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]

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e) Information Deformation: akin to process centering, this Social Tesseraction involves a shift in the very definition of information:

Information may be defined as the characteristics of the output of a process, these being informative about the process and the input. This discipline independent definition may be applied to all domains, from physics to epistemology.”

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:

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:

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:

A time-tested classic. This ending usually comes into play at the climax of a very troubling or exciting situation. Rather than resolve the story, one of the characters will abruptly say something to the effect of “I had Reese’s for breakfast.” At this point, the other character will completely forget about his/her worries and jump into the corresponding commercial dialogue, enamored by the peanut butter and chocolaty goodness that is Reese’s Puffs cereal. “It’s Reese’s… for breakfast!”"

_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:

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.

Entertainment is associated with the concepts of fiction and non-fiction. Fiction involves the projection of a willing suspension of disbelief with variables designed to further narrative progression. Indicators of traditional fiction include characterisation, foregrounding, plot and/or sub-plot[s]. Non-fiction is fiction’s logical counterpoint; chronology, history and “fact” play clear parts in non-fiction constructions. There are many variations on the standard fiction/non-fiction dichotomy.

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/Digg Effect, acts by the group Anonymous, Geohashing, Image macro generation and Internet meme threading. Less defined examples include: MMOG guild interactions [think: user generated games-within-games], Virtual World involvements, and Social Networking via application adoption and creation. These instances illustrate how Presencing pushes recreation beyond a fictionalised/non-fictionalised framework.

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.