David has managed to access a computer that will run the Klein – so we’ll take a look at that tomorrow as well. Thanks, David!
Hope you had a gorgeous reading week full of both catch-up and relaxation.
For tomorrow’s class I want us to move through a number of the Aurasma tutorials and begin to work on the final projects — there really isn’t much time to build these experiences and I would like to know everyone feels on solid footing. I realize that you won’t have finalized all of your media yet — and some of you may not have begun – but tomorrow will be the time to focus on exactly what is needed to craft your experiences. Bring/upload what you have. It’s possible you may need to work with found or placeholder footage for tomorrow, but at least you’ll get a sense of how quickly the process will move and will be in a better position to manage your time. If the weather is good we may work outside, too.
This somewhat of a reaction to the readings about things
I revisited my notes on narrative from the past twenty years. About “meamings”
Meaning is produced by interaction/use.
Meaning is ascribed to things/creatures/actions.
These THINGs become signs in a sign system ie.
ACCULTUREALISED by being given meaning in our culture
Method of building propositions
1. Set up structurally opposite value concepts
2. Formulate propositions abouth each
3. Extract key words from each proposition
4. Develope from each proposition concrete anecdotal examples
5. Extract and name characters. Props (Tools &/or Talismans) Locations, actions.
6. If these are consistent then they can form the seeds of stories
or working backwards to desconstruct narratives
1. Conceals processes of social and historical change
2. Conceals the nature of practices and interconnection
3. Conceals social relationships ie. Focusses on exchange of products NOT social relationship of worker to employer
4. Conceals conflict of interest between social actors
Levels of operation
1. Respresentation – DENOTATION
2. Motifs and Themes (Cultural – CONNOTATION
3. Attitudes of period, class , religion etc(metacultural) – IDEOLOGICAL
1. Make products mean somethig to us by making false associations between an object and a value
2. This by making rhetorical staements, propositions about the world
NARRATIVE AND IDEOLOGY
Stories put forward propositions of what individuals and classes ofe and how they interact socially. These propositions are ideologies.
I came across this article about a new Dutch horror film, which is going to utilize people’s phones, for second screen content, in order to tell its story. This is the first time that someone won’t be glared at (or worse) for pulling their phone out in a theatre! I thought people here would appreciate it.
Getting a break from readings for this class, I had an opportunity to read some works on new media for my research and I am amazed at how quickly these media are evolving. I was delving into anthologies on new media, written in between 2003 and 2007, and the ideas and images all seemed as different compared to today’s new media as Kracauer’s ideas compared to today’s cinema! A mere ten years cannot keep up with the constant changes in, not just augmented reality, but even something as seemingly “simple” as web design or YouTube.
I just watched this Frontline piece that I think is somewhat (tangentially) related to some of our discussions in class. Not so much about cinema as it is about the power of social media and the desire to be included in these marketing events, almost as stripped down ARGs. Less about the technology and more about the desire, but still very interesting.
THE WORLD OF THINGS
My reading is prejudiced by two aims. One is to glean an understanding of structures and relationships from the evidence presented. Wolfs book succeeds in this. It is mainly descriptive.The other is to assess it useflness to me creatively. Here iot leaves me a bit flat. My feeling is that building imaginary worlds at any level does not often challenge our view of our world but is obsessed with order for its own sake. At a time when the direction and practices of industry and the state are reckoned as highly risky and disatrous cultural practice has greater possabilities and responsabilities.
His analysis of the vales and limits of interactivity are useful
Below are some summaries and my comments
UTOPIA & DISTOPIA
These are very relative terms
Games and cinema are massive corporate processes and are therefore monitarily and creatively somewhat risk averse and profit driven. The Indy film and games arena is less constrained.
Wolf talks about utopia and dystopia mainly outside of cultural debate which the likes of Johnatan Swift were highy involved in. His satire and exposistion of the extremes of British mercantile capitatism is hardley utopian and springs from realism. Through the looking glass questions language and reality.
“ Games are about things, they should be about people” Chris Crawford
The encyclopedic listing of the characteristics of “Worlds” and the relationships between narratives and worlds is interesting but exhaustive.
Imaginary worlds are made of things and characters. This book is mainly about things.
Imaginary worlds are really some components of any culture- that which we mainly hold in common.
Every act of creation or speech reworks the culture drawing upon existents and refashioning new ones.
IMAGINATION, CREATION & SUB-CREATION
“He may not for any purpose turn the laws upsidedown””
Creation is code making and code breaking
Culture as Cliche does not force new meanings from words. Cliches embody redundancy. Breaking the rules gives rise to meaning and significance
Code breaking is code making.
Many insights come from this treatment of that culture and a lot of it is conjecture
INVENTION, COMPLETENESS AND CONSISTENCEY
The following works challenge concepts of consistency, conitnuity and completeness.
The Cinema of the French New Wave give examples like
Alian RobbeGrillets novels and films
“The Man Who Lied”, “Roshomon”, different stories,different endings, one world
“When an author releases a work to the public it is akin to making a statement or a kind of social contract with the audience, there is an assumption that a work will tell us something about the world in which it takes place, and that an author is committed to certain narratives, designs and so forth”
Wolf also deals with alternatives to this view.
The idea that there is a social contract with readers/fans to maintain consistency runs contrary to the breaking of new ground. It is reactive rather than radical. I reinforces a staus quo rather than challenging it .
The fact that social media is used to manipulate people and build fandom and leader board status for culture addicts gives credence to corporate culture which is selfserving and profit oriented. It may be engaging and can be fun.
Are references to other media characters, locations. Eg a sitcom character makes a phone call to a radio station called “Yoyodyne”. Yoyodyne is situated in StarWars.
These are cultural references to the values embodied the name referred to and are common historically in non-series movies and paintings.
INTERACTIVITY & ALTERNATIVE STORYLINES
“Interactivity is made up of choices which split the narrative into different storylines.”
It is about choices and consequences which flow from them.
For a given game this can be played many times with varying choices leading to different paths.
Making choices and interfaces used to do this interferes with immersion.
Choice does not have to be made by gui selection but can be naturalised by langauge using uttered words and phrases as the determinants of story direction. The rules of the system decides.
CONSTANTS AND VARIABLES
“All events are canonical since they occur diagetically within the world in question” …with varying ontological possibility
Diagetically …for stories being recounted (told) not shown
Ontological … nature of being. The study of the basic categories of being and their relations
Ontology …. an ontology formally represents knowledge as a set of concepts within a domain
Canonical events involve the main conflicts in interactive worlds. These are fixed.
All this delineates what is fixed and constant- canonical – and what is changeable -interactive
Computer code gets literary with code poetry slam
Stanford has hosted its first high-tech poetry competition, exploring how computer code can be read and deployed as a poetic language.
This paper has useful practical information on using Vuforia within Unity3D. There is a large technical section on targets which may be avoided.