New Media Final

Unit 1: Affordance and Interaction with Everyday Things

*"Affordance, Conventions, and Design" By: Donald Norman* +Affordances, Constraints, and Conceptual Models - Affordance - invented by the perceptual psychologist J.J. Gibson (1977,1979) - refer to the actionable properties between the world and the actor (a person or animal) - To Gibson, affordances are relationships. They exist naturally: they do not have to be visible, know, or desirable. (Norman originally hated that idea, he thinks it didn't make sense) - Norman cared about: processing mechanisms (Gibson think its irrelevant) -Norman argued with Gibson, then began to appreciate the concept of affordances -Gibson and Norman disagreed about how the mind actually processes perceptual information - Wrote the article in an attempt o understand how we managed in a world of tens of thousands of objects, many of which we would encounter only once. -If you see something for the first time, how do you know what to do? Answer: the required information was in the world: the appearance of the device could provide the critical clues required for its proper operation. -Ex: understanding how to operate a novel device had 3 major dimensions: 1) conceptual models 2) constraints 3) affordances - adopted by the community, especially graphical and industrial design -To Norman the most importnat part of a successful design is the underlying conceptual model *1) Conceptual Models* - representation of a system or object, made to help people understand and/or simulate a subject the model represents. *2) Affordances* +Types of Affordances: *a) Perceived Affordance* -the designer cares more about what actions the user perceives to be possible than what is true. - Both real affordance and perceived affordance, play very different roles in physical products than they do in the world of screen-based products. -help people figure out what actions are possible without the need for labels or insturctions -user knows what to do just by looking - In latter case - affordances play a relatively minor role: cultural conventions are much more important -In product design (real, physical objects) there can be both real and perceived affordances - In graphical (screen-based), the designer primarily can only control perceived affordances. Computer system already comes with built-in physical affordances. Ex: the computer, with its keyboard, display screen, pointing device and selection mouse buttons - affords pointing, touching, looking and clicking pixels on screen. (Most of this affordance is of little interest for the purpose of the application under design.) Ex: -All screen within reaching distance afford touch. While the affordance has useful value in allowing people viewing the same screen to indicate regions of interest, -if the touch doesn't effect the computer system- this affordance mainly serves to make the screen-cleaning companies happy: they can sell lots of tissue and cleaning fluid. - Touch sensitive screen that enables system to support the affordance of touching - affordances, feedback and percieved affordance can all be manipulated independently of one another. *b) Real Affordance* - do not always have to have a visible presence -signs indicate what you can do -It is wrong to claim that the design of a graphical object on the screen "afford clicking" - the icon provides a target on where should be clicked and user knows what to expect in return (these aren't affordances) - those are conventions and feedback *c) Hidden Affordances* - possibilities for action, but are not perceived by the actor. d) Web Affordance *3) Constraints* +Types of Constraints a) Physical Constraints -closely related to real affordancs -Ex: It is not possible to move the cursor outside the screen: this is a physical constraint -Ex: restricting the cursor to exist only in screen locations where its position is meaningful *b) 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 scroll down a page, know they have finished a task -By making the fundamental design model visible, users can readily deduce what actions are required -logical constraints go hand-in-hand with a good conceptual model *c) Cultural Constraints* -conventions shared by a cultural group -Ex: when you learn not to click unless you have the proper cursor form *4) Convention* -Convention - a constraint that prohibits some activities and encourages others -requires a community of practice -slow to be adopted and slow to go away -they are real constraints upon our behavior - Ex: cursor shape changes to indicate the desired action like arrow to hand shape in a browser. -the user can still click anywhere, whatever the shape of the cursor. +Types of Convention a) Learned Convention -Ex: the cursor shape is visual information *5)Symbolic Communication* -Ex: graphic depiction suggest to the user that a certain action is possible -only works if it follows a understood by the user *+Symbols and constraints* are not affordances. They are examples of the use of a shared and visible conceptual model, appropriate feedback, and shared cultural conventions. *+ Cultural constrains and conventions* - are about what people believe and do. *"The Design of Everyday Things - Ch.1"* -Why do we put up with the frustrations of everyday objects, with objects that we can't figure? Ex: Boston postal six swinging door Important Principle of Design: 1)Visibility - the correct parts must visible, and they must vey the correct message -The vertical plate and supporting pillars are natural signals, naturally interpreted, without any need to be conscious of them -The Leitz slide project. It was the fault of the projector, with only one button to control. (poor design - brief push of the button and the slide would go foward, a long push and it would reverse *Affordance* -Psychology of materials Ex: British Rail: when the shelters had glass, vandals smashed it; when they had plywood, vandals wrote on and carved it. The planners were trapped by the affordances of their materials. -Affordance-provide strong clues clues to the operation of things. Ex: door plates are for pushing How do people cope? - the way the mind works- the psychology of human thought and cognition -part lies in the information available from the appearance of the objects. *Conceptual Models* - other clues to how things work come from their visible structure - from affordances, constraints, and mappings. Ex: Scissors -the holes are clearly there to put something into. -The hole are affordances: they allow the fingers to be inserted -The sizes of the holes provide constraints to limit the possible fingers: the big holes suggests several fingers, the small hole only one. -The mapping between the holes and fingers - set of possible operations- is suggested and costrainted by the holes. -you can figure out the scissors because their operating parts are visible and the implications clear. -The conceptual model is made obvious, and there is effective use of affordances and constraints. *Principles of Design for Understandability and Usability* 1) provide good conceptual model -allows us to predic the effects of our actions 2) make thing visible. -The problems caused by inadequate attention to visibility are all neatly demonstrated with one simple appliance: the modern telephone. What is good about the design of car? - things are visible -single controls have single functions *The Principle of Mapping* -Mapping - reltaionship between two things (between the controls and their movements and the results in the world. -*Natural Mapping* -take advantage of physical analogies and cultural standards, leads to immediate understanding Ex: Spatial Analogy: to move an object up , move the control up -Some natural mappings are cultural or biological - natural relationship between the control and its function *The Principle of Feedback* - Feedback - sending back to the user information about what action has actually been done -Tactile Feedback- the push bottons were designed to give an appropriate feel. *Pity the Poor Designer* -The manufacturer wants something that can be produced economically -new products are almost guranteed to fail, no matter how good the idea. *The Paradox of Technology -Tehcnology offers the potential to make life easier and more enjoyable; each new tehcnology provides increased benefits - at the same time, added complexities arise to increase our difficulty and frustration. -Development of a technology tends to follow a U-shaped curve of complexity: starting high; dropping to a low, comfortable level; then climbing again. -the same technology that simplifies life by providing more functions in each device also complicates life by making the device harder to learn, harder to use. -- the paradox of technology

Bioart

*Bioart* - creative practice that adapts scientific methods and draws inspiration from the philosophical, societal, and environmental implications of recombinant genetics, molecular biology, and biotechnology *Biotrend* - a contemporary art form that adapts scientific methods and biotechnology to explore living systems as artistic subjects Interdisciplinary bioart initiatives blur boundaries between art and modern biology with an emphasis on philosophical, societal, and environmental issues -Bioart plays an important role in critically challenging emerging life science applications, stimulating of scientific thinking, and contributing to new research questions and new technologies New concepts emerge for bioart in physical, digital, and computational forms -Bioart receives ethical criticism for modifying living systems +*Interface of Biotechnology and Art* *Bioart* - utilizes laboratory practice and biotechnolgy to explore living systems as artistic subjects -Often interdisciplinary, involving researchers and laboratories in creating art -Bioart is constrained by practicalities of access to affordable materials, services, and the commitments expected of laboratories otherwise predisposed to funded research +Regardless of potential health benefits and quality of life. Genetic technologies have consequences that are not absolutely foreseeable -Lead to public uncertainty about implications for personal privacy and human rights, eugenics, food and drug safety, replacement of natural systems with bioengineered counterparts, involvement of multinational corporations with genetic propiety, worldwide agricultural monopolies, and prospects for the weaponization of biotechnological accessories for the military and law enforcement -Bio-artists find these issues to be compelling subjects for their art -All Bioart raises questions about social and cultural paradigms -Juxtaposions of art and biology have serendipitously (influences)stimulated scientific discovery 1920s Alexander Fleming - discoverer of penicilin, created "germ paintings" on paper - illustrating stick figures, soldiers and houses Fleming's bacterial paintings became noteworthy for the discoery of penicillin on his art Fleming found that fungi killed bacteria in paper artwork - contributing to the discovery of antibiotics *Brandon Ballengee(artist) (collaborating with biologist Stanley K Seesions in 2009)* Ballengee provided explanations for missing limbs in amphibians Ballengee intended to raise awareness about endangered species -Analyses of Ballengee's images also showed patterns of deformation useful to environmental and developmental biology, leading to scientific field studies -Ornamental horticulture - counted among precedents for bioart -Plant and animal breeding selected for aesthetically pleasing qualities and altered phenotypes in many species -Advances in horticulture and animal husbandry were not traditionally recognized as art *Edward Steichen* (1879-1973) (Photographer) -1 week exhibition of flowering delphiniums organized at the Museum of Modern Art in NY 1936 Cited as one of the hallmarks of bioart Steichen's exhibition: -Delphiniums genetically altered with colchicine, a chemical later used by horticulturalist to produce desirable mutations in crops and ornamental plants Used colchicine to produce varieties of delphiniums (Carl Sandberg, and Connecticut Yankee) -First publication of the effects of colchicine on plant materials did not appear until the following year Edward Steichen was not the first or only artist to deal with the hybridization and selection of plants -Others Like: Claude Monet, Cedric Morris, and William Caparne - who are renowned for accomplishments in horticulture as well as art. *George Gessert* Contemporary artists and horticulturalist Specializes in the selection and hybridization of irises -Gessert is distinguished from other hybrid-plant producers because he embraces formal exhibition and publication venues Like Steichen - Gessert is included in the roster of bioartists Steichen and Gessert demonstrate that artists' application of Mendelian genetics (1866) also fall into categorizations of bioart *Environmental Artists of 1960s and 1970s* Robert Smithson, Han Haacke, Walter De Moria, Robert Morris, Christo, and James Turrell - known for reshaping landscapes Like today's bio-artists - environmental artists challenged conventions for the exhibition and sale of artwork -Where bioart can be too infinitesimaly small, environmental art was too large and site specific to be acquired by collectors Ex: environmental artists paved hillsides with asphalt (Smithson), resurfaced barrier islands with plastic (Christo), and reshaped volcanic craters (Turrell) -However, artists learned these works of art could have unexpected consequences Era of environmental art was one of awakening consciousness about ecology and the vulnerability of species and natural environments -Some environmental artists incorporated these issues into their work -Ex: "Ten Turtles Set Free" By: Artist Hans Haacke - purchased ten endangered Hermann's tortoises and released them at St. Paul-de-Vence, France. (intend to draw public attention to excesses of the pet trade and the destructive effects that humanity has on the delicate balance of nature) Not all environmental art was environmentally destructive -In mid-1970s - artists became much more cautious and circumspect about their interactions with nature Rise of environmentalism - environmental art retained its fascination with large scale but artists turned from manipulations of natural landscapes to art having remedial effects at sites damaged by human activities -Environmental art became "reclamation art" - a surviving relationship of art and environmental biology that overlaps with the interests of many bio-artists -Advances in life sciences in late 20th C., environmental art helped set the stage for the appearance of bioart in 1980s *Contemporary Bioart* -Emerging life sciences provided only part of the inspiration for bioart -Astronomy, astrobiology, and the search for extraterrestrial intelligence (SETI) also influenced bio-art -*Joe Davis (artists) collaboration with Dana Boyd (Harvard geneticist) (1980s)* -Project involving interstellar radar transmissions for extraterrestrial intelligence Limitations of radar technology prompted Davis and Boyd to consider alternative biological carriers for such messages 1986- They transformed Escherichia coli with plasmid coded with graphic icon Using techniques previously employed to code SETI radar messages, the pre-Germanic character (algiz) representing life and femininity was encoded into a binary image and introduced into bacteria as a 28-mer synthetic DNA molecule -DNA synthesis, purification, and cloning with E. coli were performed at Jon Beckwith's laboratory at Harvard and Hatch Echols' laboratory at UC Berkeley. -"Microvenus" - the first art created with the tools and techniques of molecular biology -"Microvenus" - "proof of concept" that information could be inserted into and retrieved from bacterial DNA -Davis' model interstellar carriers never left the lab, because Microvenus bacteria are recombinant, biosafety guidelines restrict it to laboratory containment -"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) *"The Riddle of Life" By: Joe Davis (1995)* -Realized one of several 1958 "thought experiments" in which Max Delbruck, George Beadle, Salvador Luria, and others created textual and physical models of DNA molecules holding English language messages -DNA could not be easily synthesized de novo in 958 and was not conveniently synthesized until the mid-1980s Delbruck and Beadle never created actual language- holding molecules Joe Davis collaborated with biologist Stefan Wolfl at Burghardt Wittig's lab at Free Iniversity in Berlin to synthesize a 174-mer DNA molecule first conceived by Max Delbruck -This molecule was encoded with the words "I am the Riddle of life. Know me and you will know yourself." -In 1994 Davis and Wolfl transformed E. coli with Riddle of Life DNA and retrieved the language information in contained using Sanger DNA sequencing In 2000 Davis exhibited: Microvenus, Riddle of Life and another recombinant artwork, Milky Way DNA at Ars Electronia *"Milky Way DNA" By: Joe Davis* -Contained high resolution digital image of the Milky Way galaxy initially obtained by NASA's Cosmic Background Explorer (COBE) in 1990 The digital COBE image is a number that can be directly converted into DNA where C=00, T==01, A=10, and G=11. -However, not all randomly generated DNA sequences can be successfully inserted into living cells owing to the biochemical and biological details of how DNA is conserved and replicated Davis also wanted to prevent translation of information-holding DNA into unwanted protein -To overcome these problems, while compression input data, Davis invented "DNA Supercode" - first of several "DNA programming languages" Davis eventually used his DNA programming languages to encode other data into DNA while minimizing the functional effects on host cells -Davis has been criticized by some for facilitating the "aestheticization" of biotechnology and playing down perceived risks of long-term impacts on society and the environment Bioart proliferated (grow, increase,multiplied) in the decades following Davis' "Microvenus" Artistic interpretations of biotechnology, molecular biology, genomics, and other life sciences have also been expressed in non-biological media including dance, performance art, sound, computer graphics, and architectural design (see 'Emerging Bioart Concepts' in the supplementary material online). *Nano/Microscale technologies* - emerged as a platform for the production of art in many forms: bioart, semiconductors, polymers, microfluidic devices, and carbon-based materials *Eduardo Kac (1998)* -Published his treatise on transgenic art 1999 - Kac commissioned Charles Storm to create E. coli transformed with a biblical quote (Genesis 1:28) enconded in plasmid DNA -In "Genesis"- Kac used UV light to intentionally mutate DNA in his transformed bacteria Intention: recover and decode mutated plasmids that would contain altered biblical quotes -Kac asked to have one of Houdebine's GFP rabbits for use in an art exhibition -Kac later variously claimed to have created the rabbit himself and to have had a GFP rabbit created for him at INRA When INRA declined to release a GFP-cloned rabbit for public exhibition, Kac mounted an international publicity campaign accusing INRA of censorship and widely distributed digital images of a glowing green rabbit -Kac entitled this project GFP Bunny and named it "Alba" Houdebine later maintained that no rabbits at his lab were created for Kac The GFP rabbits in his lab did not fluoresce bright green because the gene for green fluorescence was not expressed in rabbit fur *Steve Kurtz* -Detained by police for suspected bioterrorist activity in the atmosphere of fear and paranoia that followed the 9/11 attacks Bacillus atrophaeus, Serratia marcescens, and a laboratory strain of E. coli were found in Kurtz' residence -Kurtz - current chair of departmentof art at CSUNY at Buffalo and founding member of Critical Art Ensemble (CAE) -CAE - labeled its art "tactical" and created works focusing on government agencies and large corporations perceived to misuse biotechnology -This project was intended to demonstrate the ineffectiveness of biological warfare as a weapon of mass destruction by the intentional dispersal of simulated biological agents in public spaces While CAE mocked threats of biological warfare, other artists advocated covert use of biological agents to oppose genetically modified foods. *"SuperWeed Kit" Bunting and Baker (1999)* -Allegedly containing natural and genetically modified weeds resistant to Monsanto's "Roundup" (glyphosate) herbicides They made roundup-resistant SuperWeeds avaliable at no cost to interested parties -Use of SuperWeeds was for activism in the form of agricultural sabotage -In 2005, Bunting partnered with Danish activists to use small N55 rockets with SuperWeed payloads that could dispense seeds more effectively and over broarder areas than mere hand dispersal. *"Tissue Culture and Art" (TC&A) Lonat Zurr and Oron Catts* -Australian artists -Following the TC&A model, University of Western Australia created SymbioticA SymbioticA - a research center that enables artists to experimentally practice life science research in 2000 -Zurr and Catts specialize in projects involving techniques of regenerative medicine and tissue engineering wherein selected cell types can be grown on biodegradable scaffolding for uses in research and medicine Employed the term "Semi-living" - to describe heir work with these materials -"Semi-living Worry Dolls" - mouse fibroblast tissue was grown onto substrates resembling Guatemalan "worry dolls" - traditional dolls used by Guatemalan children to absorb their worries at bedtime Also consider their art political Zurr and Catts turned their attention to the slaugther of animals for food *"Victimless Leather" project* Used tissue culture techniques to grow a miniature leater jacket from immortalized cell lines without killing animals promoting awareness about the moral implications of leather products and ethical concerns surrounding the sacrifice of animals for aesthetic reasons *"Extra Ear - ¼ Scale" By: Stelarc* -Australian performance artist and professor at School of Design and Art (SODA) In collaboration with TC&A at Symbiotic A -A quarter scale replica of Stelarc's ear was cultured in a rotating bioreactor using cells seeded over a polymer scaffold -"Ear on Arm" a Stelarc project Involved surgical implantation of an ear-shaped Medpor (a porous, biocompatible material) scaffold into the artist's own left forearm in 2006 Aimed awareness about "what it mean to be human" *Paul Vanouse* Professor of Visual Studies at SUNY, Buffalo Describes his work as questioning the social implications of genomics, DNA profiling, and scientific culture "Deep Woods PCR" (2001) Art and "do it yourslef" (DIY) biology intended to reexamine the scientific process of discovery -Vanouse used water buckets arranged around a campfire to perform polymerase chain reaction (PCR), a laboratory technique used to create large numbers of DNA molecules identical to a few initial samples -Not all bioart is dedicated to critical discussion of biotechnology Some artists employ biotechnology for traditional practices such as painting *Al Wunderlich* The professor of painting and mixed media at the Rhode Island School of Design Collaborated with Joe Davis to produce "Living Paintings" Wunderlich used artists' brushes to paint nitrocellulose substrates with a palette of E. coli transformed with flourescent proteins in a range of four colors *David Kremers* Artist at California Institute of Technology Began producing "bacterial paintings" in 1990s Painting "Trophoblast" (bacteria grown on an acrylic plate and sealed in synthetic resin) Paradise Now - a landmark exhibition "picturing the genetic revolution" at Exit Art in NY in 2000 Scientists have also contributed paintings created with bacteria and othe work to important artistic venues (Biopaintings) *Concluding Remarks and Future Prospects* Life sciences increasing impacts on art Collaborative relationships and ethical issues unfamiliar to artists few decades ago can be expected to gain new priorities as artists' expand their interactions with the scientific community Some scientific labs have demonstrated willingness to collaborate with bioartists, prerequisites for biosafety and the creation and containment of recombinant organisms also found its place in schools of art and art/science research centers Museums public display of bioart Bio-artists without institutional affiliations are finding resources and mentoring within the growing diy biology community Individuals without formal training study life sciences in community access labs furnished with low cost reproductions of common lab equipment or with instruments and machines recycled from institutional and corporate sources. -DNA sequencing technologies - high throughput sequencing of whole genomes is becoming faster and less expensive Changed the face of biology and found artistic applications Works of bio-artists contain: text, images, and books in biological archies suggests a world in which the terrestrial biome becomes a message board. -As techniques mature to improve the data-handling characteristics of DNA, biological databases and information handling systems may come into existence with potential to replace the internet -"Smartphone" apps/accessories will become available that can rapidly sequence DNA Clustered regularly interspaced short palindromic repeat (CRISPR) technology and iPS cell technology -Two late breaking technologies currently transforming the field of biology Today's bio-artists are capable of adapting these technologies to create art In 2003, Davis et al. predicted that artists would find themselves creating functional genomes, organisms made from whole cloth or from scratch, or organisms based on new principles of life -The interdisciplinary landscape of life sciences has come to include chemists, physicists, engineers, mathmaticians, and computer scientists -Partnerships with bio-artists can contribute cultural and aesthetic contexts essential to translating basic research into useful applications In the future, ability of bioart can help science understand itself.

Unit 5: Critical Making

*Critical Making* -involves use of hands on project that link technology to society -putting emphasis on critque and expression +Critical Making Project Stages: 1) Review relevant literature, useful concepts and theories 2)Groups of participants jointly design and build technical prototypes 3) Conversation and critical reflection, enhancing and extending conceptual understandings of critical social technical issues. +FLWR PWR: Walle Garden -an environment that controls and limits the user's access to the web -Configurations baed on literature & social organization -Gift economies - an exchange or Free Trade, all patterns received from other flowers would cause the receiver to change to the received pattern. -Information Commons- Flwrs would accept and broadcast the patterns it recieves, but the energy is incremented only when it receives a pattern that it currently does not hold -Information Neighborhoods - FLWR remebers the 4 most recent patterns it has received. The energy is only incremented when it receives a pattern that is not one of the 4 in the set. -Outcome- FLWRs were unique and did not always match their programming, some are excellent broadcasters, others not so accepting to other patterns. Caused FLWRs transmitted very little and instead listened for other transmissions, this caused the network to die. In order for the network to be alive - you need to participate and open to give & share information. - Shared learning and distributed information = building a robot

Unit 3: Designing for the Internet of Things

*Designing the Internet of Things Ch. 5,13,14.* *Ch.5: Learning and Thinking with Things By:Stephen P. Anderson* *1) Tangible Interfaces* -computer, tablets, etc. Ex: Vitamins - multidisciplinary design and invention studio based in London - developed a novel system for scheduling time by using Lego bricks. *The Brain* -*"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. *Physical Learning* -learning exercises our brain, better memory and recall - "Manipulatives" - tangible learning objects that help in the transfer of new knowledge +Physical Learning Physical interactions > experimentation > observations > patterns develop/form > conclusions/representations -tangibility, interactions, experimental, observation, and pattern representation is phsycial learning *+Jean Piaget* - Swiss psychologist. -*Theory of Cognitive Development/Jean Piaget's stages of Learning:* 1) Sensorimotor (physical) 2) Pre-operational 3) Concrete Operational 4) Formal Operational -he argued that sensorimotor was the stage that children learned best in. -Learning is recognizing or adding to our collection of patterns (Ex: touching a hot stove and getting burned) *+Seymour Papert* *- Constructionism: *learning happen most effectively when people are also active in making tangible objects in the real world *Digital Learning* -abandoned physical learning -Interactive models, simulations, and videos games are all contributors of sense-making *Difference between Physical & Digital Learning* +*Physical Learning* -Tangible -"Natural" -Manipulatives -Interactions/Experimentation/Observations > Patterns > Representation +*Digital Learning* -Online/Accessible -Adapted -Interactive Models/Simulations/Video Games -Safe, Playful, risk-free *Physical vs. Digital Limitations:* *Physical Learning* -crude and limiting *Digital Learning* -behind the screen experience -lack of rich sensory associations -essence of physicality is lost -in the future, it will become crude and one-dimensional *Physical and Digital Combined* -*Virtual Manipulatives* - the combination of both physical learning aspects with digital learning aspects -Ex:Museum- engage visitors through visuals, interactions,stories. Encourage visitors to interact with and construct their own knowledge - distinction between physical and digital learning is going to become an extinct concept *Designing for the Future* (timeless design principles for a good learning object) 1) *Encourages playful interactions:* learning happens through safe, non-destructive interactions, in which experimentation is encouraged 2) *Supports self-directed learning (SDL):* when learners are allowed to own their learning-determining what to learn, and how to go about filing that gap in their knowledge 3)*Allows for self-correction*: an incorrect choice, whether intended, unintended or the result of playful interactions should be revealed quickly 4)*Makes learning tangible (physical aspect):* we learn through physical interactions with the world around us and via our various senses 5)*Offers intelligent recommendation (digital aspect):* the unique value of digital objects is their ability to record data and respond based on that data *Ch. 13: Architecture as Interface: Advocating a Hybrid Design Approach for Interconnected Environments* +Rooms of Requirement -digital realms built for use for specific individual -based on the necessity for specific tasks as declared by individuals *Human+Machine interaction* Ex: Someone playing Pokemon Go +*Modes of Interaction* -modes of interaction are used to gather, understand, manipulate and store information. -6 modes of interaction: 1) Awareness 2) Analaysis 3) Communication 4) Recollection 5) Feedback 6) Action *Awareness & Analysis* -Awareness: the tool must be aware of a condition. Ex: a tool is aware of a light coming through a window. -Analysis: is anything useful gather from the data. Ex: there is light, light is hot, so is it hot outside? *Communication & Action* -Communication: the step between analysis and action. Ex: if it's hot, should the tool do anything about it? -Action: an action is performed based on the data. Ex: the tool closes drapes on the window *Feedback & Recollection* -Feedback: did the action make sense? Ex: closing window did not make sense for this situation -Recollection: the action is remembered and repeated. Ex: when it's bright, the tool will close the drapes. *The Spheres of Inquiry* -The 6 modes can be sorted into 3 spheres of inquiry 1) Environment 2) Behavior 3) Social *Environment* -can tool/modes be used to affect the environment Ex: tool that closes drapes *Behavior* -can the tool/modes be used to monitor human interaction -Ex: tool monitors health and fitness *Social* -tool/modes that can be used to monitor human interaction, specifically to connect networks and make social connections Ex: playing WOW and working toward a single objective, use hashtag to keep up on current events *Ch.14: Design for the Networked World* The Future of Design -Malcolm McCullough published a book called "Digital Ground" discussed how computing in not only ubiquitous and invisible, but also pervasive, constant, and deeply embedded in our everyday lives. *Augmented Reality(AR)* Ex: VR Ex:google map Ex:twitter, facebook,etc. *Augmentation & Network* -as augmentation and networks change our understanding of reality, we begin to understand old technology through our lens of new media. Ex:a building is no longer only a collection of materials that defines a place, it is also understood through its interactions with people, the interactions it facilitates, and how it interacts or interferes with our networked augmentations *Aesthetics of new foundational elements built upon traditional and interaction foundations:* 1) Texture- graphic, gestural, spatial interfaces, hardware controls to APIs. As a designer, pay attention to how a piece interacts with the entire system and how the system responds to input. 2) Agency - how much power a user can apply onto other parts of a network, rather than being limited to specific actions in specific contexts 3) Opacity- of a network influences how muc agency each actor has and helps to create the desire texture. Has direct impact on a person's system. 4) Reflexivity- describes the way in which a system provides feedback based on states, actions and behaviors. -indication that the system's rules are being enforced -the overall feel of the network's products and services change based upon feedback. *Hard System vs. Soft System* -*Opaque Network* - has minimal agency creates an interaction that is largely controlled by its owner -*Low-opacity Network* - with a lot of agency is more flexible -This produces 2 types of systems: *Hard System:* A system model that is concrete and constructed to achieve an objective. This type of system are easy to analyze and model, because they are generally made up of discrete pieces that each plays a set part, most often actual things that exist in the physical world. *Soft System:* A 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 a subjective understanding of the whole, rather than specific objects that exist in the world. -This system gives us the tools that help understand an unstructured complex problem through modeling actions and personal understanding of the situation. -"seek" to explain different relationships by describing them as they are seen, understood, and acted upon. - Soft system methodology (SSM) is about people and the way they think and relate to one another. relates to the design's tradition of visualization and sketching. Help us understand how to reframe complex situations by putting ourselves into the situation, explaining what we see and understand that situation, and then create diagrams that express our understanding. - a designer's ability to understand, explore, and explain the complex interactions between people and machines +Basic Toolset Gives Designers the capability to model: 1) interactions 2) data 3) physical aspects of a new product Advantages of new tools: fast, cheap, and easy to design for mass production. How to work with new tools? 1) Experiment - try 2) Learn new skills - programing, modeling, or sculpting 3) Be critical - think about how your new device, software, or system fits into the larger connected world.

Gamergate & STEM

*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

Unit 2: Intro. to User Experience Design

*Hartson & Pyla's "The UX Book"- Ch.1"* +Ubiquitous Interaction - computing has become far more ubiquitous -Ex: Computer systems are being worn by people and embedded within appliances, homes, offices, stereos and entertainment systems, vechicles and roads -Computiation and interaction are also finding their way into walls, furniture, and objects we carry (briefcase, purse, wallets, wrist watches, PDAs, cellphones) Ex of embedding computing artifacts involves uniquely tagging everyday objects such as milk and groceries using inexpensive machinereadable identifiers. -Commercial adoption: robots - healthcare rehabilitation, lab hosts and museum docents, robot devices for urban search and rescue *+User Experience* - 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. - "Interaction with" - broad and embraces seeing, touching and thinking about the system or product, including admiring it and its presentation before nay physical interaction. - "ambient intelligence" - the goal of considerable research and development aimed at the home living environment 1) Usability - pragmatic component of user experience (including effectiveness, efficiency, productivity, ease-of-use, learnability, retainability, and the pragmatic aspects of user satisfaction) 2) Usefulness -component of user experience to which system functionality gives the ability to use the system or product to accomplish the goals of work (or play) 3) Functionality -power to do work (or play) seated in the non-user-interface computational features and capabilities 4) Emotional Impact -affective component of user experience that influences user feelings. Ex: pleasure, fun, joy of use, aesthetics, desirability, pleasure, novelty, originality, sensations, coolness, engagement, novelty, and appeal and can involve deaper emtional factors. +*Contextual Inquiry* -early system or product UX lifecycle activity to gather detailed descriptions of customer or user work practice for the purpose of understanding work activities and underlying rationale. -Goal of Contextual inquiry - includes both interviews of customers and users and observation of work practice occurring in its real-world context. *"What is UX Design?"* Goal of User Experience (UX) design in business: "improve customer satisfaction and loyalty through the utility, ease of use, and pleasure provided in the interaction with a product." -UX - the process of designing (digital or physical) products that are useful, easy to use, and delightful to interact with. - UX Design is defined by which we determine what that experience will be with the customer in mind and the need of the user *What is UX? (10 videos)* -User Experience (UC) - creating great experience, impact how people perceive their brand and achieving the company's business goals. - everything that affects a user's interaction with that product. -4 Reasons why UX matters: 1) doing some of this already 2) user-centered design is a process 3) It's not hard 4) challenging, rewarding, low barrier or entry, pays well. Ex: holon-lens Ex: straight translator

Unit 6: Design Fictional & Speculative Design

*Speculative Design* - the use of design as a means of speculating how things could be. *Futuristic Design* -intended to promote new thinking about possible new directions and values. *Life changing vs. Sustainable Design:* -dreams are big part of design -they can be blinders to society or dreams can be inspiration in the design process. *Design as art vs. design as Inspiration:* -Design can exist in 2 ways: 1) art 2) commercial design for everyday use - the separation from marketplace creates a parallel design channel free from market pressures. - new possibilities of design: 1) new aesthetic possibilities for technology 2) social 3) cultural 4) ethical implications for science and tech research *Futuristic concept vs. Practical Design:* - explore alternative scenarios, that reality will become more malleable -observe factors that may lead to undesirable futures allowing us to address and limit them.

Database as a Symbolic Form (The Database Logic)- Manovich

+ Many New Media objects do not tell stories, don't have narratives. +Many New Media objects are collections of indivdual items, where every item has the same significance as any other Ex: DVD *+Database* - " a systematized collection of data that can be accessed immediately and manipulated by a data-processing system" +Pre- Computer examples: - phone book -dictionary -doomsday book (1086) (database of people and stuff in England) -Card catalog *+New Media Objects* -appear as collections of items which user can perform various operations: view, navigate, search - Ex: watching a film, or "navigating an architectual site" - walking around a building, not a narrative, but not a database experience, looking particular time and place +Ervin Panofsky (art historian) - analysis of linear perspective as "symbolic form" of modern age/computer age. -Symbolic forms - literary or cinematic narrative, an rchitectural plan, and database are each examples of differnt symbolic forms *+CD Rom as Database* -Ex: "virtual museums" - CD-ROMs which take the user on a "tour" through a museum collection, museum becomes a database of images representing its holdings *+Web Page as Database* -computer files which can always be edited, it never have to be complete -Ex: photo-album -defined by HTML, sequential list of separate elements, text blocks, images, digital video clips and links to other pages. *+Database vs Dataset* - Database is open, being added to. Ex: database of students at CSUEB -Dataset is closed. Ex: dataset of students who graduate in 2012 *+Computer Games * - experienced by players as narratives - all elements are motivated -Narrative is shell of a game, masks by simple alogrithm -Computer games do not follow database logic, they appear to be ruled by algorithm (demands a player execute an algorithm to win) *+Algorithm* - "A set of steps that are followed in order to solve a mathematical problem or to complete a computer process" - Algorithm - key to the game experience in a different sense - as 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 *+Database vs. Algorithm* -Database - don't prioritized, no order -Algorithm - has steps what has to be done first *+General Principle of New Media* - "The projection of the onotology of a computer onto culture itself" -The World is reduced to two kinds of software objects: 1) *data structures* - Objects in the world is modeled as data structure: 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 *+Algorithms vs Data Structure* (they have 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 -*Data Strucutre:* CD-ROMs and Web database -*Algorithms:* Computer games *+Ontology in Information Science* -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 *+Data and Indexes* *+Database and Narrative* - "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) *+Syntagm and Paradigm* *Paradigm* - the range of possible signs or items (possibilities) -Ex: The cat __(jumped, peed, sat, slept,etc.)__ on the mat -All the clothes in your closet -In Narrative, is implicit -In New Media Paradigm is explicit *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) -Ex: "One April afternoon, right after lunch, my husband announced that he wanted to leave me." -In New Media the Syntagm is implicit +Database Cinema -Ex: John Whitney "Catalog" 1961

Unit 4: Remix, Free Culture and Creative Commons

+*Culture* Culture- the beliefs, customs, arts, etc. of a particular society, group, place, or time -culture can include: art, dress, theater, beliefs, music, dance,etc. *Remix: Making Art and Commerce Thrive in the Hybrid Economy. By:Lawrence Lessig* *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. *Read-Write Culture* - where individuals absorb the culture around them and then add to it. *Read-Only Culture* - where individuals absorb culture and do not add to it or further their participation *Copyright History* - world's 1st copyright law: 1710 in England, called the Statue of Anne -the concept is that the author of a work has the ownership of its copyright, and it laid out fixed terms of protection -After this act, copyrighted works were required to be deposited at specific copyright libraries, and registered at Stationers' Hall. - There was no automatic copyright protection for unpublished works. - 1886 - Berne Convention was introduced to provide mutual recognition of copyright between nation states, and to promote the development of international standards for copyright protection *Rivalrous:* - All physical items are rivalrous because they cannot be in two places at once -Everything in th ephyscial 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 -Cultre is not a good or service. You cannot take it away *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 *Anti-Rivalrous:* -Anti-rivalrous goods increase in value the more they are used. - Cultre == anti-rivalrous - Cultural works increase in value the more people use them. -Can't be bought or owned, now a goods or service *Expectations that prove the rule:* 1) Identity -They don't increase in value the more they are used. (They value of your personal info goes down because everyone knows it.) 2) Secrets -Secrets are not Culture -Culture is public. When people tell secrets to too many people, the value of it being a secret goes away. -Treat Culture like what it is: an anti-rivalrous good that increases in value the more it is used. *History of Public Domain* -The construction of the idea of "public domain" sprouted from the concepts of res communes, res publicae, and res universitatis in early Roman law. -Res communes: things owned by no one and subject to use by all. Ex:air, sea, water. -Res publica: loosely meaing 'public affair' Ex: a park or garden in the city of Rome. -Res universitatis: property belonging to a community or corporate body, which can be freely used by all its members. *Public Domain* -creative materials that are not protected by intellectual property laws such as copyright, trademark, or patent laws. -The public owns, not an individual author or artist. -Anyone can use public domain without obtaining permisson *4 Common ways that work arrive in the public domain:* 1) The copyright expired. 2) The copyright owner failed to follow copyright renewal rules 3) The copyright owner deliberately places it in the public doain. Know as "dedication" 4) Copyright law does not protect this type of work. *Creative Common* - founded in 2001 w/ support from the Center for the Public Domain. - CC is led by a Board of Directors made up of thought leaders, edcuation experts, technologists, legal scholars, investors, entrepreneurs, and philanthropists. - 2002, CC released its first set of copyright licenses for free to the public -Inspired in part by the Free Software Foundation's (GNU) General Public License *Creative Common Licenses:* 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. *4 necessary characteristics of a free cultural work* -Freedom 1)Freedom to use the work itself 2)Freedom to use the information in the work for any purpose 3)Freedom to share copies of the work for any purpose 4) Freedom to make and share remixes and other derivatives for any purpose

Generative Art

+*Generative Art* - refers to art that in whole or in part has been created with the use of an autonomous system -Autonomous system - non-human and can independently determined features of an artwork that would otherwise require decisions made directly by the artist -"Generative art" - often refer to algorithmic art (computer generate artwork that is algorithmically determined) -Generative art can also be made using systems of: chemistry, biology, mechanics, and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, tiling. -"Artificial DNA" - defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character -Computer artists: Georg Nees, Frieder Nake, Manfred Mohr -"Generative Art" dynamic artwork-systems able to generate multiple artwork-events Term also used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms -"Generatiave Music" Brian Eno, making connection with earlier experimental music by Terry Riley, Steve Reich, and Philip Glass -"Generative Art" - idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations -Types: Music, Visual Art, Software Art, Architecture, Literature, Live coding