[box]This post originally appeared on the planning blog.[/box]

In this post, let’s explore the link between the twin worlds of microbiology and creative thought, drawing inspiration from three brilliant scientific discoveries. Labcoats on, people!

1. Sponges

If a sea sponge (phylum porifera) is forced through a sieve to disintegrate it down to its cellular level, those cells, if left alone, will recombine into a sponge again:

Lesson: some ideas only make sense as a whole – passing them through a ‘sieve test’ can reveal whether they were ever meant to be, while others may naturally merge together.

2. Slime Molds

A single-celled slime mold (physarum polycephalum) can solve mazes, mimic the layout of man-made transportation networks and choose the healthiest food from a diverse menu – and all this without a brain or nervous system:

Lesson: deploy resources efficiently – really smart solutions often arise naturally, yet knowing what’s best still requires lots of prior research. But hey, if a slime mold can do it…

3. Artificial Jellyfish

Scientists have created an artificial jellyfish using silicone and muscle cells from a rat’s heart. The synthetic creature, dubbed a medusoid, looks like a flower with eight petals. When placed in an electric field, it pulses and swims exactly like its living counterpart:

Lesson: even the most difficult concept can be somehow ‘brought to life’ – be it in a new context, through the addition of a couple of key ingredients, or sheer appliance of science!

Ingreedy: Cake Technology

Ingreedy are a start-up with a novel product idea: selling glass jars filled with just the right ingredients to make tasty baked goods at home.

The central idea is smart: outsourcing production to the customer adds value, making for an interactive post-purchase experience where there would otherwise be none, while the nice packaging helps too.

Ingreedy Chocolate Fudge Brownie

Ingreedy Logo
Ingreedy’s Logo

Ingreedy co-founder Samuel Cox classes himself as a maker of things and has done all sorts of cool things. His interests “wrap around inventing new and diverse approaches to the way we use, play and explore creative & interactive technology” – although in this instance, the technology is cake.

But rather than being an inert jar of cereals,  I think Ingreedy Jars represent the culture of Makerdom: those increasingly vocal hobbyists who are using the web to share their tips, tricks, hacks and designs.

Etsy is a good example of the kind of commerce that the web has enabled for the crafts market, while Instructables provides ‘recipes’ for people make useful stuff themselves. Rules of production are shifting further with costs of 3D printers coming down, and the likes of Makerbot taking on a high-street presence. I think Ingreedy takes elements from each of these, and makes them accessible through their choice of medium.

Ingreedy Jars are available in four different mixtures: Rocky Road; Brownies; Chocolate Chip Shortbread and Oaty Raisin Cookies, costing £12.00 each. Orders placed in November will ship in time for Xmas.

Aurasma vs. Blippar

I’ve written about Augmented Reality extensively in the past, but since the days of immersing myself in the purely theoretical potential for the medium, a few key players have rooted themselves in a very commercial reality that is now powering the fledgling industry.

And while B2B-focused vendors such as ViewAR remain behind the scenes, the likes of Aurasma and Blippar have soared in notoriety thanks to some quite excellent packaging and an impressive sales proposition. They are the standard bearers, at least in the eyes of the public.

I like Aurasma. But I also like Blippar. So which is better? Well, let’s find out… Here are some provocations I’ve been toying around with. See if it helps you decide, and let me know which side you fall on in the comments.

[twocol_one][dropcap]A[/dropcap]urasma has more technological power behind it. They have (supposedly) incorporated academic research into their proprietary tech and have a heritage in pattern recognition systems – remember their core business though: integrating with business critical processes and then slowly ramping up prices. They do this across all other Autonomy products! Also consider they are an HP property, whose business is hardware, not software. I believe Aurasma are only using this period of their lifespan to learn what does and doesn’t work, get better at it, gain status, equip users to enjoy AR, and then develop a mobile chipset (literally, hardware optimised for AR) that can be embedded in mobile devices, making HP buckets of royalties. They are chasing install base, but not because they want advertising bucks: they want to whitelabel their tech (i.e. Tesco, Heat & GQ) and then disappear into the background.[/twocol_one]

[twocol_one_last][dropcap]B[/dropcap]lippar have a proprietary AR engine, but are listed as using Qualcomm’s Vuforia engine – which is free to use. They seem focused on innovations in the augmented layer. Reading their interviews, they speak of AR not as a tech, platform or medium, but as a kind of magic campaign juice: stuff that reveals they are extremely focused on delivering a good consumer experience paid for by advertisers, with them as connective tissue. To this end, they too are chasing install base, but ultimately they have a different goal in mind. Being Qualcomm-backed, their future is in flexing their creative muscles and helping make AR a mass market medium through normalising behaviour. Big rivals: Aurasma in the short term, but I imagine that one day, Aurasma will revert back to being a tech platform, and companies like Blippar will provide the surface experience: where good content, not tech, will be what sells.[/twocol_one_last]

So what do you reckon – A or B?

Mobile Sketching App from Autodesk

My new Samsung Galaxy S2 is awesome. Seriously awesome.

Though I have a full blog post detailing my Android setup (composed for immediacy, productivity and entertainment) in the works, I thought I’d share details of one of my favourite apps: Autodesk’s SketchBook Mobile.

With it, and my trusty BoxWave Capacitive Stylus, I’ve turned my handset into a mobile sketchpad. Here are the results:

Me, taken with the front-facing camera
Me, traced via SketchBook Mobile

So it’s pretty effective, right? I’m no Picasso, that’s for sure, but the app is a very handy addition to my mobile armory, and it’s one I’d recommend to anyone with a powerful enough device. Here’s their full product demo:

Oh yes, almost forgot to mention – this whole post, except for formatting and adding links, was completed on my handset itself via the official WordPress app. Suck on that, Apple fanboys!


I set out to assess the implications of a wholly new medium, one which had received little academic attention written from a media theoretical perspective. I made clear use of an industry connection to gain inside knowledge of the developments occurring to bring this medium to the mainstream. Building a methodology that could sustain the level of analysis that I hoped to achieve, I observed the interactions between technology and industry, market forces and cultural influences. Having positioned my subject at the crest of a curling wave, I employed critical media theory to explore the potential implications of my subject in its wider context of social reality. This ambitious task has granted me insight into how the complex interactions of various fields give rise to social change. Along the way I have revealed seams rich in potential for further analysis.

McLuhan is proven to apply to yet another medium, the perspective he offers served my analysis quite well. A further exploration might make use of his Acoustic and Visual Space probe, Cavell’s basis for McLuhanistic spatial enquiry in his book McLuhan in Space (2002) would be a good starting point for such work, since it applies McLuhanism to the media of time and space, thus a good start for work on the presence of virtual objects. Media analysts occupied with screen design might wish to extend Bolter and Grusin’s (1999) work on remediation to the emergent Mobile AR technology, perhaps from an explicit digital gaming perspective. Those with interest in advertising or business as applied to Augmented Reality would do well to continue Benjaminian thought to its logical end: manipulating a virtual object to hold added-value for commercial enterprise. Those with a more creative bent might enjoy a study of the public perception of AR artworks using Benjamin also. There is scope for research into AR-based social interactions; gaming styles; immersion and identity formation, but this sort of work necessitates that first Mobile AR spends at least some time in public consciousness.

Finally, I believe that I have convincingly laid out an argument showing that AR is currently being developed and packaged as an entertainment technology, but its potential for community-driven, self-proliferating excitement of user-created content makes AR a significant and culturally-transformative technology. Convergence between media types will enable and drive the creation of innovative content which if successful will itself rely on new ways of accessing and viewing content and ultimately new forms of content and user experience entirely. We are at the crest of a wave. Will it wither and let a larger wave pass above it, or will it grow to reach tidal proportions? Despite my predictions, only time will tell.