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digital cartographers, narrative realization. image workers & pixel [re]searchers. emographers. memetic mappers. space cadets. polytopians.
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    From Wildcat
    Love.. as in, Fight ,...
    From Wildcat
    Shaan, the gift of Eiyse....
    From Wildcat
    That time it was...
    From Xaos
    The case with friends
    From Wildcat
    There is no perfect Enso.....
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    Becoming Infosynaesthetic
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    To understand is to...
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    The Beginning of Infinity
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    I am a psychoterrorist...
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    Infosynaesthetic Tech
    notthisbody’s projects
    The human species is rapidly and indisputably moving towards the technological singularity. The cadence of the flow of information and innovation in...

    A series of rambles by SpaceCollective members sharing sudden insights and moments of clarity. Rambling is a time-proven way of thinking out loud,...

    Start your own revolution
    Catching up with the future. All major institutions in the world today are grappling to come to terms with the internet. The entertainment...
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    some documentation from NTB Storylabs this past weekend...


    scratch knowledge


    language adjustment 1


    in visioning


    extract. imply. inform.


    Analog resonance


    Dendrite 1


    Network un/folding


    Network vibrations 2
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    some experiments from tonight's metamapping...


    analog to digital smoother (on and off are smooth too - blinking helps sight)


    hypercosmix voxelz #001 : mixelz of mind compass


    vibrations in the network


    color coded


    narrative resilience


    hypercosmix voxelz #002: more mixels of mind compass
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    October 20-21st, 2012, 11am-6pm
    Los Angeles Edison Power Plant #3
    The Brewery Arts Colony, Downtown Los Angeles

    Lattices, honeycombs, checkerboards, triangles – form constants were first conceived and studied in 1926 by Heinrich Klüver as geometric shapes at the core of human visual perception, revealed through altered states of consciousness – hypnagogia, hallucinations, synesthesia, fever, meditation, near-death experiences…

    Others have continued to explore deeply common human experiences – Karl Jung worked with form constants of a different kind, those he called archetypes – psychological organs, analogous to the physical ones that arose through evolution; Noam Chomsky proposed a “universal grammer” hard-wired into the brain and properties that all natural human languages share.

    The evolution of technology, however, is morphing our perception through new extensions of our senses, changing our relationships with our environment – each other – and ourselves. Is what we take as common perceptions among humanity today diverging as we augment, enhance and mediate our subjective experience through technology, or is it bringing us closer together? Is the blend of flesh and information changing the very core of what is considered to be “human”?

    Using paint, pixels, light, sound, sculpture, games both online and off, FORM CONSTANTS #1 is an experiment and experience about perception, information, communication, culture and narrative – just what is the earthquake that none felt?

    Contributing Artists:

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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 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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    Having participated in the development of the Polytopia Project since its outset here on SpaceCollective, my primary focus and passion has been to make inroads into conceptualizing, innovating and developing the tools/interfaces/utlities/system architectures that facilitate and contribute to the emergence of a polytopian mind habitat.

    Together with Gavin Keech (@gavinkeech), Gunther Sonnenfeld (@goonth), Brendan Howley (@brendanhowley) and our selfs (@notthisbody), we have formed an entity called ThinkState - a creative innovation consultancy that is building UBIQUID.US - values-driven creative tools for the collaborative economy.

    With awareness of inspiration stemming from the Polytopia Project within all of us involved, we wish to publish the statement below, contributed to be each of us, assembled based on our shared affinities and values.

    The intention is that this statement can be hacked, examined, ripped apart, adopted, adapted by any and all who find use for it - so that perhaps we can define a kind of mutual commitment statement suited to a Polytopian perspective.

    These core characteristics and principles are strongly inspired from the Polytopia presentation and map that were created in November 2010.

    As well, I would like to thank and credit Spaceweaver, whose text I have taken the liberty of adapting under the heading "How we desire to be free".

    We welcome any and all who would like to join the conversation around these affinities.

    Fluid Fractal Organism - Participation and Fusion
    from Entanglement Personas/Metaconstructs by @gavinkeech

    The below text also exists at for live, collaborative editing.


    THIS STATEMENT is made this _______ day of ______, 2011, to set forth the stated intention of [entities involved] to continue in a collaborative and cooperative fluid fractal organism (FFO) - for profit and social benefit around their common affinities.

    This letter sets forth the vision statement and key characteristics under which the entities of the FFO intend to develop a partnership agreement and act from a business perspective.

    Key Characteristics

    Key characteristics of the ThinkState FFO include:

    [entities involved] will endeavor to cooperate with one another to develop aesthetic interfaces and utilities that
    • transition and evolve current socio-economic models
    • lead to the emergence of collaborative marketplaces
    • co-create value through the leveraging of affinities around shared narratives
    • monetize that value through ethical re-sale and incentivization of personal data
    • volumize and visualize that data via immersive technologies
    • enhance emergent properties and multiplicity
    • contribute and reciprocate with the open-source community
    • ...create a ground of engagement for entities to interact and nourish one another: the coordinating layer of both the web of our strategic partnerships and the web itself

    Guiding Principles

    The principles of the cooperative relationship are:
    • All initiatives will be tested towards their potential to mutually and reciprocally enhance entities
    • By all means practicable, all initiatives will strengthen co-emergent interests
    • An ambience of partner cooperation will allow for mutually agreed-upon concurrent agendas
    • Critical decisions will be undertaken in an ambience of openness and directed dialogue
    • All value co-creation will be undertaken in an ambience of transparency
    • These principles we place before personalities.

    How we desire to be free

    Technology offers the possibility of analyzing and directing the mental processes involved in computing our choices towards an optimized state of freedom.

    By developing interfaces and utilities, we might find greater degrees of personal and collaborative freedom not only by means of increased computing resources and information access, but also by upgrading the very way we compute.

    If we gain sufficient understanding of how mental processes arise, we can begin to devise general methods of ridding them from unnecessary redundancies and increasing their aesthetic and creative qualities.

    This is our mission: to utilize the sciences of the mind, providing us with powerful insights and tools to help us optimize individual and collaborative freedoms.


    When we no longer feel we share common affinities, we must arrange to fluidly be able to move past that block to continue with the affinities that we do still have in common, if we so desire.

    Concurrent agendas are possible by transparent best practices, which in turn respect the vision that we have set forward.

    No longer sharing specific affinities does not render collaboration mutually exclusive.

    A recognition of these characteristics and principles is the bedrock of our collaboration: we will, each of us, make best efforts to continue to evolve those characteristics and principles, guided by balancing what is best for all of us against what is best for our company.

    Entire Understanding

    This Statement contains the mutual understanding between the sentient entities with respect to its subject matter and supersedes any prior understandings and agreements between them with respect thereto.






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    I had the pleasure to meet several other polytopians in the flesh recently at the TransVision 2010 conference in Milan. It was both an excuse to get together after working for so long on the net, as well as a chance to suss out current ideas, attitude, approaches and thought happening in the transhumanist community.

    Although we were not initially going to present, after the first day we felt that the Polytopia Project fills a void of sorts...a ground of engagement for all the ideas, initiatives, visions, predictions and prophecies that were spoken about there - a common ground of mutual respect.

    We created a map, over the next two days, and gardened it until we felt comfortable with a distilled presentation of some of the fundamentals of what we agreed a polytopia(s) to be.

    This map can be seen as continually evolving - as the conversation continues to grow around these concepts we will be modifying and adding in more layers to the map, including multiple aesthetic representations of the content.

    The presentation below is the same content as the map above. Best viewed in fullscreen.

    Polytopia - Our Mind Habitat in the Infoverse

    Content: wildcat, spaceweaver, starwalker and notthisbody
    Mapping: notthisbody

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    Junto & beyond - further generations and explanations coming soon.

    also find full image HERE

    in collab with @venessamiemis & @gavinkeech
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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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    A talk I attended by Martin Erickson, Creative Director of The Company P (participatory, playful, pervasive) at Power to the Pixel 2009, the crossmedia filmmaking film forum.

    There was also a workshop the next day with him. It quickly turned into a philosophical discussion on the implications of ARGs, pervasive gaming, TINAG (This Is Not A Game) & participatory entertainment.

    I recorded the talk and fixed up the audio as best I could. Might be better to use headphones. Enjoy!

    Download it on HERE

    Thanks to Jean-Yves & Gabriel Shalom for contributing greatly to the discussion!

    And many, many thanks to Martin for leading a deeply insightful discussion.

    Description of the workshop:

    Is this a game? – Towards a constructive audience contract in the participatory arts.

    All traditional art forms have established social contracts with their audience, dictating their behaviour and attitudes. Western movie audiences generally suspend disbelief, allowing them to be emotionally affected through a process of secondary identification with the characters on screen. Social entertainments like Alternate Reality Games (ARGs), participatory dramas and pervasive games are currently in the process of formulating this contract with its emerging global audience. Using the famous “TINAG” (This Is Not A Game) agreement used in most ARGs as a point of departure, this workshop explores the possibilities and pitfalls of encouraging different audience attitudes. The discussion and design exercises span the full range from pure competitive game-ism, via secondary identification, all the way to no-bars held 24/7 live-action role playing.

    See all the videos from the first day of Power to the Pixel online HERE (highly recommended for ANY digital storytellers)

    See the archive of tweets from #PTTP09 HERE
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    The Serious ARG (Alternate Reality Game)

    In a 2007 article, columnist Chris Dahlen (of Pitchfork Media) voiced a much-discussed ARG concept: if ARGs can spark players to solve very hard fictional problems, could the games be used to solve real-world problems?[37] Dahlen was writing about World Without Oil, the first ARG centered on a serious near-future scenario: a global oil shortage.[38] Another ARG, Tomorrow Calling, appears to be a testbed for a future project focused on environmental themes and activism. [39]

    Serious ARGs introduce plausibility as a narrative feature to pull players into the game. People participate to experience, prepare for or shape an alternative life or future.[40] The games thus have the potential to attract casual or non-players, because ’what if’ is a game anyone can play.[41] Serious ARGs may therefore be sponsored by organizations with activist or educational goals; World Without Oil was a joint project of the Public Broadcasting Service's Independent Lens and its Electric Shadows Web-original programming.[42]

    Their serious subject matter may lead Serious ARGs to diverge from mainstream ARGs in design. Instead of challenging collective intelligence to solve a gamemastered puzzle, World Without Oil’s puppetmasters acted as players to guide the “collective imagination” to create a multi-authored chronicle of the alternative future, purportedly as it was happening.[43] By asking players to chronicle their lives in the oil-shocked alternative reality, the WWO game relinquished narrative control to players to a degree not seen before in an ARG.[44]

    In October 2008 The British Red Cross created a serious ARG called Traces of Hope to promote their campaign about civilians caught up in conflict.[45]

    There are possible future Serious ARGs described in fiction. In his novel Halting State, Charles Stross foresightedly describes a number of possible ARGs, where players engage in seemingly fictional covert spy operations.

    In 2008 the European Union funded an ARG to support motivation for multilingualism within European secondary school students called ARGuing for Multilingual Motivation in Web 2.0 [4]. This project is now completed and papers on the project and the resources produced for education (a Methodology and Teacher Training guides) will be presented at the 3rd European Conference on Games Based Learning.

    In 2008-2009 the MacArthur Foundation supported an ARG The Black Cloud to teach US high-school students about indoor air quality. The project is active and allows teachers to rent sophisticated air quality sensors to run the game locally.

    - Wikipedia

    How is a serious ARG taken to the next levels - the extrapolation, actualization & dramatization of 'intent' to manifestation across realities? and what's stopping us?


    #Another example of that is ARG-like (for those who haven't heard) is Superstruct, by Institute for the Future. (article)

    #here's another great article on ARGs.

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