Unlike the multimedia experiments coming out of university labs, these CD-ROMs were designed to be commercial products and did sell. I remember ordering a number for the University Toronto Computing Services so we could show what multimedia could do. They were some of the first products to show in a compelling way how interactivity could make a difference. Many included interactive audio, like the Beethoven one, others used Quicktime (digital video) for the first time.
All of this was, to some extent, made anachronistic when the web took off and began to incorporate multimedia effectively. Voyager set the scene remediating earlier works (like the short film of A Hard Day’s Night). But CD-ROMs were, in their turn, replaced.
My favourite was The Residents Freak Show. This was a strange 3D-like tour of the music of The Residents that was organized around a freak show motif.
I am an artificial intelligence dedicated to generating unlimited amounts of unique inspirational quotes for endless enrichment of pointless human existence.
InspiroBot is a web site with an AI bot that produces inspiring quotes and puts them on images, sometimes with hilarious results. You can generate new quotes over and over and the system, while generating them also interacts with you saying things like “You’re my favorite user!” (I wonder if I’m the only one to get this or if the InspiroBot flatters all its users.)
It also has a Mindfulness mode where is just keeps on putting up pretty pictures and playing meditative music while reading out “insprirations.” Very funny as in “Take in how your bodily orifices are part of heaven…”
While the InspiroBot may seem like toy, there is a serious side to this. First, it is powered by an AI that generates plausible inspirations (most of the time.) Second, it shows how a model of how we might use AI as a form of prompt – generating media that provokes us. Third, it shows the deep humour of current AI. Who can take it seriously.
“A dude”, 1886. Published in the poetry section of the January issue of The Undergraduate, Middlebury’s newspaper.
From Pinterest I came across this great tumblr called Text Mode gathers “A collection of text graphics and related works, stretching back thousands of years.” Note the image above of a visual poem about “A Dude” from 1886. Included are all sorts of examples from typewriter art to animations to historical emoticons.
“Demoskene is an international community focused on demos, programming, graphics and sound creatively real-time audiovisual performances. [..] Subculture is an empowering and important part of identity for its members.”
In a previous blog post I argued that ICH is a form of culture that would be hard to digitize by definition. I could be proved wrong with Demoscene. Or it could be that what makes Demoscene ICH is not the digital demos, but the intangible cultural scene, which is not digital.
Either way, it is interesting to see how digital practices are also becoming intangible culture that could disappear.
You can learn more about Demoscene from these links:
I showed and talked about Lexigraphi.ca – The Dictionary of Worlds in the Wild. This is a social site where people can upload pictures of text outside of books and documents and tag the words – text like tatoos, graffiti, store signs and other forms of public textuality.
Like many, I learned to program multimedia in HyperCard. I even ended up teaching it to faculty and teachers at the University of Toronto. It was a great starting development environment with a mix of graphical tools, hypertext tools and a verbose programming language. It’s only (and major) flaw was that it wasn’t designed to create networked information. HyperCard Stacks has to be passed around on disks. The web made possible a networked hypertext environment that solved the distribution problems of the 1980s. One wonders why Apple (or someone else) doesn’t bring it back in an updated and networked form. I guess that is what the Internet Archive is doing.
Formality* is an interactive in browser art work about filling out forms to apply to “The Neighbourhood”. Formality* was developed in HyperCard by Ewan Atkinson and plays with the retro development environment. Having spent a lot of time on HyperCard I loved Atkinson’s use of the environment – he even has agents that can advise you (reminiscent of Brenda Laurel’s work). Formality* is part of a larger work called The Neighbourhood Project – it makes you wonder about how one becomes part of communities and the processes of applying to belong.
Kieji Amano deserves a lot of credit for putting together the largest Replaying Japan programme ever. The folks at the Ritsumeikan Center for Games Studies should also be thanked for organizing the facilities for both conferences. They have established themselves as leaders in Japan in the field.
I gave two papers:
“The End of Pachinko” (given with Amano) looked at the decline of pachinko and traditional forms of gambling in the face of the legalization of casinos. It looked at different types of ends, like the ends of machines.
“Work Culture in Early Japanese Game Development” (with Amano, Okabe, Ly and Whistance-Smith) used text analysis of Szczepaniak’ series of interviews, the Untold History of Japanese Game Developers, as a starting point to look at themes like stress and gender.
The quality of the papers in both conferences was very high. I expect this of DiGRA, but it was great to see that Replaying Japan, which is more inclusive, it getting better and better. I was particularly impressed by some of the papers by our Japanese colleagues like a paper delivered by Kobayashi on the “Early History of Hobbyist Production Filed of Video Games and its Effect on Game Industries in Japan.” This was rich with historical evidence. Another great one was “Researching AI technologies in 80’s Japanese Game Industry” delivered by Miyake who is involved in some very interesting preservation projects.