Designer and technologist Tom Armitage argues that learning to write computer code means learning to think in a modern way, and that it should spur creativity: the possibility of doing entirely new things.
Tagged with “technology” (27)
Andrew Blum is a correspondent at Wired and a contributing editor at Metropolis, whose writing about architecture, design, technology, urbanism, art, and travel has appeared in numerous publications, including the New York Times, The New Yorker, Slate, and Popular Science. Blum studied English and architecture history at Amherst College, and received his M.A. in human geography from the University of Toronto. From tiny fiber optic cables buried beneath Manhattan’s busy streets to the 10,000-mile-long undersea cable connecting Europe and West Africa, Blum chronicles the intriguing development of the internet in his new book, Tubes.
What kind of future do you want to live in? What excites or concerns you about the future? Intel Futurist Brian David Johnson poses these questions as part of The Tomorrow Project, an initiative to investigate not only the future of computing but also the broader implications on our lives and the planet. Science and technology have progressed to the point where what we build is only constrained by the limits of our own imaginations. The future is not a fixed point in front of us that we are all hurtling helplessly towards. The future is built everyday by the actions of people. The Tomorrow Project engages in ongoing discussions with superstars, science fiction authors and scientists to get their visions for the world that’s coming and the world they’d like to build.
The future is Brian David Johnson’s business. As a futurist at Intel Corporation his charter is to develop an actionable vision for computing in 2020. His work is called “future casting” – using ethnographic field studies, technology research, trend data and even science fiction to provide Intel with a pragmatic vision of consumers and computing. Along with reinventing TV, Johnson has been pioneering development in artificial intelligence, robotics, and using science fiction as a design tool. He speaks and writes extensively about future technologies in articles and scientific papers as well as science fiction short stories and novels (Fake Plastic Love, Nebulous Mechanisms: The Dr. Simon Egerton Stories and the forthcoming This Is Planet Earth). He has directed two feature films and is an illustrator and commissioned painter.
Aleks Krotoski chairs a discussion on the teaching of computing and coding with David Willetts MP, Prof Jeff Magee of Imperial College, Dan Crow of Songkick and Emma Mulqueeny of Rewired State
I punch in a keycode and enter the office. Three steps through the door I swipe my travelcard against an old wooden box, which starts spitting out a radio station based on forty million people’s answer to the question ‘What songs would a Joy Division fan like?’ The sexyfuture arrived yesterday, and it colonised my pockets.
Even on the days you leave your phone at home, you carry enough hacked objects to unlock space and time, provided you find the right door. What should we be thinking about as we bring our products to life? What are we strapping to our keyrings? And what does all of this mean for a scale we’ve been familiar with for centuries?
Matthew will empty his pockets live at dConstruct to find out, revealing the five things he’s carrying around with him in Brighton and why.
Writer and editor Matthew Sheret is Last.fm’s Data Griot, using everything from tweets to radio scripts to tell stories about Last.fm’s numbers.
He has worked for the likes of Newspaper Club, 4iP, Thomson Reuters and Dentsu London and in 2008 co-founded We Are Words Pictures, an ad-hoc team of comic book creators who promote the work of up-and-coming creators.
In his spare time he edits and publishes the anthology Paper Science and plays with Lego.
When you think of a city, what is the first thing that comes to mind? Most likely it is the stuff that it is made up of: its streets and buildings, its parks and squares. But what sets a city apart, aside from its architecture, is how all that stuff is put to use. A city’s nightlife, a city’s cuisine, a city’s culture. In other words, what people make of the space they live in when they are at play.
Play isn’t limited to the ‘soft side’ of urbanism. In fact, it turns out a building isn’t some prefixed structure capable of doing one thing only. Adaptation and reuse continuously transform what a city’s architecture is for, often from the bottom up. In this way, a city’s people shape their homes as well, quite literally.
What is at work in this process of city transformation, is nothing less than play. In cities, just as in games, people and the space they inhabit shape each other. Thus, in our Western cities, where reuse is overtaking construction of new space, we are all becoming architects.
In this session Kars looks at how game culture and play shape the urban fabric, how we might design systems that improve people’s capacity to do so, and how you yourself, through play, can transform the city you call home.
Kars Alfrink is ‘Chief Agent’ of Hubbub, a networked design studio for applied pervasive games. Hubbub works with organizations to create games that take place in public space, engage people physically, and are socially relevant. Amongst other things, these games are used to encourage good citizenship and to facilitate cultural participation.
Besides this, Kars teaches at the Utrecht School of the Arts, where he mentors students who are pursuing a Master of Arts in Interaction Design or Game Design & Development. He is also the initiator and co organizer of ‘This Happened’ — Utrecht,a series of lectures dedicated to the stories behind interaction design.
In his spare time, Kars practices a traditional Japanese martial art, and tries to keep up with geek culture.
Forget transmedia. Forget alternate and augmented realities. Forget multimedia magazines, tablets, phones and puzzling QR codes. Our challenge lies in figuring out the full-stack of entertainment, designed from the bottom right to the very top: for phones, physical objects—part of the Internet of things or otherwise—tablets and conventional computing devices, where art, code and design mesh together perfectly with directorial vision.
These teams producing our next generation of entertainment are right at the heart of Steve Jobs’ placing of Apple at the intersection of liberal arts and technology. Where did they come from, how are they evolving entertainment and how are they making storytelling, play, code and technology sing?
Dan Hon is a Creative Director at Wieden Kennedy in Portland, OR, where he works on the intersection between storytelling, games, play and code. A former lawyer, he’s worked for Mind Candy helping to build their first product, Perplex City, and co-founded Six to Start, an award-winning entertainment production company in 2007. He’s most known for being passionately for, and against, ARGs. He does not play World of Warcraft anymore.
Lately, Augmented Reality (AR) has come to stand for the highest and deepest form of synthesis between the digital and physical worlds. Slavin will outline an argument for rethinking what really augments reality and what the benefits are, as well as the costs.
Rather than considering AR as a technology, we will consider the goals we have for it, and how those are best addressed. Along the way, we’ll look at the history and future of seeing, with a series of stories, most of which are mostly true.
AR may be where all this goes. But how it gets there, and where there is, is up for debate. This is intended to serve to start or end that debate, or at a minimum, to bring the conference to a close by pointing at the future, perhaps in the wrong direction.
Kevin Slavin is the Managing Director and co-Founder of area/code. He has worked in corporate communications for technology-based clients for 13 years, including IBM, Compaq, Dell, TiVo, Time/Warner Cable, Microsoft, Wild Tangent and Qwest Wireless.
Slavin has lectured at the Cooper Union for the Advancement of Science and Art, the American Institute of Graphic Arts, and the Parsons School of Design, and has written for various publications on games and game culture. His work has received honors from the AIGA, the One Show, and the Art Directors Club, and he has exhibited internationally, including the Frankfurt Museum für Moderne Kunst.
In a very special edition of Rum Doings, Nick and John sit down with Boing Boing co-editor Cory Doctorow, and MakieLab founder and former head of Channel 4 Games, Alice Taylor. Just like John and Nick, they too are a married couple, one half obsessed with copyright issues, the other with games. It only made sense.
For some reason we chose to make Nick sit in an echo chamber – sometimes he needs to be kept aside for our safety. We begin discussing Disney, considering dark rides as an art form, the nature of their theme parks’ sponsorship, and the consequences of their idealism. Which is the most evil games publisher of the day, did Blackbird destroy the internet, and are Adobe in trouble?
What happens when printers print something better than themselves? And then as inevitably as day turns into zombie apocalypse, we turn to intellectual property law. What copyright issues will 3D printing lead to? What code is running on our computers against our will? And will our predictions of the future always be “insufficiently weird”.
Amazingly we get onto the economy of Star Trek, via the consequences of teleporters. There is much discussion of the consequences of new technology on, well, everything. And then comes piracy, geocoding, and the surprise appearance of LittleBigPlanet developer, Luke Petre. Finally, we move on to talking about MakieLab’s project to develop 3D toys linked to online gaming.
Big thanks to Cory and Alice (and Luke!) for joining us!
A Little Bit Pregnant: Why it’s a Bad Idea to Regulate Computers the Way We Regulate Radios, Guns, Uranium and Other Special-Purpose Tools - Cory Doctorow
Socrates from the Singularity Weblog attended my University of Toronto iSchool talk ("A Little Bit Pregnant: Why it’s a Bad Idea to Regulate Computers the Way We Regulate Radios, Guns, Uranium and Other Special-Purpose Tools") yesterday and was kind enough to record and podcast it with a great write up.
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