and unloveable -- developed severe anorexia and nearly died. Terrified of making my desires known As female, trying to pull herself out of hell, found sexism in the way. Still punished by men who believe that she do not deserve her work as a writer and scholar
Why is there not much of Bio Art?
-Concerns with consequences : -personal privacy -human rights -eugenics -food and drug saftey -replacement of natural systems with bioengineered counterparts - involvement of multinational corporations with genetic propiety -worldwide agricultural monopolies -prospects for weaponization of biotechnological accessories for military and law enforecment
What are Natural Signals and how do they relate to affordances? (Unit 1)
-Ex: Natural signals are the vertical plate and supporting pillars of a door tells you whether you should push or pull the door.
What is the goal of Critical Making? (Unit 5)
-Goal: focus relationship between embodied, shared learning and distributed information within the context of a specific task - like building a robot -focus on act of shared construction of prototype as an activity and critical reflection understanding of socio-technical issues. -note aspects of what they are doing, engendered or supported through conversations and discussions between team members
In the broad use in UX, what is a walled garden?
-Goal: use the flwrs, the shared experience of making, configuring, and reconfiguring them and the interactions observed between them to explore the themes of the conference -Think through some of the structural characteristics of network technologies and the possibility of individual agency and emergence within them. (participants could set up their flwrs to communicate differntly) -the building process help us think though different social theories about network. 2 Concerns of project: 1)reductive nature of this mapping would cause participants to "technologize" the complexity of the social theories and turn them into stepwise operationalizations 2) running of the flwrs would be seen as a simulation of social life and that the observed behaviors and results would be understood as being predictive of human social life.
For Manovich, how can a data structure allow for a narrative traverse and for nonlinear access?
-Many narratives, like Cervantes and Swift and Homer's epic poems - the founding narratives of Western tradition - traverse (travel across, through) an imaginary encyclopedia -Encyclopedia used to be organizied thematically, with topics covered in a particular order (seven liberal arts)
Manovich says at first sight, data looks passive and algorithm active. Why is this not the case?
-May appear that data is passive and algoritm is active - example of passive active binary categories loved by human cultures Program- reads in data, executes an algorithm, and writes out new data Ex: Steven Spielberg - Shoah Foundation videotaped and then digitized numerous interviews with Holocaust survivors Once digitized, the data has to be cleaned up, organized, indexed -Computer age brought with it a new cultural algorithm: reality > media >data>database Web: Data indexing
Why is Bio art still considered a New Media practice?
-New Media Art works with digital art, computer graphics, virtual art, interactive art, cyborg art and art as biotechnology -looks upon social and political issues
What are two significant differences between the narrative, which Manovich calls the quintessential modern media form, and the digital form, the database. Describe why they are significant.
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How is Harold Cohen's Aaron program, a work of generative art? Give evidence.
.*Harold Cohen's Aaron program* - a computer program written by Harold Cohen -it crease original artistic images -Aaron, cannot learn new styles or imagery on its own, each new capability must be hand-coded by Cohen -But it is capable of producing a practically infinite supply of distinct images in its own style
"Can the Gamergaters' position be justified? Provide specific evidence from the events and debate to justify your position"
... See gamergate stuff
Give examples of cultural objects that are clearly databases
Database as a cultural form - represents the world as a list of items and it refuses to order this list Ex: List of Movies
Nina Paley says that culture is anti-rivalrous. What does she mean? Be clear about what rivalrous, non-rivalrous, and anti-rivalrous mean. (creative commons)
*Culture is anti-rivalrous* *Anti-Rivalrous*: -Anti-rivalrous goods increase in value the more they are used. - Culture == anti-rivalrous - Cultural works increase in value the more people use them. *Rivalrous* - All physical items are rivalrous because they cannot be in two places at once -Everything in the physical world is rivalrous, even if it's abundant - Perceived value depending on the person -"Culture is not a commons, because Culture is not rivalrous and can't be owned." - Culture can't be bought or owned, its is not rivalrous -Culture is not a good or service. You cannot take it away *Non-rivalrous* -Non-Rivalrous: -Doesn't diminish in value -Culture is not non-rivalrous either -Public goods are non-rivalrous Ex: lighthouse is shared and not blockable
How are Database and narrative are like two completing imaginations?
*Database and narrative like 2 completing imaginations* -Two basic creative impulses, two essential responses to the world. -Both have existed long before modern media -Ex: Greeks produced long narratives, such as Homer's epic poems "The Lliad" and "The Odyssey", they also produced encyclopedias. -Database and narrative produce endless hybrids - it is hard to find a pure encyclopedia without any traces of a narrative in it. - Until alphabetical organization became popular a few centuries ago, most encyclopedias were organized thematically, with topics covered in a particular order (typically, corresponding to seven liberal arts)
"Does critiquing a lack of diversity constitute an attack on a community? Is it justified? Provide specific examples from the Gamergate debate."
*Does critiquing a lack of diversity constitute an attack on a community?* *Gamergate example* Ex: OverWatch - rising popularity for chacters of different body types, ethnics...
Who is Donald Norman? What did he do? (Unit 1)
*Donald Norman* - the author of "affordance and interction with everyday things." - focus on user centered designs. - design based on the user's needs (Ex: simplifying the structure of tasks, making things visible, getting the mapping right, exploiting the power of constraint, explaining affordances and seven stages of action) -Norman cared about processing mechanisms
What is the difference between embedded and emergent narrative? Give specific definitions and give examples..
*Embedded Narrative* Embedded behavior: - all actions, objects, and environments are built of recognizable, previously created and included components in recombination Ex: chose your own adventure game - different endings, the programmer recognize the possible situations *Emergent Narrative* Emergent behavior: - larger entities, patterns, and regularities arise through interactions among smaller or simpler entities that themselves do not exhibit such properties. -unpredictable Ex: Games like "Black and White" Ex: bird flying formation
What is Embodied Cognition?
*Embodied Cognition*-Focus on how the human mind organizes themselves by interacting with the environment -Thinking through doing = you take in our environment into account -When learning is embodied, it also engaged more of our senses, creating stronger neural networks in our brains.
Matt Ratto refers extensively to a piece called FLW PWR. Describe it. How does it examine and critique the walled gardens of Silicon Valley? (Unit 5)
*FLW PWR*- an environment that controls and limits the user's access to the web -- an exchange or Free Trade, all patterns received from other flowers would cause the receiver to change to the received pattern - Flwrs would accept and broadcast the patterns it recievies, but the energy is incremented only when it receives a pattern that it currently does not hold - Flwrs were unique and did not always match their programming, some are excellent broadcasters, others not so accepting to other patterns. -Caused flwrs transmitted little and instead listened for other transmissions, caused the network to die. -In order to the network to be alive - you need to participate and open to give and share information -shared learning and distributed information = building a robot. -*Goal*: use the flwrs, the shared experience of making, configuring, and reconfiguring them and the interactions observed between them to explore the themes of the conference -flwrs did not always match what their creators coded -discussions around the rise of proprietary and closed "walled gardens" on the Internet
What is Generative Art?
*Generative Art* -any art practice where the artist uses a system, such as a set of natural langage rules, a compute program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art. - art that created in whole or part with the use of an autonomous system -autonomous system - are non-human and can independently determiend features of an artwork (computer generate artwork that is algorithmically determined) Ex: chemistry, biology, mechanics, and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, tiling.
Be clear about the difference between Generics in Bio Art and Genetic Algorthims in Generative Art (which is quite different). Be able to describe the difference.
*Generics in Bio Art* -a wet and messy process using DNA *Genetic Algorthims in Generative Art* -a purely digital computer process
According to Paley, how does open source culture make money for the people who make it? (creative commons)
*How does open source culture make money for the people who make it?* -Open Source, people don't pay for the sofware per se; but they do pay for the peripherals. -selling add-ons, service contracts, and hardware to go with the software -donations and revenue -open source are often sponsored by other companies to promote their services
What is IxD? How is it different from UX?
*IXD* - Interction Design - the practice of designing interactive digital products, environments, systems and services -also valid when creating physical (non-digital) products Ex: Design, human-computer interaction and software development -Had an interest in form and behavior -satisfying the needs and desires of the majority of users of a given product. *The 5 Dimensions (5D)* 1) *Words* - defines the words are the interaction that users interact with. 2) *Visual representation* -elements of an interface that the user interacts with "typography, diagrams, icons and other graphics" 3) *Physical Objects or Space* - defines the objects or space "with which or within which users interact" 4) *Time* - the time during whic the user interacts with the interface. Ex: "content that changes over time such as sound, video, or animation" 5) *Behavior* - defines the users actions in reactino to the interface and how they respond to it. *UX* - User experience - the process of interaction with the product, that is constructive, productive, and beneficial to workflow and customer satisfaction
What is narrative? Give other examples (Manovich's Database as Symbolic Form)
- Narrative - creates a cause and effect trajectory of seemingly unordered items (events) - Narrative is constructed by linking elements of this database in a particular order - designing a trajectory leading from one element to another. Ex: Computer games - are experienced by their players as narratives. -it is the task which makes the player experience the game as a narrative. -Narrative is the shell of a game *Types of Narrative: (user of a narraitve is transversing a database)* 1)*Interactive Narrative (hyper-narrative)* - can be understood as the sum of multiple trajectories through databases 2)*Traditional Linear Narrative* - just as a traditional cultural object can be seen as a particular case of new media object (Ex: a new media object which only has one interface) - traditional linear narrative can be seen as particular case of hyper narrative *To justify as a narrative*: cultural object has to satisfy a number of criteria: 1)Should contain both an actor and a narrator 2)Should contain three distinct levels consisting of the text, story and fabula 3)Its "contents" should be "a series of connected events caused or experienced by actors"
How is Bio art different from all the other genre's we have looked at in class?
- creative practice that adapts scientific methods and draws inspiration from the philosophical, societal, and environmental implications of recombinant genetics, molecular biology, and biotechnology -blur boundaries between art and modern biology with an emphasis on philosophical, societal, and environmental issues -receives ethical criticism for modifying living systems -is constrained by practicalities of access to affordable materials, services, and the commitments expected of laboratories otherwise predisposed to funded research
Manovich says a new media object consists of one or more interfaces to a database of multimedia material. Justify this formulation using his five principles of new media.
1) Numerical Representation - can be digitalized (either raw or via math) -can be manipulated by algorithm (set of rules that tells you to do something) Ex: cooking recipe, direction to house. -Happen before computers (codes like Caeser Cipher, or tech like Telegraph/Morse code) -Much faster and more common - Concepts of "Discrete" vs. "Continuous" -"Discrete" - separate (digital) pixel - "Continuous" - blurs together, no clear gap (analog) vector Ex: sound and vision 2)Modularity - Discrete (digital pixel) objects are Modules -Modules can be built off other modules -Sometimes they are pure data (like variables or data structures in programming) -Sometimes contain algorithms (like classes in programming) -Both have analogs in pre-digital culture 3) Automation -numerical coding and modular structure of new media object means, generations, manipulation, and access can be automated -Manovich claims this means that "human intentionally can be removed from the creative process" + Low-level Automation - the software we use, generative art is here (software to write, and grow trees) + High-level Automation - artificial intelligence, some generative work or agent simulating programs like "Eliza" chat bot. Increasingly games perform this level of automation 4) Variability - "A new media object is not something fixed once..but can exist in different, potentially infinite versions" (not identical) -Ex: Amazon start page -The pivotal difference between the standardization of Industrial Revolution and the world of new media, the postmodern world - Infinite versions requires computer automation - Needs database to organize variant modules -Content can be separated from interface (hmtl vs. css) -Content and interface can be customize to individual (shopping website) 5) Transcoding - mapping from 1 format to another - predates computers (language translations) - Ex: make drawing of a painting, making map of territory) - can be easy (png to jepg) - can be difficult (census into maps, English to Spanish) -can be creative (virus genome to music, novel to video game) - All require decisions: + easy transacting can be automated + difficult transcoding can be automated w/ much thought and coding + creative transcoding needs decisions made by humans - so it can't be fully automated
Norman lists three kinds of constraints in designing, name one and define it. For Norman, what is a convention as opposed to a constraint? (Unit 1)
3 types of Constraints 1) *Physical Constraints* -closely related to real affordances -Ex: it is not possible to move the cursor outside the screen -Ex: restricting the cursor to exist only in screen locations 2) *Logical Constraints* -use reasoning to determine the alternatives -Ex: if we ask the user to click on 5 locations and only 4 are visible, the person knows, logically, that there is 1 location off the screen. - Valuable in guiding behavior -Ex: know to scoll down a page, know they have finished a task (making the fundatmental design model visible, usuers can readily deduce what actions are required) 3)*Cultural Constraints* -conventions shared by a cultural group -Ex: when you learn not to click unless you have a proper cursor form -Ex: don't stick your chopsticks onto of the rice, looks like incense stick for the dead. *Convention* - a constraint that prohibits some activities and encourages others -requires a community of practice -constraints upon our behavior -Ex: cursor shape changes to indicate arrow to hand shape in a browser *Constraints* - restrictionsn on what you can do (physical, logical, semantic, cultural)
What does Manovich mean when he says players innternalize the algorithm of a game?
Algortihm - key to the game experience - Ex: players proceeds through the game, they gradually discovers the rules which operate in the universe constructed by this game, learn hidden logic in short algorithm -player is engaged with algorithm: player discover algorithm itself.
What is an algorithm? Give other examples
Ex: computer games Ex: recipe of pastry -"a set of steps that are followed in order to solve a mathematical problem or to complete a computer process." -Has steps, what has to be done first. -any process or task is reduced to an algorithm, a final sequence of simple operations which a computer can execute to accomplish a given task.
Give examples of cultural objects that are clearly narratives
Narrative - creates a cause and effect trajectory of unordered items (events) Ex: Novel
Think about situations where the index becomes larger than the data. His example is porn web sites. Also read the Borges story he refers to. It is only 200 words long, (attached it to the Midterm study guide)
Porno website - expose logic of the Web to its extreme constantly re-using the same photographs from other porno web sites -same images appearing on thousands of sites - the same data would give rise to more indexes than the number of data elements themselves.
What is a symbolic form? Give other examples (Manovich's Database as Symbolic Form)
Symbolic Form - literary or cinematic narrative Ex: an architectural plan, or database are examples of different symbolic forms. Ex: literary or cinematic narrative
For Manovich, how is the algorithm the key to the game experience?
a player executes an algorithm in order to complete tasks in game -key to the game experience in a different sense: as player proceeds through the game, she/he gradually discovers the rules which operate in the universe constructed by this game, learn hidden logic in short algorithm. Player is still engaged with algorithm: player discover the algorithm itself