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Well…
Graham Coxon and pig on the London tweed run 2012
Posted on May 6, 2012 via Swallows In The Heatwave with 13 notes
Source: valabnormal
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First World War digitisation project off to a flyer as crowds flock to museums roadshow | Culture24
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Posted on March 13, 2012 via in the heather bright with 6 notes
Source: intheheatherbright
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Banksy Little Girl Rocket on Flickr.
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![sota2012:
A post by SOTA12 co-curator Hannah Nicklin
The UK Riots were a flashmob.
Game mechanics are being co-opted in the name of marketing. The thrill of agency, the methods of getting people to choose to follow a defined action, suit those who wish to effect our behaviour very well. Games are a new tool/material to capitalist interests as much as they are to the arts. Margaret Robertson, Development Director at Hide & Seek speaks about this in Can’t Play Won’t Play:
“Gamification’, the internet will tell you, is the future. It’s coming soon to your bank, your gym, your job, your government and your gynaecologist. All human activity will be gamified, we are promised […] You’ll be able to tell when something’s been gamified because it will have points and badges. And this is the nub of the problem. […] What we’re currently terming gamification is in fact the process of taking the thing that is least essential to games and representing it as the core of the experience. Points and badges have no closer a relationship to games than they do to websites and fitness apps and loyalty cards. They’re great tools for communicating progress and acknowledging effort, but neither points nor badges in any way constitute a game. Games just use them – as primary school teachers, military hierarchies and coffee shops have for centuries – to help people visualise things they might otherwise lose track of. They are the least important bit of a game, the bit that has the least to do with all of the rich cognitive, emotional and social drivers which gamifiers are intending to connect with.”
Gamification isn’t games; that games are resistant to manipulation is because they are constructed out of choice and everyone knowing the rules. Points and badges are the outcomes, the least important part; it is from the journey-past-opted-obstacles that the game and story-world emerge.
The UK riots of the summer of 2011 are definitively a flashmob; flashmobs are not explicitly a game but certainly a first-person playful and pervasive form. “Apparently spontaneous unusual or pointless activity organised primarily using social networks and mobile phone technology” (Wikipedia). Resistance happens on its own terms. It would be crass to suggest that these events were a conscious attempt to reclaim the flashmob from the choreographed forms of mobile phone networks, but these forms are situations defined by their participants. Games, in a similar way as the flashmob of viral marketing, are in the hands of everyone, and will turn to whatever the ends of the people designing, framing, and participating in them wish. There is their power. That is their affordance. Agency. It is potent. It is a battlefield. Let’s learn about it.
CC Image by Antonio Amendola Photography - yes I know it’s not of the UK ones, but it’s a cool image.](http://25.media.tumblr.com/tumblr_lyw4jxb8qP1r99lmvo1_500.jpg)
A post by SOTA12 co-curator Hannah Nicklin
The UK Riots were a flashmob.
Game mechanics are being co-opted in the name of marketing. The thrill of agency, the methods of getting people to choose to follow a defined action, suit those who wish to effect our behaviour very well. Games are a new tool/material to capitalist interests as much as they are to the arts. Margaret Robertson, Development Director at Hide & Seek speaks about this in Can’t Play Won’t Play:
“Gamification’, the internet will tell you, is the future. It’s coming soon to your bank, your gym, your job, your government and your gynaecologist. All human activity will be gamified, we are promised […] You’ll be able to tell when something’s been gamified because it will have points and badges. And this is the nub of the problem. […] What we’re currently terming gamification is in fact the process of taking the thing that is least essential to games and representing it as the core of the experience. Points and badges have no closer a relationship to games than they do to websites and fitness apps and loyalty cards. They’re great tools for communicating progress and acknowledging effort, but neither points nor badges in any way constitute a game. Games just use them – as primary school teachers, military hierarchies and coffee shops have for centuries – to help people visualise things they might otherwise lose track of. They are the least important bit of a game, the bit that has the least to do with all of the rich cognitive, emotional and social drivers which gamifiers are intending to connect with.”
Gamification isn’t games; that games are resistant to manipulation is because they are constructed out of choice and everyone knowing the rules. Points and badges are the outcomes, the least important part; it is from the journey-past-opted-obstacles that the game and story-world emerge.
The UK riots of the summer of 2011 are definitively a flashmob; flashmobs are not explicitly a game but certainly a first-person playful and pervasive form. “Apparently spontaneous unusual or pointless activity organised primarily using social networks and mobile phone technology” (Wikipedia). Resistance happens on its own terms. It would be crass to suggest that these events were a conscious attempt to reclaim the flashmob from the choreographed forms of mobile phone networks, but these forms are situations defined by their participants. Games, in a similar way as the flashmob of viral marketing, are in the hands of everyone, and will turn to whatever the ends of the people designing, framing, and participating in them wish. There is their power. That is their affordance. Agency. It is potent. It is a battlefield. Let’s learn about it.
CC Image by Antonio Amendola Photography - yes I know it’s not of the UK ones, but it’s a cool image.
Posted on February 9, 2012 via SOTA2012 with 1 note
Source: sota2012
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London Cycling Campaign
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Wheels by Matt Shaw
Source: 500px.com
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Someone worked really hard to make the language just right, just the way they wanted it. They were so sure of it that they printed it in ink, on paper. A screen always feels like we could delete that, change that, move it around. So for a literature-crazed person like me, it’s just not permanent enough.
Jonathan Franzen, in the Guardian: http://www.guardian.co.uk/books/2012/jan/30/jonathan-franzen-ebooks-values -
Tweed Run.
Posted on January 30, 2012 via OLD CHUM with 370 notes
Source: oldchum
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nypl:
The Library has just launched Stereogranimator, a site that lets users turn our historic collection of stereographs into animated images like the one above. Read all about it in the Times and then go play! It’s the latest way we’re using technology to bring our collections to the public, following our What’s on the Menu, Biblion iPad app and map warping projects.
Caturday will never be the same …
Posted on January 26, 2012 via NYPL Wire–The New York Public Library with 1,774 notes
Source: nypl
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Why the United States Will Never, Ever Build the iPhone - The Atlantic
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Big Swing Band by Matt Shaw
Source: 500px.com
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Week One
I have started looking into the collections and got excited about several moustaches. Will be posting images soon. Obviously there has been a little more going on than that, but it’s the sheer audacity of the facial hair amongst 19th Century hypnotists that is really dominating my thoughts at this early stage.
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Stanley Fish: The Digital Humanities and the Transcending of Mortality
Coming to terms with what long-form scholarship in the digital age really means.
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Posted on January 5, 2012 via Delightful Cycles with 27 notes
Source: Flickr / booksnake
just to be told what's next
![sota2012:
A post by SOTA12 co-curator Hannah Nicklin
The UK Riots were a flashmob.
Game mechanics are being co-opted in the name of marketing. The thrill of agency, the methods of getting people to choose to follow a defined action, suit those who wish to effect our behaviour very well. Games are a new tool/material to capitalist interests as much as they are to the arts. Margaret Robertson, Development Director at Hide & Seek speaks about this in Can’t Play Won’t Play:
“Gamification’, the internet will tell you, is the future. It’s coming soon to your bank, your gym, your job, your government and your gynaecologist. All human activity will be gamified, we are promised […] You’ll be able to tell when something’s been gamified because it will have points and badges. And this is the nub of the problem. […] What we’re currently terming gamification is in fact the process of taking the thing that is least essential to games and representing it as the core of the experience. Points and badges have no closer a relationship to games than they do to websites and fitness apps and loyalty cards. They’re great tools for communicating progress and acknowledging effort, but neither points nor badges in any way constitute a game. Games just use them – as primary school teachers, military hierarchies and coffee shops have for centuries – to help people visualise things they might otherwise lose track of. They are the least important bit of a game, the bit that has the least to do with all of the rich cognitive, emotional and social drivers which gamifiers are intending to connect with.”
Gamification isn’t games; that games are resistant to manipulation is because they are constructed out of choice and everyone knowing the rules. Points and badges are the outcomes, the least important part; it is from the journey-past-opted-obstacles that the game and story-world emerge.
The UK riots of the summer of 2011 are definitively a flashmob; flashmobs are not explicitly a game but certainly a first-person playful and pervasive form. “Apparently spontaneous unusual or pointless activity organised primarily using social networks and mobile phone technology” (Wikipedia). Resistance happens on its own terms. It would be crass to suggest that these events were a conscious attempt to reclaim the flashmob from the choreographed forms of mobile phone networks, but these forms are situations defined by their participants. Games, in a similar way as the flashmob of viral marketing, are in the hands of everyone, and will turn to whatever the ends of the people designing, framing, and participating in them wish. There is their power. That is their affordance. Agency. It is potent. It is a battlefield. Let’s learn about it.
CC Image by Antonio Amendola Photography - yes I know it’s not of the UK ones, but it’s a cool image.](http://25.media.tumblr.com/tumblr_lyw4jxb8qP1r99lmvo1_1280.jpg)
