The Etch-a-Sketch and the Stone Tablet

Inscription in stone on Kennesaw Mountain in Georgia.

Cable news is obsessed this week over inscription technologies. At issue is whether the political positions taken in primary elections are as erasable as the magnetic writing on an “Etch-a-Sketch,” as the Republican front-runner’s campaign manager imprudently suggested, or written “in stone” as the Republican challenger describes his own unchanging pronouncements.

Politicians would do well to remember that we live in the age of digital media which has disruptive inscription affordances — combining persistent memory with ease of participation by multiple voices of authority.

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Return to the Holodeck

In the 14 years since the publication of Hamlet on the Holodeck, there has been a rich and diverse expressive practice at the intersection of storytelling and interactivity.  This talk, which I gave as part of Georgia Tech’s GVU Brown Bag series in October 2011, surveys some representative examples of computational narrative forms and identifies  promising areas for innovation.

Should designers support or subvert users’ culture?

In the first wave of digital invention it was a rallying cry to proclaim that “information wants to be free.”  Of course what this really meant was that a certain subculture of educated people, mostly in universities, wanted  to access and share information without having to pay for it. This cultural attitude has produced useful online resources like Wikipedia and it has also produced high visibility arrests for media piracy and endless litigation against the Google Book Project.  We now know whatever “information” may want, rights holders often want to be paid.

Princeton researcher Janet Vertesi studies the cultural context of scientific investigation at NASA.

I was reminded of this change in perspective recently by Janet Vertesi, who was at Georgia Tech speaking about her illuminating research on knowledge cultures at NASA. Vertesi studied two projects which collected very different configurations of knowledge, mirroring the very different social organization of the investigating teams. One team which divided up the ownership of individual instruments and had a highly politicized decision making process collected data with great breadth but little coherence; a second team that shared a common instrument set and made decisions by consensus collected data that was highly integrated and detailed but narrow in scope. Vertesi’s presentation made it clear that there was no such thing as objective data, and that knowledge reflected cultural organization.  It was Vertesi’s very sensible position that designers must heed such differences in  cultural configuration or risk creating tools that do not fit the user group. Continue reading

The Future of the Book is Too Narrow a Question

I am often asked to comment on the Future of the Book. As someone who has just written a very large book that took a great deal of time to write and that I hope will be useful to many people, I sympathize with the impulse to equate knowledge-transmission-by-print-on-paper with KNOWLEDGE itself. But this is a mistake. Continue reading

Disruptions of Transmission: Academic Publishing


Blog of Cambridge University mathematician Timothy Gowers who asks, "Why can't we just tell Elsevier that we no longer wish to publish with them?"

Academic life is characterized by the need to “publish or perish,” but some academics are calling for a boycott of a very prestigious publisher — another example of the disruptions caused by the switch from legacy to digital forms of information transmission.

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Active Creation of Belief

Television producers are increasingly turning to interactive applications to encourage fans to become more immersed in a series’ storyworld through activities that provoke the active creation of belief.

HBO GO Game of Thrones Application

Active Creation of Belief is a  design term I first used in Hamlet on the Holodeck, to contrast with Coleridge’s classic term of “suspension of disbelief”  and to refute the notion that narrative pleasures are incompatible with interactivity.

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Disruptions of Transmission: the Piracy Problem

In Chapter 1 of Inventing the Medium  I describe the 3 layers that make up any medium of communication: inscription, transmission, and representation
(see Glossary for definitions), and I noted that the new digital medium has introduced disruption at all three levels. Last week’s showdown over SOPA and PIPA, the proposed legislation that would have eliminated piracy by punishing any site that linked to illegal content, is a good example of problem in the transmission layer — and it offers us the opportunity to ask how a more mature medium would handle the situation. Continue reading

What is a Medium? Shared Focused Attention

This Friday I will be giving a keynote for the Media, Communication, and Cultural Studies Association of the UK (MeCCSA) exploring the question of what a medium is beyond the discussion in Inventing the Medium.  I will be talking about the four existing models of Media Theory, and about the new model I discuss in ITM and in an earlier article for Popular Communication, which is based on the work of Merlin Donald and Michael Tomasello.

This Hellenistic period terracotta of two women playing the ancient game of knucklebones – a form of dice –  (from an image on the British Museum website) is iconic for me of one way to think about what a medium is.

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Interaction Design as a Cultural Practice

A popular and very useful textbook in Interaction Design defines the field with this diagram: 

As I explain in the Introduction and especially in Chapter 2, Inventing the Medium is not meant to substitute for the body of knowledge mapped above but to complement and recontextualize it, by drawing on disciplinary methods and craft practices that are absent  from the HCI/Interaction Design map of the design process.
Here is how I would express it, using the same diagram: Continue reading

What is a Medium? Terror and Magic

The premise of Inventing the Medium  is that computation has created a new medium of representation.  How do we know when we have discovered a new medium? One answer might be that we know it by the combination of terror and delight that we experience as pioneering practitioners explore the new affordances for human expression.

For cinema there is mythic moment associated with the birth of film, the Lumière Brothers 1895 showing of a film about the everyday occurance of the arrival of a train.  

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