August 18, 2010
Augmented Gameplay, Mediated Reality, Reality Gaming, Social Gaming, Synthetic, geophysical
This TED talk by Peter Molyneux:
…demos Milo, a hotly anticipated video game for Microsoft’s Kinect controller. Perceptive and impressionable like a real 11-year-old, the virtual boy watches, listens and learns — recognizing and responding to you.
The demonstration begins with an explanation of how Milo is constructed. A combination of the following three elements allow Milo to exist:
- A Kinect Camera
- Artificial Intelligence developed by Microsoft
- Emotional Artificial Intelligence built by Lionhead Studios.
Milo moves through a synthetic environment predicated on User-directed biofeedback/body gestures: no mechanical controllers are necessary. Unfortunately, Milo’s introductory learning curve [which is integral to the "game" leveling system] involves inherent gender bias: if you’re a girl, your initial game variable is a Butterfly whereas if your a boy, you’ll be presented with a Snail.
The demonstration goes on to illustrate how Milo’s face is comprehensively AI driven. His facial movements include blush response, nostril “flare” size [indicating stress], “body matching” [causing neuro-linguistically driven facial alterations] and responses to verbal cues. Peter then describes how Milo’s personality development is predicated on a Cause-and-Effect dynamic. This causality is showcased via 3 examples:
- The User can choose to direct Milo to squash a snail: if the User does it will effect “…how Milo develops”. The specifics of the verbal stimulus employed including how the User vocalises [specific phrases and intonations] all contribute to a database that informs and effects future interactions.
- The User teaches Milo to skim stones over the surface of a river [skewed gender stereotyping is again evident here].
- The User choosing to clean Milo’s room: Milo’s recognition of the User’s beneficial intervention and verbal engagement promotes sustained developmental interaction based on [what Peter terms] “deep psychology”.
This “deep psychology” [or what is described in synthaptic terms as "augmentology"] encourages a User’s empathy loadings. This in turn allows such games to shift towards complex experientially-defined engagement. These games surpass the hollow reinforcement of contemporary Social Games such as Farmville: instead, the User “levels up” by knitting fictionalised engagement with personality/identity construction and personalised growth variables. The element of cloud-directed learning [coaching synthetic humans whose social and chronological development depends on "crowdsourced" input] creates enormous opportunities for instruction and feedback via these types of “Reality Gaming” systems [highlighted here by Seth Priebatsch]:
July 23, 2010
Augmented Gameplay, Augmented Reality, Mobile Augmented Reality, Reality Spectrum, Synthetic
In Part 1 of this interview conducted by the _Metaverse One_ project, Maarten discusses:
- Initial Layar motivations including inspiration via specific science fiction/manga.
- Current server side/platform developments including “Where Is”/POI [Point of Interest], client side 3D proximity-triggered transformational objects and “good data” [public awareness-based] AR.
- The Rolling Stones Augmented Reality Application for their “reissued” album.
- Hoopola as the AR equivalent of Dreamweaver Web Editing software.
July 14, 2010
Augmented Psychology, Design Practice, Mediated Reality, Presencing, Social Tesseracting, Synthetic, Twitter, User-Generated Content
In 2008, several articles here at Augmentology examined the concepts of Synthetic Presencing and Synthapticism. Both concepts are part of a theoretical framework that attempts to explain developing cultural > augmentological patterns. Presencing embodies a rethink of conventional entertainment modes:
Fiction and non-fiction classifications are designed to map to boundaries of known forms [think: cinema, literature, television and music]. They are so designed to provoke audience responses introspectively and externally. Current synthetic practices are refashioning this entertainment base via the perpetuation of types of unintentional and deliberately augmented recreation. These recreation types are reliant on immediacy of response, play, and Pranksterism. They employ Sandboxing, Gonzoism and spontaneous engagement. This type of entertainment is termed _Presencing_. Presencing involves loose clusters of pursuits that evolve in, or are associated with, synthetic environments. Examples include the Streisand Effect, Supercutting, Flashmobbing, the Slashdot Effect…Geohashing, Image macro generation and Internet meme threading…Presencing showcases accidental or reflexive entertainment elements where the fictional/non-fictional divide is erased; associated validity qualifiers are also removed and reconceptualised. Amateur production is equated with valued expression. Presencing also offers adaptive potential for augmented attempts at mediating geophysical constraints.
The complementary concept of Synthapticism involves:
…Crowdsourcers [who] produce clusters of user-mediated data through surges of concentrated attention… Synthetics display attentional surges appropriate to synthaptic shiftings. Synthetic environments operate in accordance with this surge potentiality, with users adopting platforms that offer a contemporary catering for the relevant surge…Synthapticism produces unprecedented connections between synthetic participants. Adjunctive relationships are constructed via Identity interfacing and cushioned by support networks with a comparable emotional weighting to those found in traditional sociocentric structures [acquaintance>friendship>family>community]. Synthaptic communication may appear as fractured or trivial to those not connected synthaptically…”
One contemporary example of a Presencing/Synthaptic Campaign centres on a PR-created character called “The Old Spice Guy” or @OldSpice. This campaign, which makes extended use of social media > network dynamics, initialized with a Synthaptic threading system directly developed from conventional advertising:
On July 13th 2010 [USA Portland time] the Old Spice brand extended this “personalised” social presence/character via synthetically dependent platforms including Youtube, Twitter, Reddit, and Facebook. “The Old Spice Guy” character urged cross-platform users to AMA [a popular internet thread on several boards which means "Ask Me Anything"]. The humorous > quirky responses included almost instantaneous @OldSpice micro-video answers to selected users, including meta-referencing by Isaiah Mustafa:
One response that encapsulates the Synthaptic aspects of this campaign began with the user @Jsbeals asking @OldSpice to make a marriage proposal on his behalf:
@Jsbeals later tweeted that his girlfriend had accepted the proposal:
….and who then changed his Twitter Biography to:
The Old Spice proposal was real. Thank you Old Spice for helping me with this.
A second response set resulted in the sending of roses [referenced in a micro-video response] to Alyssa Milano. A third instance that highlights the episodic > cross-platform > Synthetic Presencing aspect is summed up by Twitter user @rob_sheridan:
Each episodic response illustrates the flattening of traditional entertainment factors [think: @OldSpice responding to "everyday" users as well as more established Hollywood/Internet celebrities]. The campaign realigns passive entertainment construction and distanced absorption via real-time Immediation and Regenerative Comprehension. The Old Spice Guy Synthaptic threading is currently ongoing with replies continually being posted via Youtube.
July 24, 2009
Alternate Reality Games, Augmented Gameplay, Augmented Psychology, First Person Shooter, Location-Based Social Network, Massively Multiplayer Online Environments, Mediated Reality, Mixed Reality Performance, Open Source, Presencing, Reality Spectrum, Social Gaming, Social Networking Platforms, Synthetic, Twitter, User-Generated Content
e) Information Deformation: akin to process centering, this Social Tesseraction involves a shift in the very definition of information:
These deformed systems of data are constantly in flux and available for perpetual revision. Examples include:
Users are able to simultaneously modify, update and adapt their input in real time:
This type of liminal practice results in a deformation of current information architectures. Although traditional information construction may be flexible over time, it still demands unitary data snapshots for knowledge formation. Deforming such data in real time acts to fundamentally alter meaning production. Socially structured input is the keystone of such a dynamic, perpetually fluctuating system:
Here the notion of Social Froth takes on a new level of importance: information becomes a constantly shifting construct with variable endpoints. Rewiring information in such a way radically changes its cohesive nature. This in turn effects:
- authorship
- politics
- communication and media
- education
- book publishing and academia [think: the perpetuation of potentially obsolete content systems]
- the scientific method
- disciplines dependent on referential instruction [think: History or Commerce].
In this deformation system, facts can be reality-edited* in real time:
Information becomes pliable in ways that challenge the perceived authority of institutions. The concept of narrative deforms as:
- lifestreaming transmogrifies entertainment
- game platforms employ transmedia, simulation and agency.
Narrative progression repositions the representational towards the freeform [think: paidia as opposed to ludic]. An instance of this information deformation in action is troll play [or uncontrolled play]. A social example of troll play is found in the wiki Encyclopedia Dramatica which:
…satirizes both encyclopedic topics and current events, especially those related to or relevant to internet culture. The wiki has been the subject of media attention given its focus on trolling and use of shock value, as well as its criticism of other Internet communities. It is also associated with the Internet subculture Anonymous.”
_Encyclopedia Dramatica_ – and the affiliated imageboard/meme propagation site 4chan - showcase the challenge faced by narrative frameworks. Platforms like _Encyclopedia Dramatica_ encourage troll-based comedic intent. Users remix absurd, and sometimes taboo, content. In particular, invasion boards like _4chan_ utilize shock networking*: where social content attempts to subvert social codas through deliberate agitation. In comparison with established narrative conventions, platforms like _Encyclopedia Dramatica_ offer an experimental system which bypasses strict censorship and ethical constraints. These platforms cater for unfiltered interactions that operate via immediacy-of-response. They are highly idiosyncratic in execution and linguistic formation: censorship and moderation may be limited or non-existent. The output is propagative, with contributors encouraged to riff and rip-off, replace, and even delete content. Narrative is deformed beyond a sequential structure whereby the climax or pay-off event becomes the spectacle:
An example of such modification is Copypasta, which consists of repeatedly copying and pasting blocks of text designed to evoke a heightened emotional response:
_Copypasta_ derails notions of story or plot progression, resolution or dénouement. It embodies context-counteraction* and meme perpetuation. Dramatic intent shifts to reiterative moments containing affectivity spiking which ignores the rigors of institutionalized framing [think: morality, hierarchy or ownership]:
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f) Attribution Modding involves an extension of Stewart Brand’s iconic phrase “Information wants to be free” to “Identity wants to be freeform”. This category describes users focused on mobilization rather than individual recognition. The group Anonymous* projects attribution modding via collusive identity constructions. The collective’s title is based on the method _4chan_ uses to brand all contributors “Anonymous” by default:
As making a post without filling in the “Name” field causes posts to be attributed to “Anonymous”, general understanding on 4chan holds that Anonymous is not a single person but a collective (hive) of users.”
Anonymous is a social-tesseractivist group who perform raid actions [think: the immediate action to halt the abuse of Dusty The Cat and Project Chanology's DDoS attacks]:
The collective broadcasts non-attribution ideologies where members are viewed as units of a social mechanism with a deemphasis on individual identification. Attribution modding illustrates the rise of collective identity cognizance and the accompanying shift from expert-centric disciplines.
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g) Decline of Silo Ghettos: as information deformation impacts knowledge formation, there’s an increasing need to provide social tesseractors with comprehensive dimensional engagement. This type of borderless interaction deforms monostreams into cross-channelled productions. Social tesseracts assist in addressing the somewhat restrictive walled garden approach to software and platform production [think: the frustration levels encountered whilst experiencing the locked door syndrome].
Google Wave is one system that removes such constraints and allows users to input directly into previously distinct arenas. Other instances of interoperable systems that require the reorientation of Information Silos:
- augmented applications that encourage a pairing of geolocative and geophysical needs:
- bridging software that links previously disparate platforms together [think: IRC-to-Second Life Chat Bridge].
Information Deformation, Attribution Modding, and the Decline of Silo Ghettos are paradigm-shifting markers that highlight socially directed trends. One significant user-centric challenge involves ensuring a smooth migration into a Social Tesseracted future. Such transitions should lessen future shock and encourage a type of overlaid meta-comprehension which promotes the seamless recognition of synthetic conditions.
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* Shock networking, reality editing, context-counteraction and Anonymous will be discussed in upcoming augmentology entries.
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