http://www.youtube.com/watch?v=HHI0s48WNfY

http://www.youtube.com/watch?v=mdFfVx-LkN8

http://www.youtube.com/watch?v=qTnnJR-hS7k

http://www.youtube.com/watch?v=jNIqyyypojg

http://www.youtube.com/watch?v=MdPg1MdiV88

http://www.youtube.com/watch?v=m8spcME8k1M

http://www.youtube.com/watch?v=O2jY4UkPbAc&playnext=1&list=PL2D49733745A57270&index=1

http://www.youtube.com/watch?v=4R1SrZua5ww&feature=related

http://www.youtube.com/watch?v=TMGR9q43dag&feature=related

http://www.youtube.com/watch?v=jAGYMGP6WlA

The data can be as simple as the names of the mountains visible from a high peak, or the names of the buildings visible on a city skyline. At a historical site, AR could superimpose images showing how buildings used to look. On a busy street, AR could help you choose a restaurant: wave your phone around and read the reviews that pop up. In essence, AR provides a way to blend the wealth of data available online with the physical world--or, as Dr Huopaniemi puts it, to build a bridge between the real and the virtual.

http://www.youtube.com/watch?v=LGwHQwgBzSI

http://www.youtube.com/watch?v=fSfKlCmYcLc

http://www.youtube.com/watch?v=tIof7yEsOn8

http://www.youtube.com/watch?v=ZKw_Mp5YkaE

Podcast due Mon 22 Nov 11:59pm
Upload EXACT text
Mp3 only – Audio only
5 mins exactly

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"It is unimaginable, had there been [personal] cameras in Auschwitz, that the world would have permitted the Holocaust to go forward," David Gergen, the CNN political analyst who worked in the Nixon, Ford, Reagan, and Clinton administrations, said in an interview. "We would have understood the face of evil."
Consider his point. The Nazis, no doubt, would have confiscated any image-taking device from their doomed prisoners. But what if a single "good German" -- just some grunt-level camp guard, say -- had shot secret video footage of an infant being sent to the crematoria? Or transmitted a photograph of the gas chambers across the Internet? Or webcasted pirated images of Josef Mengele's horrific "medical" experiments? Western Allied leaders, including President Roosevelt, might have found it politically impossible at that point to maintain their line that any effort to halt Nazi war crimes would only detract from the core aim of defeating Adolf Hitler's armies.
- Your Starobin reading.

It’s Beginning to Hurt
by James Lasdun,

‘Good lunch Mr Bryar?’

‘Excellent lunch.’

‘Sorleys?’

‘No, some … Chinese place.’

‘Your wife rang.’

He dialled home: his wife answered:

‘Where on earth have you been?’

‘Sorry darling. Complicated lunch…’

Strange, to be lying to her again. And about a funeral!

‘Tom’s coming down. Stop at Dalgliesh’s, would you, and pick up a salmon. A wild one? Better go right now, actually, in case they run out.’

It was July, a baking summer. He walked slowly, thinking of the ceremony he had just attended. Among the half dozen mourners, he had known only the solicitor who had introduced him to Marie ten years ago and had told him of her death last week.

The news had stunned him: he hadn’t known she was ill, but then he hadn’t seen her for seven years. Throughout the service he had found himself weeping uncontrollably.

The man at Dalgliesh’s hoisted a fish the length of his arm from under a covering of seaweed and ice.

‘How’s that?’

‘Okay. Would you –’

‘Gut her and clean her sir?’

‘Please.’

The man slit the creature’s belly with a short knife, spilling the dewy beige guts into a bucket. He rinsed the flecked mesh of scales and the red flesh inside, then wrapped the fish in paper and put it in a plastic bag. It was six inches too long for the office fridge.

‘Bugger.’

He went down to the stock room. There were gluetraps lying about with dead mice and beetles on them, but it was cooler there than upstairs. Uneasily, he placed the fish in the drawer of an old metal filing cabinet.
For the rest of the afternoon he worked on new rental listings. His eyes were burning when he stopped. It was late and he had to hurry to the tube station. Sweating and panting he emerged at Charing Cross just in time to get the six-forty.

On the train, crowded with weekenders, he found himself thinking of Marie. Sometimes she would sing a nonsense song in his ear, her mouth close as if she were whispering a secret. He remembered the strange solitariness of her existence in London; her even stranger indifference to this solitariness. They couldn’t afford hotels so they used to pretend she was a client, interested in one of the properties listed with his firm. Every home they entered was a different world. Making love in the ‘sumptuously appointed Victorian maisonette’ or the ‘cosy garden flat’ was an adventure into a series of possible lives, each with its own reckless joys: one afternoon they were rich socialites; the next a pair of bohemian students… For three years he had felt the happiest man alive, and the luckiest. Marie never asked him to leave his family, and he had regarded this, too, as part of his luck.

And then, abruptly, she had ended it. ‘I’m in love with you’, she’d told him matter-of-factly, ‘and it’s beginning to hurt.’

His wife was waiting for him outside the station.

‘Where’s the salmon?’ She asked.

A sudden horror spread through him.

‘I – I left it behind.’

She turned abruptly away, then stared back at him a moment.

‘You’re a fool.’ She said. ‘You’re a complete bloody fool.’


James Lasdun is the winner of the inaugural National Short Story Prize

Week 6

Turn a story idea into a transmedia story. You can use the story provided or you can make one up on the fly. These elements must be used:

Book format
Movie format
TV Animation format
Song format
Dance format
Iphone App format
Website format
Game format
One of these must be an extension of one character

Get into groups and perhaps each person can focus on each segment.
So what you need to do is break the story up into sections, and decide what format will work for each segment. AND in what order the segments will come.
Once you have the layout that you think is best, you need to explain each section. Don’t worry, you don’t have to do any dancing! (Unless you want to… I’ll consider it participation).
You have to decide which character deserves the extension, and in what format will the extension come. Will it be a main character that the audience loves or indeed one of the more minor characters who may need more said about them to flesh out the fictional world?
In your movie format section, you must draw up a storyboard on the templates provided, if you need more room for explanation, you can use your notebooks.
For the TV animation format you must decide whether this should come before or after the movie is released, or in fact if it runs at the same time.
The same applies for the book format, so you must decide which parts of the story get told in the book, but will not be told in any of the other sections, etc. Remember to question how this book will be distributed… you can have it as an e-book as well as a paper bound book.
You must re-write one part of the story to make is suitable for the song format. So a lot of editing may be required, a lot of rewording perhaps to simplify matters, and if possible, make it rhyme. A basic pop song goes for about three and a half minutes, has two stanzas and then a chorus, then a third stanza and then the chorus again - something to keep in mind.
You must decide which part of the story needs no words and can be retold through the dance medium, and what kind of dance would be used (would it be a ballet, a contemporary piece etc). Remember to ask yourself when this segment will appear etc. As well as releasing your song at some stage, you can use your song inside of your dance if you wish to, turning your dance into a Broadway style piece.
You must design your website and decide what it makes available to the user (what will the content be?).
You must design your Iphone App and decide what it makes available to the user.
You must design your game – what mediums will it be available on? What characters will the user be able to play as? Will there be a main one? What struggles/levels will be faced? When will you release it and how will it be marketed Etc.

Week 4

See people's blogs

Look at Audacity


www.secrettechnology.com

In the economist article 'Your Telephone is Ringing', in what way is the word 'convergence' mainly used?

In this same article chairman of France Telecom says that this convergence is a step towards 'digital paradise' and Mark Wegleitner, chief technologist at Verizon says this is because they can now give people entertainment 'the way they want it'. What do you think of this?

This article, written in 2006, briefly deals with the idea of the 'quadruple play' and how telecoms are scrambling to get there first. It's now 2010, what can we see has happened since then on this issue?

In "All Things to All Men"

“We have to be extremely careful that we don't go
in the Swiss army knife kind of direction where we lose focus on what the consumer wants,” says
Olli-Pekka Kallasvuo, the boss of Nokia, the world's biggest handset-maker." He goes on to say "The trend is not towards a single
converged device, but towards a greater diversity of hybrid devices. Not so much convergence,
then, as divergence."



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Consumer Lifestyle News

Nielsen asks what device is a tablet computer most like? And finds out that it is 'in between'. This research group studies several different aspects in order to come to this conclusion of convergence...

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Recent Media Example...

TV industry show hails smartphone, Facebook era - Yahoo News

"Internet-based TV viewing, the arrival of Apple's iPad and the proliferation of smartphones are set to ring in a new era of connected entertainment, industry experts predict.

Thousands of TV execs are to flock to the French Riviera to brainstorm and snap up some of the hottest new programmes at this year's influential MIPCOM 2010 audiovisual entertainment show that kicks off here Monday.

The four-day event will focus on re-defining the entertainment experience through fast-growing digital platforms such as social networks as well as smartphone-connected digital TV and apps and their effect on the industry.

"The business model for the web has not yet emerged even while the business model on TV is shifting dramatically," Gary Carter, chief operating officer at international production company FreemantleMedia told AFP.

"The two big areas of exploration for FreemantleMedia in the last 12 months have been the use of our brands in social games and on social networks," Carter noted.

Games such as FarmVille or Bejeweled, both of which are available as apps on Facebook and Apple's iPhone, are spreading like wildfire, Carter added.

Digital technologies are expected to steadily increase their impact on all segments of entertainment and media.

The number of apps on offer to iPhone, iPad and smartphone users is exploding and promises to usher in a new era for the media sector.

In 2010, almost 6.0 billion paid-for and free apps are predicted to be downloaded, up from around 2.4 billion in 2009. This surge in sales could yield over 11 billion dollars in revenue by 2014 in the US alone.

The bottom line here is how the entertainment, digital and advertising sectors can work together to create much-needed new revenue streams."


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From Flew textbook:

Boundary Objects

Path Dependency

Internet Imaginaire

Convergence Culture

Participatory Culture

Collective Intelligence

Henry Jenkins

Patrice Flichy

From the Economist:

Access Agnosticism

Network Neutrality (and what did the text say about this being a reality?)



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Convergence between texts

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in class week 13

very annoying. came to class today prepared to upload all the stuff I have done over the passed couple of weeks which I had put into one folder called something like 'to hand in' but the folder isn't on my memory stick so OBVIOUSLY I have forgotten to put in on my stick which I thought I had done the other day. So with none of my stuff here with me in class, I really don't know what to do. Either way I will have to come back on friday to upload the stuff.

notes to self:

live-wirez.gu.edu.au

!!!!

Funkhouser sent me a pdf file which is a promotional thingy for his new book of poetry called, "Prehistoric Digital Poetry - An Archeology of Form". it seems to be part of a specific series called "Modern and Contemporary Poetics", edited by Charles bernstein and Hank Klazer. Although I haven't got a copy to read, there is a picture on the leaflet thing of the book's front cover. The front cover looks like a picture of some kind of digital animation, using symbols that seem to be in a different language as underneath them it states "anapest, to strike" and "trochee, to run" however what is interesting to me is that these symbols also look to me like the lines of the Iambic Pentameter. Perhaps it is and it is being used as a way to sound out the words. In this way this picture encorperates digital animation with historical ideas of poetry (iambic pentameter) and also one of Funkhousers favourites, sound, in the way that he is possibly reffering to how the words should be sounded out. The picture also includes some kind of digital landscape which is reminiscent to me of something we could make in google sketchup.

Obviously Funkhouser has taken all this into consideration in the presentation of his book which describes itself as "A singular and major historical view of the birth of electronic poetry." therefore jamming the words 'historical' and 'electronic' together, creating somewhat of a... whatever the word is... where things are opposite and contradictory. I don't mean that these are totally opposites I just mean that in ones cognitive process one may find an interesting destinction here. I really don't know how to explain what I am trying to say. I blame that constant 'beep beep' of the door that is always happening in this class. Anyway it's great that someone has compiled a history like this, it's probably not the first time but who knows.

This is what the blurb on the promotional pdf says about the book (as I don't feel like retyping it in my own words, which would be the studious thing to do I'm sure)

"For the last five decades, poets have had a vibrant relationship with computers and
digital technology. This book is a documentary study and analytic history of digital
poetry that highlights its major practitioners and the ways that they have used technology
to foster a new aesthetic. Focusing primarily on programs and experiments
produced before the emergence of the World Wide Web in the mid-1990s, C. T.
Funkhouser analyzes numerous landmark works of digital poetry to illustrate that the
foundations of today’s most advanced works are rooted in the rudimentary generative,
visual, and interlinked productions of the genre’s prehistoric period.
Since 1959, computers have been used to produce several types of poetic output,
including randomly generated writings, graphical works (static, animated, and video
formats), and hypertext and hypermedia. Funkhouser demonstrates how hardware,
programming, and software have been used to compose a range of new digital poetic
forms. Several dozen historical examples, drawn from all of the predominant
approaches to digital poetry, are discussed, highlighting the transformational and
multi-faceted aspects of poetic composition now available to authors. This account
includes many works, in English and other languages, which have never before been
presented in an English-language publication.
In exploring pioneering works of digital poetry, Funkhouser demonstrates how technological
constraints that would seemingly limit the aesthetics of poetry have instead
extended and enriched poetic discourse. As a history of early digital poetry and a
record of an era that has passed, this study aspires both to influence poets working
today and to highlight what the future of digital poetry may hold.
“Funkhouser provides a detailed inventory of key works that led the way to the current
flowering of digital poetry. This is the first work to provide historical, descriptive, and
technical accounts of the inaugural works of computer-assisted poetry composition.
Funkhouser’s command of the history, the aesthetics, and the technology is as rare as
it is welcome.”
—Charles Bernstein, author of Girly Man and A Poetics
C. T. Funkhouser is Associate Professor of Humanities at the New Jersey Institute
of Technology and author of Technopoetry Rising: Essays and Works (forthcoming) and
Selections 2.0, an eBook."

That ebook mentioned at the bottom is possibly the one he is going to send to me :D I imagine, unless he creates heaps of them...

I'm not sure if I've mentioned it before, I possibly have because I seem to blog a lot for this thing (this is my 23rd post) but the other week in class I did some work on the swishmax project. I played around with the word 'shoulder' but I didn't like any of the outcomes. They looked alright as they were but I knew that putting it into the kind of interface that I usually make in Flash wouldn't work as it'd just look too different and out of place. Can you imagine the word 'shouder' jumping around happily on one of my pages?? (not that you've seen them yet as I didn't have them on my stick to hand in today grrr.)

eurika! (not that I can spell it)

yay i have a fourth idea!! It's a very simple piece, and i call it 'iflyaway'. in this piece i make birds out of "i" bodys and "(" wings and using simple frame by frame animation they fly across the screen. At first I wanted all the little wings to flap but I couldn't get it right and it was taking forever so I quit with that idea but they still look alright being static. As they are black they sort of look more like bats... maybe I should add some other colours? The background is blue for sky and the words "i fly away" are written all over the sky in a very similar blue which i find hard to see on my computer screen but that is good - that is how I want it. There is also music over the top so be sure to have your sound on. Yes it is me humming. I considered adding land into the blue but then thought against it as my drawing might not be so great. I like it's simplicity, and slight melancholy. I take inspiration from Ana Marie uribe for this piece, as I did her for part of my essay and she likes to work with single letters giving them different meaning. however, if i did make all the i's colourful it would remind me just a little too much of Uribe's work and I'd rather it appeared to be something else so maybe I will leave them black, it doesn't matter if they are seen as bats anyway as long as they are seen as flying things. Bats fly just as well as birds do!

but for a 5th piece... hmmmm... still stuck on that one...

OH MY GOD STOP THE PRESS HOLY SHIT FUCK ME SILLY READ THIS!!!

ok so i was just looking through my entire blog wondering why i had no comments on any of my entries (not that I had ever checked before) and way back in August on the entry where I first spoke about chris funkhouser THE MAN HIMSELF HAD WRITTEN A REPLY that's right go and check in archives if you think it's fake. Damn it why didn't I see that before I wrote the essay, it could have been useful. I was also just reading kerrie's blog about how she got in touch with her artist and i was thinking "yeah well mine were just not easy to get in touch with" you know, the usual excuses, and then I found the note from Chris. My assignment FOUND ME!! It's insane. So i emailed him about this eBook he was talking about which will be awesome if he remembers me. Wow. Don't you love it when things fall into your lap from the sky like really really really good bird poo... well it makes sense in my head... I'm just excited is all. Of all the people who could leave me some love on my blog :D Can't wait to get to class on wednesday and rub it in everyones faces LIKE BIRD POO that's right...

I really have birds on the brain today don't I...

oh anyway also, I wrote a couple of little poems about the beach for another class but I suddenly feel the need to include them here. They are not the best by a long way and I am not totally proud of them but it is that thing of using the one word and coming up with something from it. In this class I had to go to the beach and just examine the place really thouroughly (can't spell???) and just had to see what I came up with (amongst other, far more complex criteria of course), so similar to The Broadwater poem. But I also had to pay particular attention to how my body reacted with the space and what sort of borders the space had... things like that.. you know... a class run by jondi... i rest my case... but yeah here are the small poems I came up with... maybe I could make a beachy interface for them??? hmmm maybe too silly... don't know...


I am told that sand,
Heated to a certain degree,
Creates glass.
This is why the beach
glistens.
I watch their brightness
On lover’s legs.
Tiny shards of glass
Like calves are earth
Hairs are highways
And cars are crashing.

Adding to your prickliness.




Where do you go to?
Do you reside up high
In the hot heat of the dunes?
Do you announce a ‘place’,
Does it remind you of home?
Does your blanket keep you safe from sand?
Perhaps you prefer to be closer to water
Where the tire tracks mar the sand,
And you feel them against your back,
Halving the sand
Halving you.
Torso deep across the borderline.




You were always scared of the big waves, so you brought your favourite teddy to the beach each time. His name was ‘Ted’ but sometimes it was ‘Best Boy’, because he was. You tried not to get him too sandy but sometimes he did and you couldn’t help it, could you. Ted was always smiling no matter what. Sometimes he even got a little wet when you couldn’t bare to go into the water without him, but he didn’t mind. Poor Ted, look at that sun burn, he couldn’t help it. You rubbed antiseptic cream between his legs. Good for those rashes, you thought, good for those rashes.



Her fingers
curl around the edges of
stiff worn fabric.
Bright sun like
several close encounters
beams back across her body.
Sand like
rough
plastered
walls
hangs from loose
limbs like tiny
rock climbers.

She reconsiders
her feet.

Stiff towel’s edge torn disturbing
Precious 90°




I hear the world
as interrupted by my heartbeat.
It is this reminder of life,
That keeps me
from fully perceiving
the world.

And I am lying
In your heavy footprint.
My shoulder slumped back
Into the curve of your toes.





Footprints like
Concave clams.
The wind creates lines of flight
Through the sand
That ends at my things.
Shoulders under pressure
Of heavy head.
Beach poetry is a bore,
I’m distracted
By tumble weeds
And soccer balls
And thoughts of many dreams.