Augmentology"...is a concise manual of reality for our digital age."

Mark Hancock,_Augmentology: Interfaccia Tra Due Mondi_

[Sponsored by The Ars Virtua Foundation/CADRE Laboratory for New Media]

In _Social Tesseracting_: Part 1, we learnt that:

1. Dimensionality defines working concepts of reality.
2. Theoretically, dimensionality can also expand to define a spectrum of nascent social actions.
3. These particular social actions encompass communication trends defined by synthetic interactions.
4. Synthetic interactions create social froth that can be produced geophysically or geolocatively. Both connection types depend on relevant electronic gesturing:

5. This mix of synthetic interactions and electronic gesturing provokes a descriptive framework of this aggregated sodality. This framework is termed Social Tesseracting.
6. In order to adequately formulate Social Tesseracting, contemporary theorists need to extend “valid” reality definitions based currently on the endpoint of the geophysical.

In assessing the growing ethological importance of Social Tesseracting, the following markers demand examination:

a) Social White-Space: Just as with the convention of white space in graphic design, social tesseracts manifest in habituated actions performed routinely over a substantiated period [think: responding to smartphone emails during geophysical-based discourse]:

Social white space exists in synthetically mediated consciousness via overlaying reality clusters. These clusters may exist outside of the geoloaded end of the Reality-Virtuality Continuum [ie the locatable "real person"]. Conjunctive or intermediary areas of connectivity mediate this “primary” reality state [think: Information Shadowing, the Network Effect and Warnock's Dilemma]. Social white-space is currently effecting educative goals and is altering engagement within the workplace.

b)  Immediation: the instantaneous modification of remote events via the removal of geo-specific time lag. Immediation highlights the impact potential of synthetic connectors. Examples of Immediation in action:

c) Regenerative Comprehension: indicated by rapid shifts in the nature of content creation and absorption. A primary example is Twitter’s chronologically-reversed tweet reading order acting to modify awareness. Other examples include:

d) Process Centering: Social Tesseractions are marked by fluid, process-oriented engagement rather than rigid procedural structuring. Process centering prompts a re-evaluation of data formation and alters the entrenched importance of institutionalised categorisations. An emergent example of process centering is Google Wave. Google Wave uses an algorithmic variation of “operational transformations” [live concurrent editing] which occur through a process called transformation:

  • The server transforms the client’s request, resulting in the client manifesting the same transformed output.
  • The notion of concurrency is invariably important as it mimics geophysical conversational states.
  • Utilizing the server as a point of relay [when more than one client's output is involved] assists in providing scalability and reliability.
  • The playback feature allows the server to present the document as a stream of operations that have occurred thus far in a particular wave/state.

Transformation relies on continual modification via process centering. This accent on process acts to rewire the notion of documents as statically defined “objects” and [by proxy] any information contained within. This has enormous implications in regards to such institutionally-governed categories such as literacy, media, the professional/amateur divide, narrative, and information construction.

_Social Tesseracting_: Part 3 will expand on these indicators through examining: Information Deformation, Attribution Modding, and the Decline of Silo Ghettos.


Alternate Reality Games [ARGs] are forms of entertainment that derive their structure from a mix of fictionalised world framing and real-world narrative components. Players create a required suspension of disbelief when connected to an ARGian world construct. This construct operates “…via interconnected narrative threads/cues beyond exclusive parent forms or individualised game parameters. ARGs make players step outside the restrictions of mono-genre game boundaries and narrative-seek through the use of webtrawling, email, phone/sms contact, real-time interactions and extensive online engagement to glean cues + puzzle pieces. These games work within a collusive reaction principle; that arousal, curiosity and search-behaviour will result if info-schooled gamers are offered teasing data as narrative tip offs.”.

ARGs display commonalities with Viral Marketing and Viral Media campaigns. All three forms have structural similarities that attempt to promote meaning formation. ARGs use a Gestalt system pieced together through pervasive content. Successful ARG navigation requires the employment of Active Narrative Gathering [ANG]. ANG involves genre amalgamation, prosumerism, and attentional layering. The Social Networking software _Twitter_ is a contemporary example of one variation of prosumerism in action. Twitterers micro-blog via text snippets [tweets] of 140 characters in length. Users can respond in the public communication stream/timeline, direct message others, or restrict their tweets from general view.

Twitter users create and absorb in concentrated attentional narratives. These tweetstreams blend observations and user-regurgitated facts. Content occurs with attentional “tasting” as users choose to collaboratively incorporate snippets into their streams. Alternatively, they can express introspective or otherwise nuanced updates without accounting for replies or additional user interactions. These integrative comprehension streams represent Synthaptic units – a synthetic network measurement that gauges attentional consciousness.

Prosumerism, like successful ARG navigation, is not passive but active in intent. Synthetics embody the attentional as an extension of a fiction/non-fiction meltdown within streams of ego-consciousness. Should notions of pop culture be replaced by a corresponding attentional conception of entertainment?