Archive for the ‘Uncategorized’ Category
#PRISOM – created by Dreaming Methods and Mez Breeze – is a synthetic reality game and social commentary on concepts concerning privacy, surveillance, and the underlying ethical associations of civil liberty encroachment. In order to navigate around the #PRISOM environment successfully, a user will be expected to engage with objects, scenarios and text engineered specifically to question culpability in relation to sacrificing individuated privacy for new modes of augmented communication. #PRISOM is designed to make users ponder the increasing global adoption of PRISM-surveillance like technology including CCTV interventions, sousveillance propaganda imagery and Drone menaces, where your every move may be consistently, and comprehensively, monitored.
#PRISOM made its début at (and was funded by) the MARart4 Transreal Topologies Exhibition as part of ISMAR2013, the International Symposium on Mixed and Augmented Reality in conjunction with South Australia University’s Wearable Computer Lab.
Dreaming Methods Labs http://labs.dreamingmethods.com/ features 6 leading-edge digital fiction works developed using a spectrum of technologies and in collaboration with some fantastic writers/artists including Kate Pullinger, Chris Joseph, Jim Andrews, Judi Alston, Martyn Bedford, Lynda Williams, Matt Wright, Jacob Welby and Mez Breeze. The site also offers completely free source code for developing your own digital fiction works and links to highly recommended resources across the web.
Dreaming Methods Labs presents ‘R’ – an experimental digital fiction project created using WebGL – an open source 3D technology.
‘R’ follows the story of a young man who has had the same recurring dream since childhood. The narrative alternates between glimpses of his current everyday life and short recollections of conversations and incidents from when he was a boy. A 2000-word short story accompanies the work, published on Figment.com.
The project was co-written by Jacob Welby and uses visuals from Jim Andrews’ Aleph Null. It’s currently best viewed in Google Chrome.
Alternative Flash version
Dreaming Methods has three new projects available to experience – each one created without the use of Flash or any other browser plugin.
Visiting dreamingmethods.com on the iPad now takes you to a new page of what we’re calling ‘open source’ digital fiction projects: Flight Paths #1, Changed and Floppy. Dreaming Methods now also has a completely different look when accessed on smart phones.
The first of the projects, part one of Flight Paths by Kate Pullinger and Chris Joseph, is a direct translation of the original Flash episode available on www.flightpaths.net. Using new HTML5 attributes such as audio tags and font embedding in combination with jQuery’s in-built animation and transition effects, this fragment of the story has become accessible on iPad and iPhone as well as desktop and can be bookmarked to those devices’ home screens. Although it’s not perfect, and doesn’t have the speedy graphical effects of its Flash counterpart, it’s an interesting exercise in how work can be ported across from one technology to another – in this case to increase its compatibility and potential audience – without publisher or App developer involvement.
Finally, we’ve converted our 2004 project Floppy – about the disturbing contents of a semi-corrupt floppy disk found on a deserted road – from Flash to open source, allowing it to be viewed on non-Flash enabled devices, including of course the iPad. Hearing the iPad’s speakers produce those nostalgic floppy-disk access sounds made this conversion worthwhile alone, whilst the story itself seems to gain a strange new intimacy when read on a hand-held device.
* currently best viewed in Google Chrome or Safari on desktop - undergoing browser testing
Nicolas Negroponte of MIT famously defined the phenomenon of digital
convergence as ” digital soup” and I’m poised – or at least tottering – on
the point of scattering my bits of alphabet into the digi-soup, in the form
of an e-book for platforms like Kindle and/or i-Pad. In one way, it’s the
logical development of an involvement in electronic media since the early
seventies , using audio, then video, then the www. Yet it’s also a decisive
break with the fixed identity of the printed book as artefact. If the text
on one’s e-reader links to multi-media files elsewhere , or to inter-active
options, or options for updating the text then the reading experience
obviously changes. As a newcomer to the field, I’m probably re-inventing the
wheel in thinking through all this aloud, but I’d be interest to know what
other NetArtisans make of the e-book phenomenon, either as readers or
creators. For example, would Jim want to see his animated texts on an
e-reader rather than a full laptop or desktop screen? Would Gregory want to
add a visual or textual element to his audio dramas via i-Pad – or would
this lose the enigma of the immersive audio-only experience? What do people
think is an outstanding or prophetic work which exploits the possibilities
of the e-book format. I’d be intrigued to know.
In 1980, as I took my own first forays into the wilds of electromagnetic schizophonia, bouncing twisted walkie talkie tracks between two battered Superscopes, Captain Beefheart released an album that would deeply impact my understanding of the wired up human voice and its seductive tangle of paradox and possibility: Doc At The Radar Station.
Suddenly, here was a fully charged songbody that contained within its convoluted nervous system the same double edged vibe I was sensing both on tape and in the air: the lucid paranoia of the electrified persona, with its modulating potentials for revelation, wounds or oblivion; the juiced immersion with some other entity, some other ethereal field, floating somewhere close to the gods — though maybe it was just some scrambled cipher left behind by an unscheduled sparagmos.
I had been listening to the Magic Band for many years before then, with a transistor radio tucked beneath my pillow, Trout Mask Replica, cross rhythmic incantations for the shocked disembody — but song/poems like Telephone took signature Beefheart out-thereness and injected it straight into the bone marrow of the lone schizophonic self. At the radar station, the rips and crackles became very personal, no longer out there, but in here.
And I strangled
And I ripped the cord
And I saw the bone
And I heard these tweetin’ things
N twinkling lights
N there was nobody home
Where are all those nerve endings coming out of the bone?
Don Van Vliet , aka Captain Beefheart, died yesterday at the age of 69.