Strategist Smackdown

A Democrat mouthpiece annihilates his Republican counterpart. Truly humiliating.

via YouTube

O’Reilly Hung Out To Dry by Donahue

Although a pathetic shout-match between partisan extremists, O’Reilly lost this bout.

via YouTube

McCain Utterly Destroyed by a Maine ABC Affiliate Anchor

If this reporter anchored a major news network, our country would be a better place.

via YouTube

Video clip on YouTube

David Carroll, Sven Travis, Benjamin Bacon, and Haiyan Huang debuted their mobile media installation, “1000 Cellphones” at the opening of Synthetic Times 2008, a media arts exhibition at The National Art Museum of China, Beijing, as a Cultural Olympics venue.

1000 Cellphones is comprised of custom bluejacking and bluetracking software visualizing active devices on four aligned flat-panel displays mounted in the foyer of the museum’s café.

The software extracts the last six digits from discovered device MAC address ID signifiers gathered by the tracking tools. It then converts these digits to an RGB Color HEX value, and renders a 2D perspective particle in virtual space. Device names animate across the screen, revealing radio identification evidence of the most recent 10 devices found.

In addition, devices are bluetooth push “spammed” mysterious photographs to willing device users.

The custom PULL software tools were written in Python, mySQL, PHP, XML and ActionScript 3.0. PUSH tools are “off the shelf” Bluetooth spammers.

“1000 Cellphones” and the Synthetic Times exhibition remain on view through July 3, 2008 at the National Art Museum of China, Beijing, China.

• View photo gallery of Synthetic Times 2008 Exhibition
• View photo gallery of 1000 Cellphones Process Documentation
• Visit official Synthetic Times website

Is this any way to celebrate Abraham Lincoln’s Birthday?

We are appalled with Congress. In a huge victory for the Bush Administration, the Senate passed the revised FISA bill to grant sweeping government spying powers and shield the telecoms, especially AT&T and Verizon, from the legal action they deserve for breaking laws to build a universal Internet and telephone “wiretap” for government agencies with impunity.

These Democratic Representatives are still on the fence with the House version. If you’re also outraged, check the list and see if you know anyone from these states, and ideally, these districts and have them make their voices heard.

There are several moments in very recent history that we will later reflect upon in total disgust. These laws of fear will come to emblematize our national degradation towards fascism. This will be one of them. In the meantime, we can elect as many change-agent presidents as we want. Until we dump all the Senators and Representatives who voted for this criminal bill, having a brave new president is just the start of any effort to prevent us from moving towards the fear-driven desecration of our national values.

We warned about the dangers of the AT&T secret server rooms earlier. Today, we take a step closer towards the police state of China with its Great Firewall that censors and monitors telecommunications traffic. A big win for corporate power, a big loss for the 1st Amendment and the principle of privacy.

Just imagine how this post has been cataloged, indexed and red-flagged for being critical of the government its favorite corporations. Is this really what we want?

Space Time Play — Computer Games, Architecture and Urbanism: The Next Level

» Book Website (spacetimeplay.org)
» Table of Contents (PDF)
» Introduction (PDF)

Available to the US in November 2007 from Birkhäuser and edited by Friedrich von Borries, Steffen P. Walz, Matthias Böttger, Space Time Play — Computer Games, Architecture and Urbansim: The Next Level offers readers 62 concise essays and interviews interspersed between 64 game, film and science-fiction book reviews, and 48 game research projects, all brilliantly organized into 5 ascending levels, sequenced into topics that build upon the theory of the editors, that video gaming has come of age as one of society’s most crucial and influential cultural artifacts. Richly illustrated and well populated with important and influential theorists, designers and academics, Space Time Play multi-tasks as a scholarly tome, coffee table guide to gaming, and manual of pop culture memes driven by gaming industry.

Steffen Walz, friend and editor of the collection, generously sent me an advance copy, and I’m thrilled to share the news of this exciting addition the growing library of scholarly treatments of gaming on culture, art, media and urbanism. The text is especially unusual in the way it will appeal to gamers and scholars alike, exemplifying how the subject matter is no longer relegated to fringe discussions of gaming’s profound influence on contemporary humanity. Every reader will find at least one game review that resonates within him or herself, whether it’s Katie Salen’s perfectly worded analysis of Alexey Pajitnov’s timeless classic Tetris or the de-mystification of the first alternate reality games (ARGs) to emerge such as EA’s Majestic reviewed by Kurt Squire, or The Beast reviewed by Dave Szulborkski, used by Spielberg to promote A.I. Artificial Intelligence. Readers will enjoy remembering classics such as Asterioids through Jesper Juul’s reframing it as a “forgotten futurism” or considering if SimCity informs and influences notions of urban planning and governance or simply reveals itself as simulated simulation.

Levels 1 and 2 situate the history of computer games as interactive play spaces and connect these basic ideas to the framework of the Ludic Metropolis, or City of Play. Along with the physical representations of space in video gaming, the urbanist modes of exchange and social intercourse are examined with many specific game and research projects. In the end, we discover how narrative environments like World of Warcraft shape identities through an interconnection of an architecture of play, socially immersive design, and timeless storytelling.

In Level 3, Ubitquitous Games: Enchanting Places, Buildings, Cities and Landscapes, the Ludic City is crafted as an actual real-life play space, broken out of the computer console, but no doubt influenced by its tendencies, parameters and tools. Examples like geocaching, locative games, ARG advertising, augmented realities, mobile media, Parkour, and others evoke an idea of gaming within true social space, the city as a game board, and the separations between game and life fully blurred.

In Level 4, Serious Fun: Utilizing Game Elements for Architectural Design and Urban Planning, the Ludic City is envisioned as a proving ground and design tool. Architects and urban planners, embracing the organic, player driven models of gaming, employ its modes towards generative and evaluative instances of complexity management and design research. Here especially, the editors posit the newly respected role of game technologies for the social causes of urbanism and design towards the common good. Skeptics of the value of gaming will certainly be challenged in this chapter, their views perhaps not resistant to the well articulated examples of how game design and technologies have already proven their value off the living room couch.

In the final chapter, Level 5, Faites Vos Jeux: Games Between Utopia and Dystopia, the editors collect examples of how games and war play an uneasy partnership on the battlefield for hearts and minds across societies, present and future-minded. This chapter also examines virtual economies, such as the Chinese Gold Miners of World of Warcraft, and in-game advertising’s rise to importance.

The book begins and ends with references to Spacewar!, the very first recorded instance of a video game design, a creation of MIT students in 1962 for the PDP-1, the first device with a graphic monitor, instantiating the language and context of video gaming for many years to come. In reflecting upon how quickly computer games have infiltrated the collective and individualized societies of yesterday, today and tomorrow, we cannot help but imagine their inevitability in the human condition and the importance of play, time and space.

Verdict: An indispensable addition to the library of any interaction designer, game designer, social theorist, architect, urban planner, futurist, student or scholar, casual or fanatical gamer.

Web Ink for Mobile Media Curriculum

Adobe published a case study on my work with students at Parsons Communication Design & Technology in the area of mobile media design.

Specula-palooza

Risking iPhone coverage overexposure, today we ponder one of the most interesting questions about the future of Flash, iPhone and web standards. Despite assurances by Uncle Walt that Apple and Adobe are hard at work on a Flash Player for iPhone, plenty of naysayers, skeptics, and player-haters have voiced strong speculations that Flash will never appear on the iPhone for strategic, practical and technical reasons. A quick scan of comments on various iPhone related entries across the web reveals an almost universal plea amongst everyday users indicating that a dearly missed feature from Mobile Safari is the presence of a mainstream multimedia plugin. In fact, the world’s most popular piece of software in history, is well known to be absent from iPhone.¹

Mobilizing the Means of Production

Those who have written about why iPhone should not have a Flash Player don’t mask their agendas. These voices are usually programmers and developers who have always been hostile to Flash, mostly because it threatens their grip on the means of production, by bringing software and interface design to the masses. Indeed, we’ve seen the worst and the best of the web, as a result. Furthermore, because Flash has always been a mainstream, populist, albeit proprietary media format, it has been deployed for reach and ease of creation, rather than robust performance. When imagining a Flash Player for iPhone, its high-octane thirst for processor cycles does not bode well for battery life.

Monopolizing Web Standards

The second significant argument against iPhone Flash is Apple’s strategy to deploy its WebKit “web standards” platform for all third-party application development. Indeed, the recently redesigned Apple.com site has reduced its use of Flash significantly, in favor of JavaScript and browser based features, so-called AJAX. The argument goes that Apple doesn’t want to forsake its influence on the consumer-level interface design market by inserting Adobe’s trojan horse into the battlefield.² This perspective does make a lot of sense, but leaves out a tremendous amount of nuance, that we’ll investigate here.

A Muted Voice

The assumption that web standards based technology, such as JavaScript, can wholly replace Flash functionality is only somewhat true, especially on iPhone.³ Certainly, the support of JavaScript and its embrace by the web developer community over the past three to five years has changed the face of the web, earning the popular title of version 2.0. However, Flash offers some essential multimedia capabilities that JavaScript alone cannot yet offer. This includes audio support. It’s no coincidence that Bejeweled for iPhone is mute. Especially considering that many iPhone users may have stereo headsets plugged in during use, there are unimaginable uses for audio based applications, especially when combined with locative media technologies. Imagine a sort of audiopedia. The differences don’t start and end with audio support, however. Even Apple’s newly touted Web Gallery feature, part of a .Mac subscription with the iLife personal media suite needs to use Flash for its carousel photo browsing interface.⁴ Indeed, only the Flash Player offers the multimedia engine to manipulate the images as a responsive interface with the reach required on this consumer grade product.

I Want My MTV

Certainly, the most common deployment of Flash Player on the web recently is for web video. It was almost shocking to watch the FLV video format surpass RealPlayer, Windows Media and QuickTime as the most important, influential web video format, in what seemed like a matter of months, with much thanks to YouTube and others. A recent Adobe Flash Player 9 public beta featured H.264 video support, which seems part of its strategy to preserve the dominance of Flash video, especially as Apple and Google migrate towards this non-Flash based video standard. However, until the myriad of embedded SWF FLV players on perhaps billions of web pages get updated to auto-detect the client and deliver the appropriate video by codec, the web will still appear to be littered with missing plugins on Mobile Safari.

Assumptions and Speculations

Let’s proceed with the assumption that Walt Mossberg was correct, and indeed, Apple and Adobe have reached an agreement to release Flash Player iPhone in some manifestation, at some time. Of course, he could be blindly speculating like the rest of us, just running on the fact that it feels crazy for Flash not to be there. But, let’s hope he’s as well-connected and respected as they say he is.⁵ There are several scenarios for the future of Flash iPhone, which should only contribute to the over-saturated discourse by further complicating the biased opinions with an understanding of Adobe’s perspective, previously, and conveniently left out of the discussion.

A Straight Port of Flash Player 9

In this scenario, Adobe compiles the current version of the desktop Flash Player 9 for the ARM processor of iPhone. This scenario would allow all of the existing web-based Flash content to function within Mobile Safari. Authors who create content in ActionScript 3 would enjoy a noticeable improvement of performance and energy efficiency on the iPhone, since this type of content would play in the more recent Flash Virtual Machine, a marked improvement over previous runtime environments, across Windows, Mac OS X and Linux. However, the vast majority of Flash content on the web right now was created in ActionScript 1.0 and 2.0, and so does not take advantage of the improvements to the runtime. Indeed, the skeptics are correct when they assume that running web pages with Flash content, even animated banners, would put an unfortunate drain on the battery.However, what’s crucially missing from a simple straight-on port of Flash Player 9 for iPhone is a substantial confrontation with the multi-touch interface. This is likely the deal-breaker for this scenario. Although, ActionScript and Flash button symbols might offer some means of developing and designing for the iPhone’s multi-touch interface, it’s more than likely that despite the best efforts of Flash coders, the existing means to respond to mouse-based interactions will fall short of the requirements needed to respond to multi-touch. Gestures like pinch, tap-zoom, and flick are difficult to imagine as ActionScript events. Indeed, Adobe probably needs to reckon with the reality that ActionScript needs a true multi-touch API. This could be one of the many reasons why we can only assume that iPhone Flash is in development now, and may be for quite some time, especially based on Apple’s delay in releasing an official iPhone SDK.

Probability: Very Low

Flash Player 10

Looking into 2008, perhaps third or fourth quarter, we have to assume that Adobe will continue to release improved versions of the Flash Player. Version 10 is likely to provide Adobe with the required release cycle needed to fully contend with Apple’s native iPhone application API and SDK release schedule. It’s much more likely that ActionScript libraries will be written that allow true response to the multi-touch gestures, such as pinching, flicking and zoom-tapping. It’s really difficult to imagine a Flash Player on iPhone without this crucial ActionScript API.Furthermore, this allows Adobe to potentially release new versions of the Flash and Flex authoring tools that will compile in Flash Player 10, and subsequently, support a runtime environment that is tuned to the needs of the ARM architecture and precious battery life. It’s been frustrating to read the Flash iPhone haters and their blatant neglect for Adobe’s expertise in the area of building a Flash Player for mobile devices. There has simply been no mention of the possibility of Flash Lite for iPhone.

Probability: Medium

Flash Lite 2.1

Flash Lite is a very special version of the Flash Player for mobile devices, such as Symbian Series 60, Windows Mobile and others. It is not the Flash Player that typically sits in an embedded browser, like the vast majority of Flash content out there. Instead, Flash Lite content exists as standalone, full-screen, mobile applications, or more appropriate mobile media implementations such as a standby screens, wallpapers, screen-savers, and even the device’s native UI.Not only is Flash Lite compiled to the particular device, and so is limited by its processing and memory capabilities, but it also has proven to be very energy efficient, accordingly. Indeed, authors must specifically design and code for Flash Lite. It is in no way, a conversion from desktop Flash content. In this manner, designers and developers alike, are rightly forced to contend with the requirements of mobile media, in terms of interface, content and use-case considerations.It’s possible that Adobe could port Flash Lite to iPhone instead of the expected desktop Flash Player. In this regard, Flash Player would exists as a widget on the SpringBoard home-screen of iPhone, and not as a Mobile Safari plugin. Although it would not fix countless broken plugins in pages that use Flash Player, it would offer mobile media design opportunities for Flash on iPhone. Specifically, Flash Lite already offers APIs to interact with mobile phone specific features, such as triggering the vibrate, detecting battery life, and cell network signal strength. These capabilities are not offered on the desktop version of Flash Player, and may or may not be available in Apple’s official native iPhone application API or SDK. Only time will tell.In this scenario, Flash Lite becomes an avenue for designers and developers familiar with Adobe’s toolsets to create applications that exist as standalone native experiences, rather than embedded modules of Mobile Safari. In many ways, this supports the special needs of mobile media more appropriately than simply making the familiar Flash just work. Imagining a port of Flash Lite for iPhone could mean the opening of a vast market for native iPhone widget applications, designed by designers, and not restricted to hard-core Objective C programmers. Indeed, this is a threatening prospect for those that are eager to carve out a niche in iPhone application development. However, Flash Lite 2.1 probably does not offer the means to react to multi-touch gestures like pinch, flick and tap-zoom, and so it’s probably not the version we will eventually see.

Probability: Low

Flash Lite 3

Just as the desktop Flash Player is constantly updated, the mobile Flash Lite player is also expected to be evolving. It is said, that a forthcoming version of the Flash Lite player, perhaps 3, will bridge the gap between the embedded browser Flash content and the standalone mobile specific Flash Lite content.⁶ In other words, Flash Lite 3 could play not just in the mobile device’s web browser, but could also run within its native operating system environment. This jives with Adobe’s efforts to seed the use of Flash outside of the browser and distribute a desktop based native runtime, called AIR, the Adobe Integrated Runtime. In addition, a Flash Lite 3 would address the concerns of a multi-touch API, and the required energy efficiencies for battery life, memory usage and processor cycling, as well as provide ActionScript to trigger mobile device specific features intrinsic to Flash Lite.In this case, Flash would exist in two manifestations on iPhone: as standalone native applications on the SpringBoard home screen, and as a Mobile Safari plugin, playing the usual desktop based content. This gives developers, designers and end-users the best of all worlds. Flash content can be created with mobile use in mind, considering the unique user interface and energy efficiency required. Everyday users will enjoy not only the full multimedia web they’ve grown accustomed to on the desktop, but also will enjoy a market of native mobile applications that arguably, the Objective C programmers of the world, simply cannot singlehandedly service.

Probability: Medium-High

Conclusions

Flash will appear on iPhone eventually. There is no doubt that Adobe will roadmap this device into its strategy for Flash Player, Flash Lite, or both.Yes, there are significant performance, interface and user considerations that must be addressed as Flash appears on iPhone. Adobe has already demonstrated an accomplished ability to service the mobile media market. It’s only a matter of when, and what form iPhone Flash takes as it appears beneath our beloved glass multi-touch screens.One can only imagine the pressure Adobe’s product planners are putting on its Flash Player team to fit iPhone into the needs of the short-term and long-term strategy. In the short term, Adobe needs to get Flash on iPhone within the next three to six months to capture the required developer and designer audience, and compete with the ascendancy of Mobile Safari and native iPhone applications. In the long term, Adobe needs to get it right, and release a iPhone Flash Player that addresses the specific needs of both mobile media and the vast legacy of desktop Flash content out there. A premature release could spell long term disaster for Flash, as it needs to compete with the rapidly expanding Open Source and Web Standards movement. We haven’t mentioned Microsoft’s entry into the web media space with its recently launched Silverlight platform, but until we stumble upon a site that actually uses it, it’s irrelevant.Although there are many who would like Flash to just go away, because it’s not open source, not free, and tends to be used to bombard us with annoying banner ads and horrible interface design models, Flash is not going away anytime soon. However, how Apple and Adobe navigate the uncharted territory of merging mobile and desktop user experiences along with multi-touch interfaces, will certainly determine the relevance of Flash in the years to come.

Footnotes

1. See Adobe statistics on Flash Player downloads.
2. See Roughly Drafted’s analysis.
3. See A List Apart’s analysis.
4. See Cabel Sasser’s Twitter which claims dibs on this observation.
5. See the profile of Walt Mossberg in the New Yorker.
6. Speculative, but based on reliable, but undisclosed interactions with Adobe. Also, see Bill Perry’s entry on the subject.

Article to be published on Adobe Developer Center

Packing Lite: Getting Started Designing Interfaces for Mobile Media

I wrote an article/tutorial for Adobe’s Developer Center to be published at the end of August covering how to get started designing interfaces in Flash Lite on Nokia Series 60 devices. It details how to get equipped for mobile media design using Flash and the Flash Lite platform, install Flash Lite content on Nokia S60 phones with Bluetooth or Nokia’s PC Suite, discusses the unique interface design challenges, and looks at an example, highlighting the issues.

Stay tuned, as I’ll be sure to post the link to the article when it goes live. Article pushed live at 5 PM PST, August 17, 2007←

We look to China as a totalitarian police-state undergoing hyper-capitalism.

We know that China’s internet is filtered by the Great Firewall of China, an intricate, secretive and semi-effective internet censorship system.

As a guest-professor at Tsinghua University in Beijing, I was offered VIP overseas access on the campus network, which offered, maybe, 80% of the web — everything but Wikipedia, BBC, and who knows what else. Without this extremely special login, however, the web was a stark list of accessible domain names: google.com.cn, microsoft.com.cn, yahoo.com.cn, the university intranet, and a set of Chinese web properties that require Mandarin literacy to discuss here.

I was advised that every site, email and instant message that I exchanged while on the campus network was being logged, databased, and perhaps, even monitored by a human resource, in real-time. In China, as a visitor, you are always impressed by a society the size of ours, quadrupled. A workforce of unimaginable quantity is assigned to each and every micro-task that occupies the Middle Kingdom, Earth’s most ancient society.¹ It is not unimaginable that a team of internet surveillance specialists could have been assigned to monitor my activities, especially since I was an American professor invited to teach design for the web on state turf. Certainly, I would be in a position to discuss controversial topics in front of impressionable minds, movements of web-based democracy. In jargon, we call it Web 2.0, user-generated content, crowd-sourcing, social networks. These tendencies may reflect American group dynamics, the result of open, free expressions. In other ways, web communities resonate with China’s state-centric qualities, group over individual, country over citizen, a bastion of anonymous, de-humanized, technocratic interactions. Really, it’s the hyper-individualism of web democracy that characterizes what’s new and exciting about the net, today. Possessive pronouns and terms of individuality exclaim the brands of blazing net properties. MySpace. YouTube. Facebook.

Not only do Tsinghua students experience a Great Firewall internet, they don’t even benefit from networked classroom computers. Viruses are blamed as the reason, but you won’t even find Ethernet cables connecting PCs in campus classrooms and laboratories. Naturally, it was a challenge to check my email, let alone teach a course in web design. I’ve already written more generally about this teaching exchange on these pages. My point here is that I can confirm from personal experience, the Great Firewall of China is omnipresent, a truth, not an an exaggeration.

We would never imagine that our own internet at home, in the US, was limited² or monitored by our central government. We readily accept that it is monitored and data-mined for profit by the corporations that run these services. But we cherish a different sort of firewall, a Great Firewall of America, a constitutional separation between commerce and government when it comes to surveillance of citizens. In the US, it’s a national ambition to profit from consumer surveillance,³ but it’s a crime for the government to perform unauthorized surveillance of citizens.⁴ Or is it?

Total Information Awareness is the supposed internal name for the Bush Administration’s NSA data-mining operation on the American open internet. We learn today of Attorneys General, past and present, and their secretive exchanges over hospital beds, ordered by the highest powers, to quash concerns of its legality and active use. Surprisingly, Congress scrambles to rewrite laws to make these crimes legal. According to the PBS Frontline “Spying on the Homefront” special reports, we are only beginning to discover how the Great Firewall of America, that sacred separation between Wall Street and Pennsylvania Avenue is secretly breached. In a confusing twist of metaphor, if you believe Mark Klein’s account of the NSA ‘splitter rooms’ at AT&T backbone facilities where the aortas of the internet in major cities are essentially tapped with NSA equipment, Big Brother channels our collective electronic thoughts.

We can only assume that data-mining endeavors of unimaginable scale are taking place on these servers and switches, all paid for by fellow citizens. We can only assume that AT&T and other telecom executives crumbled or gladly accepted the NSA’s requests to install these electronic surveillance centers and install the Great Firewall of America 2.0, the core tool of TIA. Indeed, we can only assume that since installation, every web site, visitor history, email, IM, and file transferred has been logged and data-mined by the NSA. We can only assume that algorithms beyond the scope and scale of Google’s crawlers are trawling and flagging content and IP addresses. The exact identities of each consumer/citizen is obtainable through a court-order to the appropriate ISP. Real-time dossiers are being compiled by software agents, associating net, consumer and governmental identities.

We are told that this is for fighting terrorism, it is patriotic to believe that the government could never erroneously apply justice, that data mining software connects the dots perfectly, and that it is our civic duty to forsake civil rights in the name of security.

We may be able to visit any site we want, post any language or image we desire, and communicate in any manner we see fit, as Americans. Our Chinese counterparts, however, may need to circumvent serious oppressions in order to enjoy similarly unfettered electronic freedoms. Indeed, incarceration and execution remain ever-present risks of destabilization and disruption to social order through expressions of taboo topics.⁵ But we both share in the inevitable shame in knowing that our governments employ the highest of technologies to apply Panoptic surveillance on its citizens. At least in China, you’re easily reminded that this is true. In the US, we are fooled into thinking this is false. The US was a nation designed to be great through its checks and balances. Do we need regimes like China’s to remind us of what we will become if we recklessly abandon our core national values?

So in stating all of this, why would I “feed the dragon” and offer my criticisms here, where the AT&T NSA TIA servers might spider, filter, identify, sort, tag, cross-reference, and save for later, just in case any red flags come up? Red Flags. Imagine that.⁶

Footnotes

1. A direct translation of 中国 (zhong guo), the name for China, in Chinese, is “middle kingdom.” Indeed, the language and consistent culture of China has lasted longer than any other civilization, thousands of recorded years.
2. Although, see Net Neutrality
3. See Google, ChoicePoint, the credit companies, bureaus and banks, retailers, market researchers, and so forth. Even this website uses Google agent technologies to analyze the content of this page to serve advertising and provide the owner with in-depth, but anonymous, site usage and tracking information.
4. See FISA.
5. The Three Ts: Taiwan, Tian’anmen, and Tibet are well known taboo topics. In addition, Democracy, Falun Gong and the resilient cult of Mao remain profoundly censored topics in China.
6. If you’re a federal employee reading this, I just wanted to say “Hi.” Otherwise, you’re a computer program and you’ve probably already red-flagged this data.

Sporting provocative bullet points, this essay may not be new news, but it speaks refreshing truths while standing the test of time.

» Download essay [PDF]

This scholarly paper by was originally presented as a talk for the conference Mobile Communication: Social and Political Effects, held on April 29-30, 2003 in Budapest, and is collected in Mobile Democracy: Essays on Self, Society and Politics. We’ve come upon this text during regular research in pursuit of an interesting range of academic treatments concerning critical viewpoints of mobile media and electronic culture. The “Global Nomads in the Digital Veldt” essay stands out in the collection for its succinct expressions that thoughtfully document complex social changes in deceptively simple terms. Despite the arcane literary device in the title, the writing is downright accessible and the core message articulates a cogent framework for thinking about mobile technologies and society.

Meyrowitz’s use of the Veldt to encapsulate his message is regrettable. He plays off Marshall McLuhan’s coinage of “global village,” contrasting it with a reconceptualization of cyberspace as a primordial hunter-gatherer society. We agree with the idea, and we can even visualize the metaphors. But we’re belly-aching on the word-play, the sprechen-spiel. Perhaps it feels hokey and detached while attempting to persuade us with trite McLuhan soundbyte style textual imaging. Our cover image◊ might suggest our frustration with attempts to photo-illustrate the idea of a global nomad in the digital veldt. We also succumb to the tendency to pepper titles and blurbs with metaphors that amuse with clever yet esoteric cultural literacy for readers — something catchy that sums up an idea with a wordy picture.

Even for an academic paper, however, the reference is unnecessarily obscure, and diverts readers away from the simple elegance of his central point. That said, his word choice motivated us to conduct some cursory research into the term veldt, and so we sidebar now in order to reveal subtle ironies that redeem his transgression. Our electronically nomadic research trail begins with the Wikipedia→, jumping off to a copy of the Ray Bradbury short story→ of the same title, off to a quick cheat using a study guide→, and ending up at veldt.com→, which upon closer look, manages to poetically reinforce Meyrowitz’s metaphor. When you perform a View Source on the empty page, you discover the anonymous author’s epitaph embedded as a comment in the HTML source code:

veldt.com is dead.
old, useful content may come back to life, when i find the time.
i may post at veldt.vox.com
but no guarantees.

it’s not been all that fun, blogosphere.

Clearly, the proprietor of veldt.com has wandered on to greener pastures, perhaps disenchanted with the promise of online social networks only to find the veldt a hostile playground of disillusionment rather than the abundant network of social connections and benevolent discourse. There is rewarding irony in this discovery when you connect it linguistically with the use of Veld, the low German form of the word, which means, according to Wikipedia, at retrieval:

[...] a place that is generally overgrown or has gone fallow, such as a thicket or a field that has become overgrown from lack of maintenance.

Comparing the term “Digital Veldt” with the vernacular that emerged through unfortunate force of popular lexicon — “blogosphere” — we can’t decide which is worse. In fact, no one has even come close to coming up with a quality term for describing the electronic human condition, and do it with a pleasing aesthetic and semiotic.

Now this diversion aside, it’s still not clear after re-reading “Global Nomads” why the author selected the Veldt to image the lonely wasteland of electronic communications. Despite misgivings with the literary references, the essay still stands as an important discussion of how electronic media fundamentally alters humanity and its societies. We’ll get over our squabbling and get to the point by quoting the core passage of the essay where Professor Meyrowitz states his uniquely succinct observations:

From “Global Nomads”

A key feature of the electronic era is that most physical, social, cultural, political, and economic boundaries have become more porous, sometimes to the point of functionally disappearing. This seemingly simple proposition has far-reaching significance and implications. The relative products, services, and channels of communications have been leaking into each other. While the key change is literally happening “at the margins” of all social systems, the change is not simply something happening “out there.” As the margins change, the contents of all forms of human organization change. As a result, we are experiencing a dramatic shift in our sense of locale, identity, time, values, ethics, etiquette, and culture.

The increasing functional permeability of boundaries — combined with the continued physical existence of most of those same boundaries — explains the contradictory feelings we have in the early 21st century: Many things still seem the same, and yet everything is somehow changed. In our electronic landscape, we have thinner distinctions:

• between here and there
• between now and then (and yet to be)
• between public and private
• between male and female spheres
• between child and adult realms of experience
• between leaders and average citizens
• between office and home
• between work and leisure
• between business and customers
• between users and producers
• between news and entertainment
• between one field or discipline and another
• between different media genres
• between simulated and real
• between copies and originals
• between direct and indirect experience
• between biology and technology
• between marginal and mainstream

Your thirst for additionally succinct world-changing bullet points will be quenched, as the author delivers another set of bullets that further illustrate twenty-first century living. At least scan for the passage where he connects his idea of global nomads to September 11, 2001.

Response

More than any other essay in the collection, “Digital Nomads” provokes us enough to seriously consider undertaking the multimedia production of photo-illustrating all of these bullet-points, a sort of electronic media peer review. Or at least, we’re interested in annotating the quotation with commentary hyperlinks. We’re not through with this one yet. Too many unresolved considerations remain.

Credits

Essay quotations © 2003 by Joshua Meyrowitz.
Photo by Teseum via Flickr. Photo-illustration by mercurious via Creative Commons licensing.

For the uninitiated, Processing→ is an open interactive media platform published on free software license via MIT by Casey Reas→ and Ben Fry→. Originally created as a learning tool, it is maturing through a Beta phase currently while winning tremendous support within the academic and design community. It appears to be emerging as the [tag]Sketchpad[/tag]↔ of the future. Sutherland→ would be so proud of his fellow alumni.

• Download Sample Chapters→ in PDF
• MIT Press→

For those in-the-know, this MIT Press release, Processing: A Programming Handbook for Visual Designers and Artists will be noticed on August 24, 2007. A substantial amount of the book is available in PDF format now. The free preview certainly suggests how tremendous and definitive this text is going to be. Take a peak at this inspiring passage from the introduction. It begins by describing the world view of Processing and the philosophy about software it epitomizes:

Software is a unique medium with unique qualities
Concepts and emotions that are not possible to express in other media may be expressed in this medium. Software requires its own terminology and discourse and should not be evaluated in relation to prior media such as film, photography, and painting. History shows that technologies such as oil paint, cameras, and film have changed artistic practice and discourse, and while we do not claim that new technologies improve art, we do feel they enable different forms of communication and expression. Software holds a unique position among artistic media because of its ability to produce dynamic forms, process gestures, define behavior, simulate natural systems, and integrate other media including sound, image, and text. (p. 1)

The introduction continues on to beautifully frame the pursuit of aesthetics through software. The free preview includes not only complete Table of Contents and Index, but also a very solid introduction to Processing and some of fundamental concepts. It’s enough material to function as an ideal free resource for getting started, while also leaves you thirsting for more.

Indeed, a more comprehensive review is forthcoming.

Between 1962 and 1964, Dr. Ivan Sutherland created Sketchpad: A Man-Machine Graphical Communications System, arguably the world’s first computer graphics system, and non-procedural programming system.

Video

In this video, Dr. Alan Kay, from PARC, discusses Sketchpad and its significance in determining the nature of Object Oriented graphical interfaces.

[flash http://www.youtube.com/v/495nCzxM9PI]

Geneology

In this Computing Family Tree diagram◊, note how Sketchpad is considered the origination point for the modern operating system, as we know it.

Links

• Sketchpad, PhD. Dissertation, .pdf (3.9 MB) ↓
• Sketchpad, Wikipedia→
• Sketchpad, YouTube→
• Sketchpad, Archive.org→

See Also

Lecture: The Origins of Interactive Media ↑

Originally published in the Atlantic Monthly→, “As We May Think→” (July, 1945), a member of the Manhattan Project proposes the [tag]Memex[/tag]↔, a sort of microfilm-based knowledge desk. Many consider the Memex to be the pre-digital precursor to the idea of the Web and Internet as we know it today. It may reflect the dawn of the information age.

I am constantly referring to the Memex in my [tag]lectures[/tag]↔ and research as a significant historical precedent to modern informatics, information design, hypertext and interactive media.

A diagram depicting “Computing’s Family Tree”◊ sources the Memex at the root of all modern operating systems. See also Dr. Ivan Sutherland’s [tag]Sketchpad[/tag]↔ for the world’s first interactive computer graphics system.

Links

• Original article, Atlantic Monthly→
• “As We May Think”, Wikipedia→
• ‘Memex,’ Wikipedia→
• ‘Informatics,’ Wikipedia→

See Also

Lecture: The Origins of Interactive Media ↑

The Origins of Interactive Media.

交互式多媒体的起源

A brief examination of two influential American scientists who pioneered the idea of interactive information systems and graphics. Dr. Vannevar Bush, The Memex↑ and Dr. Ivan Sutherland, Sketchpad↑. Their research accomplishments resonate through every aspect of modern computing. A lecture given on Thursday, June 21, 2007, 13:30, Room B413 at the Academy of Arts & Design, Tsinghua University.Sponsored by Information Art & Design in collaboration with Communication Design & Technology, Parsons The New School for Design.

Lecture downloads available below.

Lecture Images

Lecture Downloads

» Download Lecture PDF↓ (6.5 MB)

» Download Lecture PowerPoint with QuickTime video ZIP ↓ (135 MB)

» Download Lecture Poster PDF ↓ (780 KB)

» View Lecture SWF in a Popup Flash Player → (20 MB)

See Also

• Memex, The Dawn of Informatics↑
• Sketchpad, The World’s First↑