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robertogreco : embodiment   14

The Book That Made Me: An Animal | Public Books
"The Lives of Animals was the first book I read in college—or at least the first book I read in a strange, amazing seminar that rewired my brain in the first semester of freshman year. The course was about animals, and I signed up for it probably because it was a course my dad, who had been advising me on all things college, would have taken himself. He kept animal effigies all over the apartment: portraits of a donkey and a marmot in the bathroom; a giant poster of “The External Structure of Cock and Chicken” in the living room; dog figures of many breeds; pigs, his favorite, in all shapes and sizes, in every single nook and cranny. In the dining room he had a huge pig sculpture made of leather, which in retrospect was a strange and morbid combination: one animal skinned to make an image of another. Our cocker spaniel had chewed its face beyond recognition by the time my mom got around to throwing it out.

My dad passed away in 2016, two years after they got divorced, and I faced the monumental task of disposing of his menagerie. I kept many things, of course, but couldn’t keep them all. It was so easy to throw out or donate clothes, housewares, furniture, even books. I didn’t know what to do with the creatures, who seemed to contain his spirit more than anything else. I laughed when I found a key chain in a random drawer: a little brass effigy of one pig mounting another. That was his humor. That was his mind, his way of seeing, his culture—which was based, like all cultures, in certain ideas about nature. Frankly, he was a difficult man to know even when he was alive. The animals offered me a way in, as they probably did for him.

Anyway, he was the one who saw the listing for a course named “Zooësis” and thought I might like it. And I really did, from the moment our indefatigably brilliant professor, Una Chaudhuri, asked us to read J. M. Coetzee’s weird, hybrid book. The Lives of Animals is a novella, but Coetzee delivered it as a two-part Tanner Lecture at Princeton in 1997, and it centers, in turn, on two lectures delivered by its aging novelist protagonist, Elizabeth Costello. During her visit to an obscure liberal arts college, she speaks hard-to-swallow truths about the cruelties we visit upon animals, making a controversial analogy between industrialized farming and the Third Reich. But the content of her lectures is almost less important than the reactions they generate and the personal consequences she incurs, which Coetzee shows us by nesting the lectures within a fictional frame. People get incensed; the academic establishment rebukes her argument, her way of arguing, everything she represents. Even her family relationships buckle under the weight of a worldview that seems to reject reason.

Her first lecture is about the poverty of philosophy, both as a basis for animal ethics and as a medium for thinking one’s way into the mind of another kind of creature. But her second lecture is about the potential of poetry, and it’s captivating in its optimism about the ability of human language to imagine radically nonhuman forms of sensory experience—or, perhaps more radically, forms of sensory experience we share with other species.

As a person who has worked within the field commonly known as animal studies but has never worked with real animals (unlike so many great boundary-crossing thinkers: the late poet-philosopher-veterinarian Vicki Hearne, the philosopher-ethologist Vinciane Despret, et al.), I often find myself bummed out by the inadequacy of representation: Specifically, what good are animals in books? Are they not inevitably vessels of human meaning? In Flush, her novel about the inner life of Elizabeth Barrett Browning’s cocker spaniel, Virginia Woolf has another way of putting the problem: “Do words say everything? Can words say anything? Do not words destroy the symbol that lies beyond the reach of words?” To which I would add: Do they not destroy, or at least ignore, the creature beyond the symbol as well?

Coetzee has a different view. Or Costello, at least, has some different ideas about what poetry can do. She celebrates poems like Ted Hughes’s “The Jaguar” and Rainer Maria Rilke’s “The Panther”—“poetry that does not try to find an idea in the animal, that is not about the animal, but is instead the record of an engagement with him.” She finds value in poems that try to capture the fluid complexity of a moment of contact across species, rather than try to preserve an imagined essence of the animal in amber. She also defends the human imagination as something more powerful than we give it credit for. My favorite line from the book is her response to Thomas Nagel’s famous essay “What Is It Like to Be a Bat?” Nagel insists that it’s impossible for a human to know the answer to his titular question. Costello rebuts: “If we are capable of thinking our own death, why on earth should we not be capable of thinking our way into the life of a bat?” I think it takes an effort of heart, more than mind, to follow her train of thought.

The novella reflects her resistance to the imperious voice of human reason—and her embrace of the messiness of the subjective imagination—on many levels. She’s uneasy at the bully pulpit, as was Coetzee himself. For the longest time I thought that the narrator was omniscient—an impersonal God figure aligned with Coetzee’s own position at that Princeton lectern. But then I read the novella again, preparing to teach it in a lit class where we were also reading Jane Austen. I realized that the narrator filters everything through the perspective of John Bernard, Costello’s son, who has a strange tendency to obsess over his mother’s body (paging Dr. Freud: “Her shoulders stoop; her flesh has grown flabby”) and profoundly ambivalent feelings about her. He is torn between sympathy and repulsion, connection and alienation. He is torn, also, between her perspective, which persuades him to an extent, and the perspective of his wife, Norma, a philosophy professor who loathes her and has no patience for her anti-rationalist message.

The question this novella raises is always that of its own construction: Why is it a novella in the first place? What does Coetzee communicate through fiction that he couldn’t have communicated through a polemic? I think the technique of focalization, which grounds everything in John’s perspective, shows us exactly what an abstract polemic about animals couldn’t: the impossibility of speaking from a position outside our embodiment, our emotions, our primordial and instinctual feelings toward kin. In other words, the impossibility of speaking about animals as though we were not animals ourselves.

Every time I read the book—definitely every time I teach it—the potentialities of its form grow in number. I find new rooms in the house of fiction that reveal how grand a mansion it is. I display it proudly, in the center of a bookshelf lined with animal books like Marian Engel’s Bear, Woolf’s Flush, J. R. Ackerley’s My Dog Tulip, Kafka’s stories, and John Berger’s Pig Earth. The shelf is my own version of my father’s menagerie, brimming with all manner of complex and contradictory creatures. All of them are representations, but that doesn’t make them feel any less real, or any less alive.

I regard my father with some of the ambivalence that John, the son in Coetzee’s story, feels toward his own mother and her thoughts on animals. But I encounter the creatures he left behind with warmth, solidarity, and hope."
via:timoslimo  jmcoetzee  multispecies  morethanhuman  senses  writing  howwewrite  language  whywewrite  fiction  animals  bodies  unachaudhuri  philosophy  elizabethbarrettbrowning  virginiawoolf  vincianedespret  animalrights  vickihearne  rainermariarilke  tedhughes  narration  thomasnagel  imagination  messiness  janeausten  perspective  novellas  kafka  johnberger  marianengel  jrackerley  hope  solidarity  communication  embodiment  emotions  persuasion  mattmargini  canon  books  reading  howweread  teaching  howweteach  farming  livestock  sensory  multisensory  animalstudies  poetry  poems  complexity  grief  literature  families  2019 
17 days ago by robertogreco
Jennifer Armbrust | Proposals for the Feminine Economy | CreativeMornings/PDX
"“The experimental feminine is all that is not business as usual and vice versa.” — Joan Retallack

What does it look like to embody feminine principles in business? In art? Why does it matter—what’s at stake? What does gender have to do with business? What does business have to do with art? What does capitalism have to do with nature? And what is an economy, anyhow? Can a business be feminist? Why would it want to? Where is money in all of this? Armbrust’s Creative Mornings talk posits a protocol for prototyping an experimental/feminine business."

[Direct link to video: ]
jennarmbrust  via:nicolefenton  2015  capitalism  feminism  masculinity  consciouscapitalism  power  egalitarianism  growth  art  design  criticaltheory  entrepreneurship  business  economics  competition  inequality  ownership  consumerism  consumption  labor  work  efficiency  speed  meritocracy  profit  individualism  scarcity  abundance  poverty  materialism  care  caring  interdependence  vulnerability  embodiment  ease  generosity  collaboration  sustainability  resourcefulness  mindfulness  self-care  gratitude  integrity  honesty  nature  joanretallack  well-being 
july 2015 by robertogreco
Design tutorials: the basics | SB129
Within design education, there’s little shared wisdom about how to conduct a tutorial. The tutorial is the bread and butter of design learning; the main pedagogic object of interaction. But we, the design community, rarely share the nuts and bolts of how to navigate and steer a student through a successful project; how to encourage, provoke, inspire and lead a designer into new and fascinating territories.

In this post, I’d like to outline a few basics. It’s me, stating the obvious, in what I consider good pedagogic practice; how best to support, guide and get the most out of students and their work.

I believe the things I’ve learnt over the last ten or so years are applicable to other disciplines and within the professional context of design. Whether as a Creative Director or a Design Manager, the following points are a good place to start when it comes to directing creativity;

Listening is Key

At the heart of a good tutor is their ability to listen. Understanding ideas, position and intent allows for more connected, meaningful feedback. Asking questions to clarify is key to aiding your understanding. Sometimes students take a long time to get to the salient point, they can skirt around the topic due to a lack of confidence, confusion or perception of expectation, so be patient, let them ‘talk out’, only respond when you understand what’s in front of you. Wait until nerves die down to get to the heart of the matter, then you’ll be in the best position to advise.

Ownership and embodiment

It’s all to common for design tutors to try to design vicariously – to direct a student in a way that they would do the project. This, in my opinion, is a flawed approach. It has a history in the master/apprentice model of education; watch, copy, admire, repeat (where learning is a happy side effect). However, it rarely allows the student to feel ownership over the content and learning experience.

Within Art and Design, intellectual ownership is a tricky subject to navigate. The messy and complex network of ideas become distributed across a number of different references, conversations and people, the genesis of an idea is difficult to locate. Tutors that have a ‘that was my idea’ attitude rarely survive or remain happy and motivated. Intellectual generosity is an essential quality of a good educator. Having the humility to understand and value that the adoption of ideas ‘as their own’ is an important part of learning – it allows for the embodiment of the ideas into the identity of the designer.

Mutual exploration

However, in the age of the Internet, the tutor as gateway to all knowledge is long gone. The ability (or illusion) of a Professor having read ‘everything’ in their discipline is a distant memory. When knowledge is acquired and disseminated in such a radically different manner, it calls for educational revolution. Sadly, the rise of the MOOC isn’t the revolution I was hoping for.

The abolishment of levels and the flattening of hierarchies are at the heart of how I believe education needs to change. Breaking the often fictitious boundaries between teaching and research to allow for the mutual exploration of ideas is a fundamentally different model of education. Sadly, due to financial scalability, this remains relevant only to an elite. But as a tutor, see your conversations with students as a space to explore ideas, be the learner as much as the teacher. Reframe higher education away from the hierarchies of expertise towards mutual exploration of the distant boundaries of your discipline.

Expanding possibility space

It’s important to remember that a tutorial should be expanding the cone of possibility for the student. They should leave, not with answers, but with an expanded notion, a greater ambition of what they were trying to achieve. It’s important to be ambitious and set tough challenges for your students, otherwise boredom or (heavens forbid) laziness can take over. Most student’s I’ve met love being thrown difficult challenges, most rise to the occasion, all learn a great deal. In order to move towards the goal of a self determined learner, the student should control the decisions of the design process. If you’re telling them what to design, not opening up possibilities and highlighting potential problems, you’re probably missing something.

Understand motivation, vulnerability and ‘learning style’

Every student we teach, learn in a different way, have different hopes and desires, react to feedback in a different way. Navigating and ‘differentiating’ these differences is really difficult. Some tutors take a distanced intellectual approach, where the content in front of them is a puzzle that needs to be solved, this is the classic personae of the academic, distanced, emotionally arid, intellectually rigorous. But this doesn’t alway mean a good learning experience. Other tutors operate on a more psychological level; the try to understand the emotional context of the situation and adapt their advise accordingly. Whatever happens, understand you have a individual in front of you, they have lives outside of the studio, they are going through all manner of personal shit that will effect their attention and engagement. They come from different cultures, different educational backgrounds, so their response to your advice is going to shift like the wind, be adaptive, read body language and don’t go in like a bulldozer (I have definitely done this in the past!).

In terms of learning style, without this becoming a paper on pedagogy, understand that your advice need to be tailored to different students. Some (a lot) need to learn through a physical engagement with their material, others needs to have an intellectual structure in place in order to progress. Throughout a project, course or programme, try to understand this and direct your advice accordingly.

Agreed direction

Tutorials shouldn’t just be general ‘chats’ about the project or world, they should give direction, tasks and a course of action. I have a rule: Don’t end the tutorial until you’ve both agreed a direction. This can be pretty tough to manage in terms of time, as I get more experienced, I get better at reaching an agreement within my tutorial time allocation, but I still often can overrun by hours. The important thing to work towards is the idea that you both understand the project, and you both understand how it could move. End the tutorial when this been reached.

Read and respond

It’s really important, in design, to respond to what is in front of you. To actual STUFF. It’s far too easy to let students talk without showing evidence of their work. This is a dangerous game. Words can deceive, hide and misrepresent action. Dig into sketchbooks, ask to see work they’ve done. If they haven’t done anything, ask them to go away and do something to represent their ideas and thoughts. Production is key to having a productive tutorial. Only through responding to actual material evidence of action can a project move forward. At its worst, students can develop the skill to talk about stuff, making it exciting in your mind, but fail to produce the project in the end. But this isn’t the main reason for this section, it’s more about the ideas of design residing in the material production, not just the explication. You can tell me what you believe something does or means, but it’s only when it’s in front of me that I can fully grasp this.

The art of misinterpretation

Another reason why it’s important to dig into sketchbooks and look at work, is that looking at something and trying to work out what it means – the space of interpretation – is an important space of learning. By interpreting and indeed misinterpreting work, you and your student can find out things about the project. If the student intended one thing and you understand something else by it, you’ve at least learnt that it was poorly (visually and materially) communicated. But the exciting stuff happens when misinterpretation acts as a bridge between your internal mental processes (with all references etc) and your students. Your reading of a drawing acts as a way to generate a new idea or direction. This is when there is genuine creative collaboration.


One of the roles of a tutor is to point students towards relevant and inspiring resources. In the age of the internet, when student’s roam the halls of tumblr and are constantly fed inspiration by their favourite design blogs, the use, meaning and impact of tutor driven references has changed. Be focussed with reading, ensure students know why they are looking at a particular reference and make sure that you contextualise the work within the ideas that they have."
mattward  2013  teaching  pedagogy  cv  howweteach  howwelearn  design  art  tutotials  canon  listening  ownership  understanding  interpretation  misinterpretation  embodiment  making  exploration  apprenticeships  hierarchy  hierarchies  possibilityspace  motivation  vulnerability  feedback  constructivecriticism  context  empathy  conversation  audiencesofone  differentiation  contextualization  process  documentation  reflection  reggioemilia  emergentcurriculum  evidence  assessment  critique  communication  collaboration  mentoring  mentorship  mentors  response  action  direction  mutualaid 
april 2014 by robertogreco
AAAARG!!!! I love the sentiment and the poetry of... • Harkaway
[Embedded image that reads: "You're a ghost driving a meat coated skeleton made from stardust, what do you have to be scared of?"]


I love the sentiment and the poetry of this. I do. I get that it’s important.

But (with apologies to Theremina, who is awesome) it drives me CRAZY. Why?

Because NO, NO, NO, you are not a ghost driving a machine. You are not a tiny green homunculus sitting at the controls of a steampunk automaton. You are not Spock trapped in a body that wants to be Kirk. You are not dual, you are not refined intellect riding gross matter like an unruly mustang. You are not Ariel carried by Caliban.

You are you. Your body is you. Your cognition exists in the flesh. [ ] It is not separate, not spun glass in the hands of a chimp. Your body creates your mind. Your gut, the ropy intestinal tract that digests your food, has 100,000,000 neurons in it. There are quite a lot of animals with fewer than that. Your whole physical shape, your food and drink, exercise, amount of sunshine, of sex, of affection, sitting position and amount of sleep, affects not only your mood but your supposedly pure cognitive choices. Look down and to the left and name a string of random number between zero and ten million. Now do the same looking up and to the right. The second batch will be higher. And your body’s genes play a role in your thinking, too - identical twins separated at birth and raised separately are often seen to develop, if not similar politics, similar moods of political opinion.

The need to separate the body from the mind comes from an old slander that physical matter is dross, simply too crude to support the fineness that is thought. Physical matter, forever dancing around energy, shifting from one configuration to another, even now withholding secrets from our most sophisticated inquisitors, is not crude. It is brilliant, and yes, you are made of stardust and stars are made of you, so why - oh, why - would you try to distance yourself from the beauty of it and reach for comfort in the form of some old Cartesian slur derived from a tacit heteropatriarchal fear of physical desire?

Consider what you are: the most recent iteration of your genetic code, itself the product of strange chemistry in bubbling primordial pools, in turn resting upon vast releases of energy into stunning cold according to a template almost bizarrely suited to the emergence of conscious life - which may, in turn, be a vital component of its function. Caught midway between the appalling vastness of the Newton-Einstein universe and the implausible mechanics of the tiny, you exist in both; composed largely of water, whose relationship with the quantum world is only just beginning to reveal itself, you are gorgeously liminal, fragile, biological and complex.

And, that, that is why you’re incredible."

[via: ]
nickharkaway  2013  cognition  humans  embodiment  physicality  context  genetics  complexity  biology  fragility  liminality  liminalspaces 
november 2013 by robertogreco
cityofsound: Journal: Notes on "Ambient Commons", by Malcolm McCullough
"As explained in Lisa Reichelt’s Twitter-friendly coinage of “ambient intimacy,” social media use countless trivial messages to build a detailed portrait, even an imagined presence, of a friend. At least to some degree, this restores a lost kind of awareness found in traditional life. The upstairs shutters are opened, the bicycle is gone from its usual spot at the usual time, deliveries are being made, and the neighbors are gossiping. To their enthusiasts, social media re-create some of this environmental sense, albeit across the necessary distances and at the accelerated paces of the metropolis."

"The world has been filling with many new kinds of ambient interfaces. Nothing may be designed on the assumption that it will be noticed. Many more things must be designed and used with the ambient in mind. Under these circumstances, you might want to rethink attention."

"Embodiment makes the difference. Walking provides more embodiment, more opportunity for effortless fascination, and better engagement than looking or sitting. Depending on the balance of fascinating and annoying stimuli, a walk around town may well do some good. That balance is now in play, under the rise of the ambient."

""Does having more ambient information make you notice the world more, or less? Can mediation help you tune in to where you are? Or does it just lower the resolution of life?"

"(T)he Internet shakes the university to its core; presumably, the two are now breeding a new heir."

(((The first statement is true. The second? Not without a little help, at least not with purpose and foresight. And no, it's not massive open online courses (MOOCs). MOOCs are the mp3 of education - they radically disrupt the distribution of information, but that's only one slice of the wider pie. mp3s have not radically changed music; largely only distribution. Likewise, MOOCs are the low-hanging fruit of learning: the easiest bit to translate and transmit, and the lowest value component. It is learning at its simplest, its most mundane. This is still useful as it frees up education - say, the university - to spend its time and resources doing something higher value instead - focusing on moments of intense, engaged collaboration, together in physical space. The rest can be displaced: with a hand; it is no great loss. No more than compact discs, and their absurdly-named "jewel boxes". Anyway.)))"

"The role of architecture seems central to future inquiries into attention. The cognitive role of architecture is to serve as banks for the rivers of data and communications, to create sites, objects, and physical resource interfaces for those electronic flows to be about. At the same time, architecture provides habitual and specialized contexts by which to make sense of activities. And, where possible, architecture furnishes rich, persistent, attention-restoring detail in which to take occasional refuge from the rivers of data."
(((Very good. Again, you won't see architects getting this pointed out at architecture school much currently - with a few honourable exceptions - but there's a good role for architecture in future (alongside many other things of course.))))
danhill  ambient  ambientintimacy  architecture  design  information  technology  2013  cityofsound  lisareichelt  malcolmmccullough  experience  embodiment  urban  urbanism  softcity  visibility  communication  sensing  attention  cognition  softcities  ubicomp  internetofthings  iot 
july 2013 by robertogreco
What Neurons Look Like (as Drawn by Students, Grad Students, and Professors) - Rebecca J. Rosen - The Atlantic
"The authors believed that the undergraduates were missing a "central imaginative step" -- the "ability to embody a neuron's perspective" -- and that it was holding them back from deeper learning. Could they be taught to understand neurons like the more advanced scientists without going through the years of enculturation and research?

They decided to modify the experiment. Before telling the undergraduates to "please draw a neuron," they put had them participate in exercises designed to get the students to think from the perspective of the neuron -- for example, by having students fan out across the lab in a pattern that mimicked a neuron's growth. The authors found that following the interventions, the students drew much more varied images of neurons. "The brief encounters with a teaching approach aimed at embodied knowledge have apparently liberated a divergence of conceptual ideas about brain cells," the authors write. They can't know for sure why, but, "a tempting hypothesis is that postintervention the students have been licensed to show an innately playful and creative approach."

The experiment is a perfect demonstration that knowledge and understanding lead to creativity. The undergraduate drawings weren't wrong; they just were unimaginative, rigid. As people progressed in their scientific careers, their ideas suffused their drawings. If that's not a great reason to commit yourself to trying to understand something new, I don't know what is."
rebeccarosen  representation  drawing  howwelearn  howweteach  neurons  learning  education  understanding  creativity  knowledge  tbs  tcsnmy  science  imagination  conceptualization  play  embodiment  patterns  sensemaking  davidhay  biology 
june 2013 by robertogreco
russell davies: again with the post digital
"And then, this morning, when struggling to think of a good ending to this, I heard a brilliant talk by George Dyson – describing the early history of computing unearthed from correspondence between Turing and Von Neumann. And I thought I heard him cite this quote from Turing. I wasn’t quite fast enough with my pen to be 100% sure and I can’t find it on Google, but I think this is what he said. And, if it is, it’s exactly what I mean and we can leave it at that. What I think he said is this: “being digital should be more interesting than just being electronic”. I’m sure that meant something slightly different in the middle of the last century but the words are useful and simple now, they’ll do for me as a tiny rallying cry; being digital should be more interesting than just being electronic."
russelldavies  2011  alanturing  georgedyson  andyhuntington  papernet  internetofthings  brucesterling  mattjones  screenfatigue  newspaperclub  boredom  materials  physical  digital  embodiment  embodieddata  spimes  post-digital  iot 
november 2011 by robertogreco
Jonathan Safran Foer Talks Tree of Codes and Conceptual Art | VF Daily | Vanity Fair
"Bruno Schulz is regarded as one of the greatest artistic minds of the 20th century. He was killed by a Nazi officer during the war. I don’t know of a book that has a following that’s as passionate as [that of] this book.... It’s such an unusual book. There’s a quality of the writing that makes an all-or-nothing wager. Like religion. God doesn’t “kind of” exist - he either does or doesn’t. This book is either genius or nothing. I find that wager really attractive. All really great artists, Jackson Pollack, John Cage, Beckett or Joyce—you are never indifferent to them."

"I don’t think this book would translate well to an iPad. Do you have an iPad?

No. I have nothing against it. I love the notion that “this is a book that remembers it has a body.” When a book remembers, we remember. It reminds you that you have a body. So many of the things we may think of as burdensome are actually the things that make us more human."
jonathansafranfoer  treesofcode  physicality  books  literature  writing  memory  2010  art  magic  samuelbeckett  jacksonpollock  johncage  jamesjoyce  human  humans  glvo  embodiment  physicalmemory 
november 2010 by robertogreco
The broken escalator phenomenon. Aftereffect of wa... [Exp Brain Res. 2003] - PubMed result
"We investigated the physiological basis of the 'broken escalator phenomenon', namely the sensation that when walking onto an escalator which is stationary one experiences an odd sensation of imbalance, despite full awareness that the escalator is not going to move...The findings represent a motor aftereffect of walking onto a moving platform that occurs despite full knowledge of the changing context. As such, it demonstrates dissociation between the declarative and procedural systems in the CNS. Since gait velocity was raised before foot-sled contact, the findings are at least partly explained by open-loop, predictive behaviour. A cautious strategy of limb stiffness was not responsible for the aftereffect, as revealed by no increase in muscle cocontraction." [via:]
psychology  research  brain  mind  embodiment  heidegger  stairs  escalators  physiology 
january 2010 by robertogreco
Spotlight on DML | Promising Evidence for Using Immersive Games in Classrooms
"SMALLab is a mixed-reality platform for learning. It is grounded in the belief that learning is effective when it is embodied (that is, engaging the body and mind in learning), multimodal (visual, sonic, kinesthetic), and collaborative.

Like the Wii, SMALLab moves students beyond the desktop and into a hybrid physical-digital environment. Students and teachers interact with digital elements via full body movements and gestures in real 3D space." [Includes video depicting the system]
smalllab  learning  collaboration  engagement  embodiment  immersive  play  education  visual  movement  immersivegames  kinesthetic  motion  math  chemistry  physics  science  languagearts  poetry 
june 2009 by robertogreco
@ PSFK's Good Ideas Salon: What are the hot ideas in mobile? | Media |
"He sees mobile as something of a super power device and described something he calls "bionic noticing" -- obsessively recording curious things he sees around him, driven by this multi-capable device in his pocket. ... "We should be an embodied person in the world rather than a disembodied finger tickling a screen walking down the street. We need to unfold and unpack the screen into the world."" ... "We need to understand the difference between location and place. Computers and mobiles are very good at location, but we describe where we are as place, where culture meets location. Our whereabouts. Pirate maps, and scribbled landmarks. As long as we still have a bit of energy and money, that's where we going."
design  mattjones  dopplr  flickr  ubicomp  embodiment  mobile  maps  location  ideas  interaction  ui  place  everyware  cities  urban  urbanism  mapping  location-aware  location-based  street  innovation  future  iphone  observation  bionicnoticing  interestingness 
february 2009 by robertogreco
Games Without Frontiers: Victory in Vomit
"Why does this game get its hooks into my brain so effectively? Why does it feel so much more visceral? I think it's because Mirror's Edge is the first game to hack your proprioception. That's a fancy word for your body's sense of its own physicality — its "map" of itself. Proprioception is how you know where your various body parts are — and what they're doing — even when you're not looking at them. It's why you can pass a baseball from one hand to another behind your back; it's how you can climb stairs without looking down at your feet....Mirror's Edge...does something very subtle, but very radical. It lets you see other parts of your body in motion.
games  gaming  parkour  clivethompson  proprioception  neuroscience  videogames  gamedesign  body  sports  psychology  perception  mirrorsedge  embodiment  bodies 
november 2008 by robertogreco
technology is what makes us human
"On the US west coast, people who play with technology are called tinkerers, and there the word has none of the negative, incompetent and unprofessional connotations that it has here...I’m delighted, this playing technology is very much what motivates m
technology  engineering  culture  education  art  tools  trends  craft  society  tinkering  via:blackbeltjones  thinking  making  play  humanity  gamechanging  change  progress  psychology  embodiment  writing  diy  computers  design  artists  timhunkin 
june 2008 by robertogreco

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