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notthisbody
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Notthisbody
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digital cartographers, narrative realization. image workers & pixel [re]searchers. emographers. memetic mappers. space cadets. polytopians.
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    Some thoughts on the New Aesthetic.

    A few days ago Bruce Sterling posted an "Essay on the New Aesthetic", summing up his most recent thoughts after a panel at SXSW, similarly titled "The New Aesthetic - Seeing like digital devices". The focal point of definition for this New Aesthetic is well documented and a gestalt emerges quite quickly on the New Aesthetic tumblr, a juxtaposition of quotes, images, sensations, videos highlighting myriad examples of that which its curators are recognizing is already happening.

    In short, New Aesthetic touches in some sense the bleeding of the virtual dimension into the actual and our increasing reflection of our own methods of sensing in machines, and vice versa. What's surprising about Bruce's usually sardonic critique of modern culture is that he acknowledges his own excitement and novelty with NA, that perhaps it does indeed holds the potential for something new...

    I've felt this viscerally on spacecollective through these past years. We've watched the work of Andy Gilmore reflect us into fractal gradients, Xaos exploring on his canvas the poiesis of becoming, Gavin Keech exploring the hypersciences through the lens of experience, Gabriel Shalom in our many conversations about digital aura recognition (AUREC), hypercubism & object orientation and Wildcat recontextualizing the role of the knowmad in relation to aesthetics.

    Robin Sloan boils it down to a general axiom(?) of NA on his blog:

    the flip-flop (n.) the process of pushing a work of art or craft from the physical world to the digital world and back again—maybe more than once

    ...it becomes clear you aren’t aiming for fidelity in these transitions from physical to digital and back. That’s where your work gets exposed to a whole new set of tools—really, a whole new physics.

    However there are several conceptual hurdles that require consideration and recontextualization that need to occur before I can rally behind the New Aesthetic. Our hybrid futures imply that we are moving at a pace of transformation to which we are little aware on a moment by moment basis.

    The Machinomorphic Counter-strike

    In 1957, Russel Kirsch took the first digital photo - a 5x5cm picture of his infant son. When deciding how to render the ones and zeros, Kirsch decided on the seemingly logical choice at the time — square pixels. For this, he apologizes.

    "The logical thing was not the only possibility," Kirsch said. Those pixels could have been any shape he desired. But he went with square; a decision he has since described as "something very foolish that everyone in the world has been suffering from ever since." (full article)

    In the fascination of 'seeing like machines', we have been anthropomorphizing our machines, imbuing them with very human metaphors. What's not recognized as widely is the backwash - the feedback and echoes of machinomorphic [PDF] influence - where we begin to associate the qualities of machines into our conception of ourselves. Pixels have a harsh, grinding feel to them, utterly unnatural considering there are no straight lines in nature, gestalt is not linear, nor binary - yet in our mad digitalization of our experience, of course we grab onto this, the most glaringly obvious representation of the prison of our sensory experience to break loose of these relative freedoms. Machine vision must push beyond the prison of the rectangle, and that's why we're shredding and bleeding our media and its representations, grind it, shatter it, work to break through to something more organic.

    A chunk of Bruce's essay nearer to the end demands a recontextualization of our relationship with machines:

    I will hammer that iron nail a bit more, in case you aren’t getting it yet. Because this is the older generation’s crippling hangup with their alleged “thinking machines.” When computers first shoved their way into analog reality, they came surrounded by a host of poetic metaphors. Cybernetic devices were clearly much more than mere motors and engines, so they were anthropomorphized and described as having “thought,” “memory,” and nowadays “sight” and “hearing.” Those metaphors are deceptive. These are the mental chains of the old aesthetic, these are the iron bars of oppression we cannot see.

    Modern creatives who want to work in good faith will have to fully disengage from the older generation’s mythos of phantoms, and masterfully grasp the genuine nature of their own creative tools and platforms. Otherwise, they will lack comprehension and command of what they are doing and creating, and they will remain reduced to the freak-show position of most twentieth century tech art. That’s what is at stake.

    When establishment becomes artificial and possibility begoes natural, process flows being. Implicit in the arrival at the phrase which can potentially embody and arrive at a recontextualized aesthetic, is a departure, from what we know and have known. these realizations are what we encase as objects, juxtaposing through fluid curation that together, reveals a certain directionality, trajectory that we are still grasping at.

    The sensing of objects within the construct of machines still lacks a cohesive ontology - ontologies are about structuring meaning, and we humans have difficulty enough coming to common agreements by way of our differently evolved subjectivities and contexts, we are a long ways from providing machines with the conceptual substrate to handle the complexity of human intersubjectivity. The intersubjectivity of any context, indeed to have a consensus reality, depends on our ability to come to agreements about meaning - we struggle with the very first step -with methods of classification of objects, and defining their relations, as this need for context induces a sort of multiplexed fragmentation. The question of intelligence in our machines, a morbid fascination playing with the uncanny valley, at the same time inviting us to engage with it as higher and higher resolution refractions bounce around the collective subconscious (which also must exist if there is to be any 'collectively intelligent'). Sterling calls us to engage with machines as they are, not how we would imbue them with our characteristics or vice versa.



    These objects, somewhat objects of our desire, are comprised of processes, nested within each other at varying layers of abstraction. What is even more profound, only being hinted at, at least in the conversation surrounding the New Aesthetic, is the machine computability of our cultural activity and archetypal interpretations by machines, natural language processing, entity extraction, semantic tech and hybrids like amazon's mechanical turk. It is not just the geographical or physical machine vision but the cultural, that we must think deeply and tread carefully in relation with machines, lest we eat our own tails in a pornographic desire to get to know ourselves through the technological immediation of machine-processed experience. Our own vision - physiological, cultural, social - is being refracted through the fractures in our ability to conceive the implications of the different lenses we view technology through - never quite familiar and sometimes difficult keeping our equilibrium in such a fast-changing landscape.

    In meantime the examples of NA continue to become more fluid, integrated, in going deeper into that glitch we've found its not actually all that glitchy once you get in there, that is, more like a phase space or grey area, between on/off, yes/no, not pinpointed at a specific coordinate but rather multiple possibilities in a spectrum of coordinates. Daito Manabe's various collaborations exemplify this blend uniquely, in turns haunting, frantic, ghostly, yet even more real because of it, immediately taking us to a liminal space. Liminality is key to NA, because it is that inbetween that enables us to explore our intuition, NA can, at its best open a door for us to inhabit this liminal space between virtual and actual, reflect our interpretation the happenings of now predictively to expand our awareness.



    The New Aesthetic is Infosyn-aesthetic

    Derived from latin, synaesthesia is broken down into “syn”, which means union, and “esthesia”, sensation. A union of sensation. When used as a common term, synesthesia is used to describe the condition of when someone is aware of their senses mixing. In other words, the stimulation of one sense will trigger a response in another sense.

    Synesthesia is not something that has been added, but has always existed. A multisensory awareness is something that has been lost from conscious awareness in the majority of people....We know more that we think we know. The multisensory, synesthetic view of reality is only one things that we are sure has been lost from consciousness. - Dr. Richard Cytowic

    The addition of info-, the union of information and sensation. Our new sensors and extension of our senses into the domain of the virtual, gives us the conceptual construct to interact with information therefore extending our relations and conception of the environment, each other and ourselves. The emergence of this hyperconnectivity fundamentally changes the dynamics of human interaction through morphing our symbolic languages. We desperately need to upgrade our current conceptions of communication, on the fly, now and forever more.

    The role of cultivating these sensitivities is that of the aesthetic curators of information, as critical relevancies and metabolic reactors within an infocology (information ecology), engaged in aesthetic management. Working towards something more inherently flexible, capable of unmanagement, free flowing with immersion into the rawness of humanity. Lets build upon these signature decay trails, their radiation showing aesthetics, also in respect to establishment's departure, into arrival of new ways...

    We need new semantic and ontological frameworks to exchange meaning within and across infocologies. As we more deeply engage and interact with each other, information and our environment, a new, infosynaesthetic language is emergent through hyperconnectivity. It is in becoming that the New Aesthetic emerges, and it is emergent, for if there's one thing to realize about our nascent infosyn-aesthetic, it is that it throws into questions the nature of networked identities, the blend of flesh and information, data, matter and the overlay of realities that result. Out of this we desire to recontextualize and understand the meaning of our relationship and evolution of our sense interfaces and our language, and the vast impact they have on our culture, politics, society as a whole.

    life+ / work+ / play+ saturate in real and virtual. mind and body fuse with reality and dream. organism and environment continually connect. chemicals and frequency pulse rapidly so flow between is unity with such intense distance that requirement is recursively created to seamlessly evolve together to revive identities morphing. - @entpm




    ...we may now understand aesthetics as requiring an unsettling of knowledge, a dynamic, and transformative quality of engagement with the world. In this sense, Aesthetics can be said to be the foundation of our understanding the inter-subjective relational experience we have with the world. Aesthetics I see as that which disturbs the obvious, disconcerts the known, unsettles the clear and provides a way ahead in our realization of ourselves both as individuals as a culture and as a species... - Wildcat

    The paradigms with which we experience information are driven by the glitches - those things rendered explicit and obvious by time and space. The artworks that are being classified as NA embody this, and whether intentionally or unintentionally call attention to an attempt for us humans at normalisation - the persistence of a contextual aesthetic ground, that is always tending to firm up on us.

    NA can and should strive to have a center which is always moving - resisting crystallization while at the same time calling our attention to it. The deterritorialization of that which we know we know, or think we know. Saccades crystallize. blinking helps sight. The analog to digital smoothers are active, the seeds of which have been planted already, literally, in those being born in 2012, those who will be born into a mass-customizable, rapidly evolving ever increasing info mass. We, those already born, need to understand how we can keep pace with changing paradigms of interaction with the world on the fly, and implied in that, its influence the structure of our mind and culture itself.



    Fluid, Fractal and Holographic

    What we're experiencing is exaptive, form and nonform - transforming aesthetics into tangible intangibles. Morphing between virtual and actual, before and after a particular moment has subsided in experience. As we are building these interfaces for experiential navigation of data and information for minds and intelligences to integrate with, hindsights, insights, foresights and evolution become conscious communication mechanisms to evolve upon ourselves, by living and interacting. Hyperconnectivity reveals the fluid, fractal and holographic nature of not data or information or content but experience, this itself morphs through evolutionary permutations as our code spaces are changed, modified, interpreted and re-encoded as signals and resonance.

    Before being a theory aesthetics is an action, the action of undeterred insistence in refurnishing becoming.

    Before being a theory aesthetics requires the necessary non-act of disclosing a shape of silence in and around minds, in and around things.

    Before being a theory aesthetics is an inter-action, the empathic weaving of threads across the frontier between visible and invisible, the ephemeral mind of beyond born of encounter.

    Thus before being a theory Aesthetics is possibly about the apex of our action as humans.

    Aesthetics is the verb of curating becoming. - Xaos




    Becoming is of emergent properties of past affinities of influence; begoing is synchronized with the emergent properties of future affinities - both of these, in reconciliation to factors of time's relative constraints.

    The quality of being, as an aesthetic phenomenon, is radically altered in the age of hyperconnectivity in a fashion that prominently features the art of becoming, not as the mimesis of an other that is not authentic, but in a fashion that re-describes the extended narrative of the individual into a multiplicity of authentic beings.

    We call for the founding of a fresh narrative about our relationship with and through technology. The relevance of the New Aesthetic perhaps may be that we never try too hard to look at it directly in the eyes (which ones for that matter?), but rather keep it on the periphery of our vision, less an object but a presence, a process, and cultivate an aesthetic ground on which our senses stand. Perhaps it better be kept elusive.

    New problems are continually built. Dissolving of problems builds from their solutions, formulae of creations to navigate experience beyond our relative constraints. The possible beauty of our future lies in our hands, in our very own capability to transform ourselves into curators of interest and aesthetic intelligence, a transmutation in the manner we understand the world and cohere a complexity that unfolds before us.

    The New Aesthetic might not be a 'thing' at all. it might just ben about a functional freedom of expression.

    i don't think i'll settle for anything less.

    - IMS.

    {crossposted to the notthisbody blog}

    —————————————————————————————————————————————————————-
    many thanks to Xaos, Wildcat, and Gavin Keech for the use of their wordplay and phrases i have taken the liberty of incorporating into this essay.

    Image 1: Face Projection by Daito Manabe
    Image 2: Abundance Mechanics by Gavin Keech
    Image 3: the first digital image, scanned by Russel Kirsch in 1957 of his son
    Image 4: Biostructure 2 by Abhominal
    Image 5: Untitled by Xaos
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    Plug n' play.

    Content —> Form (structure) —> Aesthetics —> Meaning —> Intention alignment —> Action potential —> Self-organizing intention realization —> rinse. repeat. rinse. repeat.



    identifying emergence GEN002 / form: @notthisbody / icon design: @gavinkeech / CC-BY-SA

    Memetic Computing covers the general aspects of population-based problem-solving methods that are enhanced with some form of cultural-analog mechanism. For instance, Memetic Computing involves also software ecology. That is, studies of the enormous number of software projects are shedding light on how software development takes place and the many social and technical issues related to this fundamental XXI century activity. Related emerging trends that also fall squarely within the remit of Memetic Computing are search based software engineering including the very latest trends on software self-healing, self-assembly and self-management. Memetic Computing is thus an emergent discipline that seeks to distil principles derived both from nature and human societies (i.e. memes and self-organizing mechanisms) as to bring forth the creation of so called Living Technology. The main areas of scientific interest covered by Living Technology, and upon which Memetic Computing would have in near future a definite impact, is the interface between nano-bio-technology and information technology with the ultimate aim of creating new, novel production systems with the properties of self-organization, self-assembly, evolution, learning and, more generally, adaptive complexity. It is also essential to remark that Memetic Computing is also having an impact far beyond technical systems. For example, policy makers and businesses are using memetic strategies (previously called viral marketing) to influence public opinion and deliver effective change at a massive scale through the harnessing and leveraging of memetic concepts operating from small, perhaps unnoticeable, interactions. That is, Memetic computing is playing a key role in the design of bottom-up strategies for the achievement of large societal and technological changes. In this scenario, memetic simulations play a key role in the modeling of strategies and their potential outcomes. - The Emergent Technologies Task Force on Memetic Computing


    a possible process - MA GEN002 / form: @notthisbody / icon design: @gavinkeech / CC-BY-SA

    what role does chaos play in this process? the existence of free radicals generates new trajectories. how can we design for chaordic emergent synchronicity?
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    This is a study that explores the notion of direct, participative and processual democracy. The research presents a series of abstract structures, providing a framework for bringing together egalitarian values, collaborative perspectives and edifying voices in an equal and open decision-making process.

    It includes a basic taxonomy of social, economic and political concepts relevant to the creation of a perfect society, showing the direction of dependencies, feedback interactions, and the relative significance of qualities and activities.

    In the flow of political discourse it is sometime easy to forget the foundations of a virtuous society, though we do remain aware of the mistakes and the civic achievements of secular ideologies, religions and governments.

    Today, we possess sufficient cultural, economic and technological resources to introduce a better global society; one instructed by shared wisdom flowing freely through networked media, in a system previously considered impossible. A collective destiny can be shaped using the power of networked activity, allowing citizens to communicate, share, educate and legislate.  

    - Paolo Cirio

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    what takes an idea from inception to actualization & execution, the visualization & realization of that initial invisible spark?

    what keeps it in the realm of thought, of talk? what keeps it from reaching through to the visible and starting a fire? is is that we don't feel "ready"? don't feel we have the resources necessary to begin?



    "While idealistic architects, futurists, sociologists, philosophers - are in an endless search for creating the perfect island out of society, in a context totally foreign and segmented, there is a group of 15 people actually doing it. But its not just the creation of their world - but rather the connections they are gonna establish by sailing with the world that seems disconnected in a communication society. They are building a house on a boat - and its more than a house - its a multi purpose space - that lets you live on it, move with it, float with it and do service! Its a purposeful house. What an attempt...."


    the floating doctors have never been "ready" - they've scratched and struggled, begged, borrowed (but not stolen), slogged through the dirty work, the tedious work, the shit work & done the needful. and they still struggling. but it is a necessary one.

    the momentum gathers around them gains something of the autopoietic. their house is already floating, though they're not yet on the ocean.

    we have our invisible spark on SpaceCollective in the form of the Polytopia Project, but we need to start its active realization. SpaceCollective is a think-tank; think-tanks have output. what is ours? is it stuck on the level of talk? of thought? we must not watch & wait & comment but act. but we are not yet living under the same house. we are semi-connected nodes, surfacing on SC's recent posts page, sometimes on twitter or twine or friendfeed & then submerging again.

    we're shouting up here, across the void, how many are listening?

    there are few of us, we have some architectural plans, have started digging the foundation; open source of course. but we need help. to be explicit:

    who wants to start building our purposeful house?
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    Everything is real but the narrative makes the difference.

    Participatory media creation is not suited to entertainment alone. The boundaries between producers and consumers are becoming blurred. The ability to create & make available high-quality media is enabling the sharing of myraid subjective narratives – but also creates the concept of image as disposable commodity.

    Cinema is a skin – a membrane/memebrane that creates a circuit between its body and that of the viewer. But people today are still using the media creation tools available in a very shy fashion. What is the point of the progress we've made and keep making in minimizing the size, weight, storage & the maximization of the capabilities of our "extended eyes" and are they going to merge into one humanity-compatible firmware?

    The Emographic Census is a framework, focus & context that fosters the creation and linking of narratives (real or fictional), that maps existing, imaginary, evolving points of view, and blurs/bends/breaks existing ontologies of media creation & our interaction (that thinning membrane) with media.

    In the context of the Emographic Census, “place” is defined as a transitory shared point of view – a Topos.

    A topos is not simply a place, a topos is a narrative, it is in a manner of speaking, a modern way of exemplifying and explicating who am ‘I’ (as in my overall identity) and what is “we”, by pointing to that which interests my being and the being of others (other than me) in my/our/this evolutionary phase.

    Topos is a set of coordinates having a definite and definable set of characteristics.
    The coordinates of a topos can be either in space, in time, in the material universe, in the infosphere, in the metaverse, in mind or all of the above or some combination thereof.

    If the definition of demographics is “the statistical characteristics of human populations (as age or income) used especially to identify markets 2: a market or segment of the population identified by demographics.”, then;

    Emographics refer to


    (1.) dynamic subjective experiences as used to identify Topos across contexts such as (a) geographical (b) historical (c) cultural (d) issue (e) opinion and (g) emotional.
    (2). the transclusion of subjective experiences across cultural ontologies.
    (3). aggregation & comparison of entities who share given topos'.
    (4). the sharing and study of the emotions behind rationale and vice versa.
    (5). the emotional facet of the map of commonalities & differences between entities.

    The Emographic Census
    :

    (1). is a mapping of topos' from multiple perspectives.
    (2). is the creation of links between said topos.
    (3). fosters evolving narratives compiled from the en courant, embodied memories, and imagination & the sharing of said narratives.
    (4). an interaction paradigm: a method to choose and set trajectories through topos'; an overcoming local gravities of subjective meaning.

    Emographers:

    (1). are willing to give a focus to their personal media creation; to understand, experience, & connect across subjective realities.
    (2). have the means to express emotions and thoughts artistically through any medium which proves conducive.
    (3). have a desire to explore the rationale behind emotions & vice-versa.
    (4). wish to more clearly represent our own subjective POVs & share those of others.
    (5). desire to connect (or find disconnections) with other entities in deep and meaningful manner.


    The Emographic Census will be manifested as a searchable community-built semantic social system combined with both a GIS (geographical information system) & CGIS (cyber-geographical info. system) presented as an intelligent interface. The interface will have multiple interaction paradigms or “movements”.

    Basic to the Emographic Census is the ability traverse “places” through the sharing of media with the aim of connecting people to others based on the topos' they hold in common; therefore transcending political, cultural, lingual, geographical.

    This is a fluid cinema – a living, breathing, evolving narrative drawn from our everyday media creation and all that of our past that already exists, one not limited to the static POV of the traditional relationship with media.

    The Emographic Census is part of a larger framework that is the necessary and logical next step – analyzing emographic & demographic data/subjections and drawing out the actionable steps towards real world solutions & sense-making; linking between individuals; creating communities that share co-emergent interests.


    ——————————-




    We envision the Emographic Census as

    (1).an online interface with multiple interaction paradigms,
    (2).a social community of active Emographers,
    (3).the incorporation and semantic tagging of existing media emographically.
    (4).A mobile application that would run on all mobile devices
    (5).a social cinematic experiment

    ...and in the context of this exhibition, enables the user

    (1).to create a social/emotional profile & aggregate information from other social networks.
    (2).To upload still photos, video, audio and tag them with an emotional semantic ontology on both geographical and cybergeographical maps
    (3).To provide the choice of interaction paradigms (or genres of interaction).
    (4).The choice of a level of involvement (passive->active)
    (5).the ability to map narratives and share them.
    (6).the ability to connect with other users based on narrative commonalities or differences

    Most of the technical aspect of the aspects of the Emographic Census are entirely possible with the aggregation and modification of existing tools.

    The greatest challenge in the actualization of the Emographic Census is the creation of a emotional semantic ontology that is able to be transcend language-specific connotations, and a semantic engine that will bring intelligence to the interface.

    But this is not required all at once; at the beginning our technical needs will not be as much if we limit participation to a manageable level based on our capabilities – functionality can be incorporated as it becomes available, therefore scaling the Census for larger participation.

    Therefore, the Emographic Census will be deployed in three stages (after which momentum is apparent):

    Stage 1:

    The announcement of the Emographic Census (EC) and Call to Action for Emographers; the creation of an emotional ontology as applied to the media collected on the EC Macedonia.

    Stage 2:

    We will distribute logins to the system and involve a community of Emographers to scan and “fill in the gaps”, collect narratives, create fictions within reality, import “archival” clips relating to their narratives, and upload & semantically (using our ontology) tag those to our server as raw or close-to raw footages, where it will join that of the first EC in Macedonia. We will then make it into a database accessible through Kaltura, an online collaborative video editing application (www.kaltura.org). Users will then be able to collaboratively edit the footage together to create a narrative based in Macedonia & the first exhibition city. We will also use our semantic engine to enable users online to explore narratives based on interaction paradigms. We will project narratives through an multimedia installation for the duration of the festival and track the 'topos of the Emographic Census.

    Stage 3: The engagement of the community to assess the 'topos. Then the open discussion of those results, the evolution of it with new input. we implement additional functionalities/new tools/expanded interfaces based on our experiences and feedback on the first. We bring in that media and correlate it with the media from the first two ECs.

    Rinse. Repeat. Rinse. Repeat. Rinse. Repeat.




    Below are links to projects & interfaces that are influential to the Emographic Census. We are actively seeking collaboration in the realization of this project.

    Zoacodes
    - Ebon Fisher

    We Feel Fine
    - Jonathan Harris & Sep Kamvar
    I Want You to Want Me - Jonathan Harris & Sep Kamvar

    SoundTransit
    - Derek Holzer, Sara Kolster, Marc Boo

    Knowledge Cartography
    - Marco Quaggiotto
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    We have laid down the preliminary aspects, facets, and ramifications of the Polytopia. We have an understanding of what the Polytopia represents (in an order in which I find them easy to form an emergent understanding, not by any means complete 1,2,3,4,5,6,7,8, 9,10,11,12,13)

    But how, indeed do we go about taking the next step in inhabiting it? Here we are presented with the continuing evolution of hyperspace - Web2.0, Web3.0, the Semantic Web, recommendation engines, new input interfaces, multi-sensory systems, and all of other tools that are beginning to arise in helping us navigate and visualize, connect, share, and communicate through hyperconnectivity. In my previous posts, I explore our habitation of the Polytopia, and what forms it can possibly take:

    Towards a Polytopia, Are we ready for a Polytopia?, (meta)senses, (meta)physics, and (meta)biology in Polytopia

    What's missing? Not just an interface - for the tools that we will use to interface with cyberspace will be ever-changing, open to myriad technologies in which we can define our own unique language of interface, including our communication with one another and the world around us (see "In my Language".)

      Our OS must:

    • enable the multi-dimensionality of the Polytopia, while at the same time being structured in such a way that disables negative aspects of centralized control and censorship.

    • enable and encourage meaningful methods of utilizing collective intelligence, collective sense-making & problem-solving, the authoring and sharing of knowledge narratives,

    • the ability to effectively manage our own identity (or identities)

    • enables and embodies the aspects of Friendship in Hyperconnectivity (see 1, 2, 3, 4) + MAP

    • enable us to utilize all past and future plug-ins - hardware or software.

    • allow the existence of an infinite multitude of Topos. (see A Topos, what is?)

    • must consolidate, aggregate, & hyperlink all current & future networks, services, systems, etc.

    • will accomplish all of the above THROUGH IT'S ARCHITECTURE.


    This OS overarches Windows & Mac & Linux, with their limited methods of input-output (tho Linux comparably less so). It overarches the desktop computer, the laptop, the handheld communication device, the web browser (in current and future forms) – it must be accessible by everyone and every device through all interaction interfaces.

    Besides it being an OS for our personal knowledge & social networks, it must also act as a networked system in itself. Right how, our brains are doing this. We use them to connect and navigate through all our different Topos in a fragmented, somewhat disconnected manner. It's clunky.

    The next step in human evolution will likely be techno-biological. As with the great series of posts from Robukku (1,2,3,4), we see that we are creature-stick hybrids – and have been for a long time.

    Our BioPerson and Infoperson inhabit these dimensions in varying levels. The crossover between the two is not clearly defined, and will get less so. It must be left open-ended to many different experiential modalities, while still providing us with the freedom to grow in whatever existence towards which we direct our own self-evolution.



    Can this system be model after life itself?

    (coming soon, part II: A Meta-Top(OS) Scenario)
    Sat, Mar 7, 2009  Permanent link
    Categories: architecture, metaverse, polytopia, topos
    Sent to project: Polytopia
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