We Rep Ideas

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Background: Literacy was once considered as the ability to sign your name and read the bible in Latin. Times have changed. There are now a multiplicity of literacies relating to all aspects of life- presenting copious amounts of choices, opportunities and potential outcomes.

Questions:
What new literacies are likely to emerge from the conditions present in today’s context?
How does literacy impact one’s ability to access and participate meaningfully in socio-cultural-economic systems?
What is the role of new literacies in the knowledge/experience age?
What can we learn from so-called pre-literate contexts?

Assumptions:
1) Literacy = Empowerment
2) Literacy = Imagination Potential
3) Lifestyle = Literacy
4) Imagination = Empowerment

Note: We view system ecologies as networks of dilemmas presenting multiple choices-possibilities and potential outcomes.

VUCA & THE ASYMMETRIC TRADITION

US Army War College credo, describes the qualities of our present context as being volatile, uncertain, complex and ambiguous (VUCA). One might suggest that this context has long existed and is more of a tradition rather than a trend. Meaning that volatility, uncertainty, complexity and ambiguity within our systems and our environments has, for the most part, been the inspirational source and medium enabling for the emergence of literacy, imagination, innovation and change.

It is not our technologies but our literacies and their resulting imaginations that enable us to compete, achieve and survive.

ASYMMETRIC LITERACY (A WORKING DEFINITION)
It is beyond question that we do come to know many things indirectly, and that there appears to be an admixture of the indirect in every acquisition of knowledge. – J.M. Bochenski The Methods of Contemporary Thought

Literacy is a transformative “tool.” Literacies empower both the means and capacities required to identify and transform choices and opportunities in our environment into outcomes. Each literacy provides its own means of access and understanding through its own forms of knowledge acquisition and expression. Historically, literacies have emerged and evolved alongside social, cultural and technological change. The pace of this change is increasing, as are its implications on all aspects of human socio-cultural-economic achievement. The speed and ease with which we can now move from concept to percept has “catalyzed” the need for increased imagination and new forms of creative thinking around process and purpose.

An asymmetric approach to literacy would encourage development and refinement of unorthodox forms of knowledge acquisition and expression, in contrast and relative to, the symmetrical contexts of the learner/practitioner. Asymmetric literacy is acceptance and traversal of possibility beyond defined, practiced or codified limitations; in the ability to exploit and affect the most potential from the least characteristics latent or manifest within a system; and in promoting the ability to shape one’s own system of possibility and context rather than being shaped by another’s.

This form of literacy might emerge from a self-awareness and lifestyle that increasing one’s access to original experiences which people have had no prior contact or exposure. These experiences often result in obtaining new knowledge in turn augmenting one’s “scope of awareness and interpretation. It is assumed that the metaphors presented within these original experiences would help to fill in and bridge the gaps left over from symmetrical states of being and build a more complete and robust palette for the imagination. The goal of which would be to extend the breadth and depth of empowerment in individuals and organizations.

Conversely asymmetric literacy might focus on better understanding the characteristics and meanings of symmetries, patterns, codified limitations, traditions and conventions, whereby the asymmetrically literate would develop a careful appreciation for structure, harmony and balance in light of contributing and extending new benefits to the greatest amount of people.

How do we increase the capacity for individuals and organizations to identify- test and explore the conditions and possible experiences we wish to elicit from this atypical resource?

APPLYING MCLUHAN’S LAWS OF MEDIA TO ASYMMETRIC LITERACY:

What does it enhance?
Scope of possibility; empowerment
What does it obsolesce?
Symmetric Literacy; Perceived limitations
What does it retrieve?
Choice and Opportunity
What does is flip into?
Symmetric Literacy

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Purpose

The purpose of this material is to describe points of departure framing a foundation for exploration into nature of Asymmetry as it applies to Imagination, as a promising subject.  Our intention is to produce useful and teachable tools and methods for identifying business applications and identifying alternative and complementary knowledge products for education.

Introduction – Scope of asymmetry

Global Security defines asymmetry as it is described in the United States Army; “dissimilarities in organization, equipment, doctrine, capabilities, and values.”

For the purpose of framing our scope and use of asymmetry we describe Symmetrical Literacy as the widely held knowledge of, and participation in forms of learning, expression and living that are established and practiced. They are in balance with the way people read and write, interpret, intuit, act and interact towards and with each other and the world. Solely thinking within the constraints of this “space” limit individuals and organizations from making the leaps required to engage in new value creation.

}  Is there a shift of focus from symmetrical to asymmetrical literacy?

}  Are we facing an emergent need to combine and synthesize a spectrum of literacies into a more comprehensive whole?

}  Is there an all-encompassing ecology of literacies from which a more potent,

“full-spectrum imagination” can rise?

Both literacy and imagination standards are embedded within shared tradition of increasing complexity, competition and co-operation.  The imagination has always been, and will always be, the ultimate human resource: shaping and defining our achievements, or lack thereof.

We believe that multiple literacies add to and increase the “imagination potential” of individuals and organizations, and that this will emerge or be discovered more so within the realm of asymmetry.

Asymmetry is more than the opposite of symmetry, and represents a vast range of alternative possibilities to the imagination, beyond what is known and accepted. One form of asymmetry in action may be described as the unconventional, unpredictable, non-traditional utility of elements and properties found within everyday technological, political, economic social, cultural systems. We believe the complimentary concepts of symmetry-asymmetry are both present in every context and can be considered a continuum rather than a dichotomy. The shift in what is considered symmetric or asymmetric behaviors is always coming in and out of balance as technology, custom and routine are individually, socially and culturally negotiated. What is asymmetric is continually reframed and restocked by the rate in which ways of thinking are adopted and antiquated. Meaning we are defining what is symmetric by what we do collectively.

}  What great human achievement has not been asymmetric?

}  To what extent will the education of the left side of the brain, the concrete and sequential be automated?

}  Will educators of the future favor the study and development of the imagination as a discipline?

Forms of Asymmetry to be EXPLORED

}  Outside of the Known – Venturing into the unknown to survey new forms of possibility. Challenging perceived limits and barriers for the purpose of retrieving unique and beneficial knowledge.

}  Atypical Function, Typical Forms – Every variable in the environment can be leveraged either normally or abnormally. Inside or outside of conventional use, asymmetry in action is the nontraditional or novel utilization of resources disproportionate to another individual or organization.

}  Asymmetric Thought and Behavior – Exploring deviations from the excepted norms of how one should think and behave.  Seeing different, acting different and being different in light of motivations that exist for no other, providing glimpses into tomorrows normal.

Coping, let alone competing, within this context will be defined by individuals and organizations that; shape “issues” rather than be shaped by them (US Army); who have the ability to apply vision, understanding, clarity, and agility to volatile, uncertain, complex and ambiguous situations (Johansen); and integrate, non-linear approaches to seeing, knowing and doing- Integrative Thinking (Martin).

Its been a while since Ive posted anything, Started an exciting new job, traveled a bit, and I’m back. Since I have been away, I’ve been writing a lot, and would like to get some things out as I move into new material. This ones called Hard Things Soft Qualities.

It has 5 parts:

1. Beyond Form and Movement
2. Meaning and Things
3. Hard Things Soft Qualities
4. Human Theater Object Audience
5. Mass Innovation: Interface is Infrastructure

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As I looked around the room I found it difficult to imagine a purpose that could bring together such a motley crew of professionals; here were behavioral scientists; psychologists; sociologists; engineers; industrial, interface and experience designers; human-computer interaction researchers and tangible computing wizards gathered in the iconic setting of Eindhoven’s Ovoluon to discuss the future of how objects will communicate with us and with each other. Seductive demos and massive projection screens revealed a parade of impressive pong playing robots, shape shifting latex boxes, and Japanese kinematic vending machines. The work looked like engineering and smelled like art. Speakers championed prototyping and sketching, showed smashable alarm clocks and empathetic cell phones.

This kind of rare but not isolated event is becoming more frequent as multiple disciplines and professions begin to recognize the steps needed to create and care for tomorrow’s objects. Welcome to DeSForM, the second annual conference on the  Design & Semantics of Form and Movement, a wunderkammer of strange things and larval theory exploring the virgin frontier of “dynamic object semantics.”

The purpose of this gathering, I learn, is to facilitate a dialogue between complementary schools of thought around object behavior. If an objects moves, changes shape, texture or color, what does it mean? A very intriguing and pre-timely subject in light of recent developments and conversations around ubiquitous computing, the real world web, the Internet of Things, “spimes” and ambient intelligence or whatever techfasionista title is hot right now. To “develop design semantics in a scientific and systematic way… focusing on the meanings conveyed by the products and how they behave” puts emphasis on the side of object expression, where there seems to be an equally fertile opportunity to explore object perception and observation. Right? Wheres the dialogue?

BEYOND FORM AND MOVEMENT

If objects have evolved new ways to ‘speak’, they are also acquiring, new ways to ‘listen’. More important is the roles these technologies will fill in their maturity. What might they sense, and how might they act upon their sensations in meaningful ways? How might this augment our senses, our physicality, reach and location.

In retrospect, DesFoRM could be considered a emergent signal of the blurring of the borders between software and hardware, wherby the nature of the object becomes a form of networked media. In this realm, objects also become textual, code; their layered semantics to be continually re-determined and evolved through time as behavior and custom becomes codified material objects. The ITU’s Digital Life report, and the Internet of Things report, record and foresee an increase in the pace and forms of innovation brought about by better systems of networked communication and access to authorship through the internet. Authorship, as an idea has expanded far beyond literature and the Internet, and now encompasses almost all vestiges of human creation as anyone can sit down and read/write reality, beginning with text and image, ending as matter, place, interaction and experience. Taken together, the following ideas proposed in this paper forms a system capable of offering a new form of innovation supportive of human behavior and technology that may come to comprise the emerging internet of things. Julian Bleecker of Near Future Labs recently stated in his Manufacturing paper for Share 2008,

“These are distinct kinds of digital objects that mix physical space, digital technology and design …. The weak signals suggest kinds of design-art-technology that are growing tired of the screen.” [Bleecker]

When objects shape-shift and change their properties to communicate something they become both screen and interface. The question here is, who will have the authority to deeply program these channels, to tinker, and how is this new form of ” hard content” created? Can we evade the illusion of empowerment and engage ‘object behavior’ in a manner that interfaces with, records and enhances, deep individual and collective narratives in everyday living? First and foremost this conference inspired me to start thinking about the kind of future infrastructure of material culture that could holistically address presence and the human experience, the production of meaning, computational perception and expression, and emerging manufacturing processes. Such an infrastructure could create a ‘new dialogue’ between people, artifacts and places. The purpose of this paper is to aggregate promising methods, models, processes, technologies and theories that form a new way of creating and thinking about our ‘stuff’ in a future were the lines between – will, desire, object use and manufacturing – begin to blur.

To the reader I would like to say, this paper is not intended to blindly evangelize about technology, but to explore how such developments might deeply affect the landscape of social life they are unfolding within.  Reflecting on the origin of the term Technology in this context may serve as a humanizing starting point. ‘Technology’ comes from the Greek word Technologia, or ‘techne’ meaning ‘craft’, and ‘logia’ meaning ‘saying’. In the forward to The Technological Society, Robert Merton defined technique as, “any complex of standardized means for attaining a predetermined result” It is in this vein that I would like to focus on technology in so much as it is an expressive intersection between the personal and collective processes of situated goal-setting and the human refinement of actions to reach said goals. Technology is neutral, but this human process is a dynamic ballet of ever changing intents, values and beliefs. There exists an asymmetry that has come to contribute to the reification of things. People on the most part, are able to express verbally what they would like to craft, yet are unable to craft what they are able to say. The programming languages, engineering knowledge and equipment involved in the creation of today’s objects are not designed to be within the majorities reach in the same way that store shelves are.

Due to the highly relational discourse between material form development, software, interface, this discussion opens up the conversation much more broadly than interaction considerations.  It opens up a series of questions about how people naturally engage with, transform and understand objects. What is potentially the most fruitful, mutually beneficial interface between people and artifacts and the organizations that produce them? Not so much how do we design a language of form and movement.

Most importantly, what are the  what are the opportunities for ‘mass innovation’ in which the object becomes a platform of user sketching, annotation and user-guided creation?
Next: MEANING AND THINGS

Original Doc: A New Dialogue - Original

A New Dialogue Redux

Introduction
The central concerns of the following text focuses on addressing the cultural meanings attributable to form, and initiate a discursive dialogue with respect to the inherency of meanings which potentially reside within forms themselves.

The former instantiation of this text was written for a conference DeSForM: Design & Semantics of Form and Movement in the Netherlands which purpose is to develop a platform of products that communicate information through a dynamic language of form and movement. The question posed by the organizers was how might we set forth to design this system of symbols in a systematic and scientific manner. The meaning of form is a human production, as it is both malleable and undefined. As a cultural construct, it has the potential to consecrate meaning as well as confound it. New definitions of form semantics can be revealed through the examination of the intersection of human behavior and emerging technological discourse in the present social climes, a language of form and movement cannot be designed, but a platform in which this language can emerge through negotiation can be.

Form Has No Meaning
The capability and meaning of any form can be defined by the limits of people’s ability to imagine what it can be physically or represent spiritually or intangibly. In essence, form has no meaning; it is an invitation, a window to possible relationships which produce a myriad of meanings. Meaning resides, and is latent within us, in the relationships we perceive and cultivate in our minds and through what we negotiate with others.

What can we learn from these characteristics of forms and how can we, as designers, challenge the need for designing explicit meanings?

How can we create a new dialogue between objects and people to harness the emergent properties of meaning within the human experience?

Time Matters. Location matters. Context matters.
Form triggers multiple meanings. A gun locked safely at a hunting lodge has entirely different denotative and connotative associations than the same gun in the hands of a man in a dark alley. The sign itself, the gun and its function, within the context of alternative environments, is pollinated with probable outcomes that are associated with location and situation. Context influences interpretation of the purpose of that form, shaping the message it conveys. It is through the process of negotiating meaning between social actors, place and location, that form evokes multiple meanings, and likewise meanings can inspire multiple forms. Physical properties in differing contexts can trigger landscapes of ulterior meanings around and between people determined by their personally and culturally informed associations. Context again alters the meanings that forms and motions may trigger, influencing their social role at a given time. The introduction of new information and the mutation of old information alters associated meanings because of what is accumulated, paired and lost during the reallocations and migrations of forms in multiple contexts.

How can we enable forms to embrace this continual process of the production of meaning? Is it our objects that adapt, or do we?

Can a form change its mode of expression to fit those who are present?

How can a single meaning be maintained through multiple modes of expression in multiple contexts?

How can these unfolding dialects, migrations and morphologies of the compositionality of meaning over time be documented?

Will context be the dominant hypermedia form? Will it be the request, the curator, the aggregator and synthesizer in relation to ones identity and state, emotional, situational and physical context?

Read the rest of this entry »

Scenario: Saw-sees

My name is John Hammond and I can do almost anything you can imagine with wood. Ive spent the last thirty years building cabinets in my spare time, and mine are as good as any. Ivory inlays for days.

I’m considered a master.

I’m Xavier Borden, I’m an industrial poet and musician. I make kinetic sculptures that have a dual purpose as instruments. I transform, reform and perform, interact or die.

I’m considered an eccentric.

My friends call me Sady, I take consumer electronics, tools and vintage computers and build violent robots that’ll eat your kitsch installations.

I’m considered an artist

Call me John, Xavier or Sady, I’m a playlist of mastery, but my real name is DeWalt im a model 568X skill saw. Nice to meet you. My tricks, my trades are recallable at any time. Just ask my traces, they’ll shed light on an imagination that lived. The residual imprints of hands, paths, and purposes is my personality.

I’m considered innovation

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Significance:

I began to toy with the idea that objects can house avatars. There are many ways in which people can express themselves and their identity beyond pixel and volume. As objects become more literate of our behaviors they may one day house our gestural traces.

How would one “play an environment” like a conductor of a remote symphony in real-time? – Embodying an instrument, a section, or whole orchestra at any given moment, an expressive variance similar to that of emphasis in speech. My son should be able to bring a play-list of these “contacts” – live or residual- with him everywhere, for use in a wide variety of contexts. Making any wood shop his fathers’ wood shop. The right contextual links and personal inquiry could prompt, or summon residual knowledge, or “live” presence of an individual or mix of individuals which that a given situation requires – providing – in context, information rich, experiential-mash-up-swarms, with read write capability.

I wonder how something like this could change educational models, could El P be in my sequencer? When I buy a paintbrush, could you throw in Rembrandt too? It brings a whole other meaning to buying a pair of “Jordan’s.”

Objects will perform unimagined means and modalities of representation, vessels of personal and group communication. It is foreseeable that things with communications will enable the expression of our various forms of presence. It is likely that social networks will evolve within single and multiple objects. Merely using something is synonymous to pressing record.

These recordings will be entries contributing to the history of an object, a history that can be searched, recalled, annotated and resituated. Object that teach are nothing new. New is how object may provide a platform to direct the hands in a spectrum of meaningful ways, based on other hands. Like a scene from Ghost. Gesture is technique, and technique can be recorded, codified and expressed. Objects may come to teach, translating motions, motivations and intents into tutorials and curricula. There are stories to tell of the roles they’ve played in the lives of people. If only these walls could talk.