Categories
Interactive Media Web 2.0

Ross Mayfield on Enterprise 2.0 & decentralising knowledge control

Interesting post by Ross Mayfield which begs the question of where museums fit in the spectrum of controlled/centralised-to-open/decentralised in terms of IT and knowledge control. And in terms of cross-enterprise, cross-departmental teams, museums are ideal environments (much more so than traditional companies), at least on the surface of things, to encourage a decentralised and more open approach.

Are any museums using wikis for their intranets?

The second front, that Enterprise 2.0 is Egalitarian, or indifferent to formal organizational identities, not only flys in the face of enterprise culture and convention, but previously encoded political bargains. For example, a primary property of social software is easy group forming — but most enterprise systems expressly prevent it. To form a group, you not only need permission from IT, but complex configuration and in many cases even software development. Beyond applications, ever come across an LDAP implementation that supports easy group forming? This runs counter to the way many enterprises actually work today, where ad hoc cross-functional teams drive more than professional services organizations.

A second example is fine grained security. Content management, document management, portals and poorly designed wikis highlight per object/page permissioning. Certain expert users have the ability to control access and rights for a specific document. This harms productivity — when a user needs to access a document to perform a task and has to incur the overhead that can unlock it, plus the overhead of locking (structure upfront) and unlocking itself. This harms knowledge sharing — documents go undiscovered and are decidedly static, despite how the knowledge in the document is never finished. This harms competitive advantage — any system that exhibits inertia compromises a firm’s ability to adapt to it’s dynamic environment.

While .pdf is where knowledge goes to die, there are some documents that benefit from being static. But they are a fraction of the documents in a given enterprise. And with the discovery afforded by hypertext and tagging, documents have the potential to exist in a social context. Even a locked down document, if viewable, can be annotated through linked messages.

Imagine how useful Wikipedia would be if a handful of admins could lock down links to articles indefinately and without oversight, their ability to be discovered through Google, let alone edit them. Then imagine the same thing behind the firewall, where there is less risk (you can presume a greate innocence of users and know their identity). Utility is decidedly compromised.

This is why enterprise systems have low adoption rates, little user generated content, high quality metadata and email is used for everything. Every sacrifice made for sake of control reduces network effects, assumes a static environment you can design against and is designed by supposed experts outside the context of use. Contrary to the most disruptive pattern of social software — sharing control creates value.

Categories
Digital storytelling Interactive Media Web 2.0

Gamer Theory / MacKenzie Wark

MacKenzie Wark’s new ‘interactive’ book called Gam3r 7h30ry (yes, l33t speak), is now online at Future Of The Book. Written as a range of short chapters it invites participation, comment and play.

Categories
Interactive Media

Infinite zooming photo browsing

Incredible new photo browser that is reminscent of those rather overdone ‘face made up of faces’ pictures you get around the student poster joints. (I’m sure there IS a more technical/art name for them actually).

Either way, this project is pretty amazing.

Categories
Interactive Media

Using games to teach technical writing

From Terra Nova.

Amanda Linder, a graduate teaching assistant at the University of Nebraska at Omaha, now uses Anarchy Online to teach Technical Writing. While past teachers had students read a sci-fi novel as the context for all the writing assignments (reports, instructions, memos, and the like), Amanda has students play – and write from the context of – Anarchy Online. All technical writing assignments and class discussions are now based on in-game content, typically written from the perspective of employees of Omni-Tek, the mega-corporate power in the game.

And from the course outline

This course emphasizes the interpretative and problem-solving processes associated with producing effective technical documents as a part of a community of practice. Students will study the practices, genres, audiences, and situations related to professional settings, the contexts in which writing occurs, the processes involved in individual and collaborative projects, and the production of technical documents.

To simulate the interpretative and problem-solving process involved in workplace contexts, we will adopt a communities of practice model. In its broadest sense, community of practice refers to a group of people who share particular practices in a particular context. Within these communities, members mutually negotiate their ways of working, the expectations for belonging, and the rules for negotiating meaning. Although all communities of practice share some similarities in relation to technical documents (e.g., most communities use memos to communicate within an organization), each community is characterized by the practices around which it evolves. The genres each community creates are an outcome of those practices. Member interaction determines to a large extent what constitutes competent performance within each community of practice. In other words, members negotiate with each other in defining what things mean within that community.

No matter which community of practice you enter after graduate, the criteria used to evaluate competent performance are shared with new member through the stories told about the practices in that community. To demonstrate competency within that community, you will need to be able to identify, analyze, interpret, and demonstrate your understanding of how to belong to that community.

Given this premise, the aim of this course is to help students develop the ability to identify communities of practice, recognize expectations for belonging, and the rules for negotiating meaning. For this class, we will establish a community of practice in the classroom through the massively-multiplayer online role-play game (MMORPG), Anarchy Online. All assignments will be connected to this game world.

Categories
Interactive Media Mobile

Hacking iPods for museum use

The Walker Art Center has a fantastic post on hacking the firmware and interface of the iPod to make them more usable in a museum setting.

Lending iPods out to patrons is much more involved than just the simple question of how you clean them, or avoiding theft (those items of business are handled by our Visitors Services department). In the New Media world, we care more about answering the question, “how do we make them easy to use?”

Ease of use really comes in two forms. One for the user of the device, and the other for those of us having to update the content on the device itself. When there are budgetary constraints, you’re always looking for the best bang for the buck, while not overly hindering the experience because of it. So what do we do?

Categories
Interactive Media Social networking Web 2.0 Young people & museums

More on ‘hanging out’ on MySpace

Youth and social network researcher Danah Boyd continues her examination of MySpace in a new talk presented to American Association for the Advancement of Science earlier this year.

The sizeable quote gives an excellent thesis on what MySpace really represents and defines the three types of space that teens use MySpace to recreate.

So what exactly are teens _doing_ on MySpace? Simple: they’re hanging out. Of course, ask any teen what they’re _doing_ with their friends in general; they’ll most likely shrug their shoulders and respond nonchalantly with “just hanging out.” Although adults often perceive hanging out to be wasted time, it is how youth get socialized into peer groups. Hanging out amongst friends allows teens to build relationships and stay connected. Much of what is shared between youth is culture – fashion, music, media. The rest is simply presence. This is important in the development of a social worldview.

For many teens, hanging out has moved online. Teens chat on IM for hours, mostly keeping each other company and sharing entertaining cultural tidbits from the web and thoughts of the day. The same is true on MySpace, only in a much more public way. MySpace is both the location of hanging out and the cultural glue itself. MySpace and IM have become critical tools for teens to maintain “full-time always-on intimate communities” [4] where they keep their friends close even when they’re physically separated. Such ongoing intimacy and shared cultural context allows youth to solidify their social groups.

Digital Publics:

Adults often worry about the amount of time that youth spend online, arguing that the digital does not replace the physical. Most teens would agree. It is not the technology that encourages youth to spend time online – it’s the lack of mobility and access to youth space where they can hang out uninterrupted.

In this context, there are three important classes of space: public, private and controlled. For adults, the home is the private sphere where they relax amidst family and close friends. The public sphere is the world amongst strangers and people of all statuses where one must put forward one’s best face. For most adults, work is a controlled space where bosses dictate the norms and acceptable behavior.

Teenager’s space segmentation is slightly different. Most of their space is controlled space. Adults with authority control the home, the school, and most activity spaces. Teens are told where to be, what to do and how to do it. Because teens feel a lack of control at home, many don’t see it as their private space.

To them, private space is youth space and it is primarily found in the interstices of controlled space. These are the places where youth gather to hang out amongst friends and make public or controlled spaces their own. Bedrooms with closed doors, for example.

Adult public spaces are typically controlled spaces for teens. Their public space is where peers gather en masse; this is where presentation of self really matters. It may be viewable to adults, but it is really peers that matter.

Teens have increasingly less access to public space. Classic 1950s hang out locations like the roller rink and burger joint are disappearing while malls and 7/11s are banning teens unaccompanied by parents. Hanging out around the neighborhood or in the woods has been deemed unsafe for fear of predators, drug dealers and abductors. Teens who go home after school while their parents are still working are expected to stay home and teens are mostly allowed to only gather at friends’ homes when their parents are present.

Additionally, structured activities in controlled spaces are on the rise. After school activities, sports, and jobs are typical across all socio-economic classes and many teens are in controlled spaces from dawn till dusk. They are running ragged without any time to simply chill amongst friends.

By going virtual, digital technologies allow youth to (re)create private and public youth space while physically in controlled spaces. IM serves as a private space while MySpace provide a public component. Online, youth can build the environments that support youth socialization.

Categories
Interactive Media

Google’s SketchUp

Google enters the world of 3D software with a free 3D tool called SketchUp.

Google SketchUp (free) is an easy-to-learn 3D modeling program that enables you to explore the world in 3D. With just a few simple tools, you can create 3D models of houses, sheds, decks, home additions, woodworking projects – even space ships. And once you’ve built your models, you can place them in Google Earth, post them to the 3D Warehouse, or print hard copies.

It will be interesting to see where this leads. They offer a ‘pro’ version which handles imports/exports of industry standard filetypes etc.

Categories
Interactive Media Web 2.0

Digital to analogue – snail mail

Shiny Letter is a new Web 2.0 startup. They have the requisite rounded corners, the perpetual ‘beta’, and a reflective logo.

What is interesting about them is the service they provide. It is truly analogue.

You write a letter (up to 4 pages long) then choose a font. Pay them US$2 on your credit card or PayPal and they will print it out and post, yes post!, it to any worldwide destination.

Its a novel and quirky idea.

Categories
Copyright/OCL Interactive Media Web 2.0

SF Film Festival Video Remix Project

The San Francisco Film Festival has teamed up with Yahoo to allow people to ‘remix’ films from the festival. All online. Its quite amazing.

Take a look at the remixes and try it yourself.

The program allows Festival Web site visitors to reedit, repurpose, remix and mash up an array of clips from selected Festival films. Remixes are then posted back to the site for others to view and enjoy.

Apart from being a total hoot and a chance for people to mess around with the films that they have come to know through the SFIFF 49, the program does have a historical-cultural angle as well. These days, academic types would call the International Remix media mashups “social media” or “user-generated content”.

The program also pays homage to a lineage of cut-and-paste sensibilities that pervade modern media aesthetics, echoing many experiments in cut-up artistic practice such as Kuleshov, Eisenstein and Dziga Vertov’s film tests and Marcel Duchamp and Man Ray’s Dadaist use of ready-mades and absurd juxtapositions. These early experiments (and others like them) helped pave the way for the powerful artistic concept known as montage, which itself has been repurposed and remixed over the years through contemporary practices such as pastiche aesthetics, collage and mashups, which, in turn, owe a huge debt to the breakout of hip-hop turntablism in the early 1970s.

It is in the spirit of such unexpected, vital and fun innovations that we offer you International Remix. This program was developed in collaboration with Yahoo! Research Berkeley and the Institute for Next Generation Internet at San Francisco State University. Besides the online gallery, a selection of the best remixes will screen at Edinburgh Castle.

I wonder what permissions were required from the filmmakers to do this – its a very clever thing and plays off the idea of social media, audience co-creation. Could this ever happen in Australia?

I’m not so sure after the kerfuffle over the Australian Film Commission funding a project (Mod Films’ sci-fi remixable film The Sanctuary) that is to be released under Creative Commons because of moral rights issues (which, don’t exist in the US). See 7.9 and 7.10 below.

Is this an unintended consequence? Moral rights have a long history in Europe and there are plenty of very good justifications for them – not least being the ability of rights holders to refuse the use of their work in exploitative ways.

Moral rights in Australia –

Moral rights

7.7 The Copyright Act also provides creators with certain non-economic rights known as moral rights. They are the right of attribution of authorship of one’s work, (the right to be named in connection with one’s work), the right against false attribution of authorship and the right of integrity of authorship (the right to object to treatment of one’s work that has a detrimental effect on one’s reputation).

7.8 Moral rights apply to all works and films (and works as included in films) that were in existence and still in copyright on 21 December 2000 and all works and films (but not sound recordings) created after that date.

7.9 An author’s right of integrity of authorship in respect of a film is limited to the author’s lifetime. In all other cases, moral rights endure for the term of copyright.

7.10 Due to the personal nature of moral rights, they may not be assigned (ie given away to another) or licensed. It is, however, possible for an author to provide a written consent in relation to certain treatment of his or her work that might otherwise constitute an infringement of moral rights.

7.11 A range of remedies is available for an infringement of moral rights. These include an order for damages, an injunction or a public apology. The Copyright Act provides a general reasonableness defence to actions for infringement of the right of integrity of authorship and the right of attribution of authorship. It also provides specific defences to actions for infringement of the right of integrity of authorship in relation to certain treatment of buildings and moveable artistic works.

(from Attorney General’s Department, Australian Government)

Categories
Interactive Media

Games as work / work as games

Short but interesting article from Nick Yee from Stanford who runs the Daedelus research project into motivations and psychology in MMORPGs.

Video games are often framed as sites of play and entertainment. Their transformation into work platforms and the staggering amount of work that is being done in these games often go unnoticed. Users spend on average 20 hours a week in online games, and many of them describe their game play as obligation, tedium, and more like a second job than entertainment. Using well-known behavior conditioning principles, video games are inherently work platforms that train us to become better gameworkers. And thework that is being performed in video games is increasingly similar to the work performed in business corporations. The microcosm of these online games may reveal larger social trends in the blurring boundaries between work and play.