A History of the Sky: 126 Days
(via obeyken) – really quite a beautiful video.
A History of the Sky: 126 Days
(via obeyken) – really quite a beautiful video.
Human beings are hard-wired to love. As babies, we rely solely on the love of our parents for our survival. As adults, our instinct to love keeps us producing those babies.
So what is the future for love?
Guest blogger Lindsey Mountford investigates:
The state we call the “honeymoon period” is known as being in limerance, and there are specific things going on in our brains (darling, when I look at you my ventral tegmental area lights ups with the power of a thousand suns and my caudate nucleusis floods with enough dopamine and norepinephrine to fill a thousand seas) when this happens.
The pharmaceutical industry will cotton on to this and produce pills to keep the spark of love alive. We already take vitamins, Viagra and Prozac by the bucketload to improve our standard of living, so why ignore this incredibly important aspect of our emotional lives?
If Big Pharma is clever it will market the drug as a health supplement.
Worried that it’s not ‘real’ love? In the future the lines between what we think of as real, virtual, enhanced or fake will be more blurred anyway. We won’t mind.
Prenuptial agreements will be accompanied by brain scans which will ‘prove’ we’re marrying for love. Marriage counselling could take place in the EEG/fMRI scanner, with new versions of neurofeedback therapy helping us get our relationships back on the right track.
Once we’ve all given up smoking and we eat well and exercise, what’s next on the agenda? We may be seeing NHS leaflets encouraging us to go speed-dating. We may even be prescribed the Love Drug described above.
More likely, we will be offered more education about love, which starts in schools and continues at the GP. It’s happening already. Interpersonal psychotherapy is an evidence-based talking therapy which helps people with relationship skills. The benefits are improved mental and physical health, which last a lifetime. The NHS is already investing more money in IPT, and will continue to do so.
The truth is, there are lots of unconscious things going on when we fall in love. We are not always good judges of our own characters (and we can’t help lying in our profiles.) We’re not good judges of characters of others and we often don’t have a good understanding of we should be looking for in a partner that will make us happy.
OKCupid are doing some very interesting things with the data they’re gathering from their millions of members which finally gives us real data about what makes a good match. When Google gets involved, things will get interesting and result in love.google.com
We won’t need to spend several hours writing our profiles trying to sell ourselves.
A Google spider will find all the things we’ve ever written online (On Buzz, Twitter, blog, social network profiles etc.), then text analysis software like Alceste will scan it and suss you out based on:
Then Google Love will look at all that juicy data it has about us as individuals:
Google Love will gather an overwhelming amount of data on millions of people and track the course of their relationships. Using all this knowledge, eventually Google will be able to create a Love algorithm to find the ideal partner for everyone.
The Google Love algorithm will be big and beautiful, and it will work.
Most visions of love in the future involve a lot of casual sex (thank you male sci-fi authors.) As sex becomes safer with improved contraception, people will be doing more of it. Google Love won’t care if you’re unavailable, if your data is there then you can be ‘headhunted’ by a love interest. If you were told you had a 98% chance of falling in love with someone wouldn’t you want to meet them?
‘Traditional’ marriage is a crazily outdated concept. In what other area of life would we accept a contract that we sign when we are intoxicated (see ‘Love is a drug’ above) that is binding until death? As life expectancies continue to increase, marriage must have more flexibility. Perhaps similar to a mobile phone contract – minimum of 10 years with a rolling annual contract afterwards.
There’s definitely a place for the robot girlfriend and BritneyBot. The BoyfriendBot version will be sophisticated software only, programmed to send romantic/loving messages and emails throughout the day to satisfy her need to feel adored.
That instinct for all-encompassing love from an all-powerful, benevolent, omnipotent being we have as babies never leaves us just because we become adults, so we invented God to fill the gap. For a long time, religious love was seen as True Love. We evolved to believe we’re the centre of the universe and it’s a heady feeling to be told that God loves us.
But now the philosophers have dug a God-shaped hole in our heads, what replaces it? Look at the popularity of the Twilight Saga to see what is happening already. The fantasy of romantic love and our instinct for religion meet in stories like this, and the result is 85 million books sold worldwide.
Stories about love (seen in films, books, magazines, perfume adverts, family and friends) propagate the love myth and make it stronger. The supernatural love meme will become stronger and more powerful. Vampires aren’t going anywhere.
For your listening pleasure, here is a a collaborative Spotify playlist of love songs.
Thanks for reading! It would be very romantic of you to leave a comment below.
Oh, and do subscribe to be notified of the next entry in this blog series.
These are my del.icio.us links for November 16th
So that’s it, my series is over. All that’s left to do now is credit the academic sources that influenced and aided in the construction of my argument. Thanks to everyone below, and thanks to you, dear reader, for coming along for the ride.
Baudrillard, Jean (1983). Simulations. New York: Semiotext(e).
Baudrillard, Jean (1988). Selected Writings, ed. Mark Poster. Cambridge: Polity Press.
Baumann, Jim (date unknown). ‘Military applications of virtual reality’ on the World Wide Web. Accessed 20th March 2007. Available at http://www.hitl.washington.edu/scivw/EVE/II.G.Military.html
Benjamin, Walter (1968). ‘The Work of Art in the Age of Mechanical Reproduction’, in Walter Benjamin Illuminations (trans. Harry Zohn), pp. 217–51. New York: Schocken Books.
Bolter, J. D., B. Mcintyre, M. Gandy, Schweitzer, P. (2006). ‘New Media and the Permanent Crisis of Aura’ in Convergence: The International Journal of Research into New Media Technologies, Vol. 12 (1): 21-39.
Botella, Cristina.M, & M.C. Juan, R.M. Banos, M. Alcaniz, V. Guillen, B. Rey (2005). ‘Mixing Realities? An Application of Augmented Reality for the Treatment of Cockroach Phobia’ in CyberPsychology & Behaviour, Vol. 8 (2): 162-171.
Clark, N. ‘The Recursive Generation of the Cyberbody’ in Featherstone, M. & Burrows, R. (1995) Cyberspace/Cyberbodies/Cyberpunk, London: Sage.
Featherstone, Mike. & Burrows, Roger eds. (1995). Cyberspace/ Cyberbodies/ Cyberpunk: Cultures of Technological Embodiment. London: Sage.
Future Image (author unknown) (2006). ‘The 6Sight® Mobile Imaging Report’ on the World Wide Web. Accessed 22nd March 2007. Available at http://www.wirelessimaging.info/
Genosko, Gary (1999). McLuhan and Baudrillard: The Masters of Implosion. London: Routledge.
Kline, Stephen, DePeuter, Grieg, & Dyer-Witheforde, Nick (2003). Digital Play: The Interaction of Technology, Culture, and Marketing. Kingston & Montreal: McGill-Queen’s University Press.
Levinson, Paul (1999). Digital McLuhan: a guide to the information millennium. London: Routledge.
Liarokapis, Fotis (2006). ‘An Exploration from Virtual to Augmented Reality Gaming’ in Simulation Gaming, Vol. 37 (4): 507-533.
Manovich, Lev (2006). ‘The Poetics of Augmented Space’ in Visual Communication, Vol. 5 (2): 219-240.
McLuhan, Marshall (1962). The Gutenberg galaxy: The Making of Typographic Man. Toronto, Canada: University of Toronto Press.
McLuhan, Marshall (1964). Understanding Media: The Extensions of Man. New York: McGraw-Hill.
McLuhan, Marshall and Powers, Bruce R. (1989). The Global Village: Transformations in World Life in the 21st Century. Oxford University Press: New York.
Milgram, Paul & Kishino, Fumio (1994). ‘A Taxonomy of Mixed Reality Visual Displays’ in IEICE Transactions on Information Systems, Vol. E77-D, No.12 December 1994.
Reitmayr, Gerhard & Schmalstieg, Dieter (2001). Mobile Collaborative Augmented Reality. Proceedings of the IEEE 2001 International Symposium on Augmented Reality, 114–123.
Roberts, G., A. Evans, A. Dodson, B. Denby, S. Cooper, R. Hollands (2002) ‘Application Challenge: Look Beneath the Surface with Augmented Reality’ in GPS World, (UK, Feb. 2002): 14-20.
Stokes, Jon (2003). ‘Understanding Moore’s Law’ on the World Wide Web. Accessed 21st March 2007. Available at http://arstechnica.com/articles/paedia/cpu/moore.ars
Straubhaar, Joseph D. & LaRose, Robert (2005). Media Now: Understanding Media, Culture, and Technology. Belmont, CA: Wadsworth.
Thomas, B., Close. B., Donoghue, J., Squires, J., De Bondi, I’,. Morris, M., and Piekarski, W. ‘ARQuake: An outdoor/indoor augmented reality first-person application’ in Proceedings of the Fourth International Symposium on Wearable Computers, (Atlanta, GA, Oct. 2000), 139-141.
Wagner, D., Pintaric, T., Ledermann, F., & Schmalstieg, D. (2005). ‘Towards massively multi-user augmented reality on handheld devices’. In Proc. 3rd Int’l Conference on Pervasive Computing, Munich, Germany.
Weiser, M. (1991) ‘The Computer for the Twenty-First Century’ in Scientific American 265(3), September: 94–104.
Williams, Raymond (1992). Television: Technology and Cultural Form. Hanover and London: University Press of New England and Wesleyan University Press
Bolter, Jay D. & Grusin, Richard (1999). Remediation: Understanding New Media. Cambridge, MA: MIT Press.
Cavell, Richard (2002). McLuhan in Space: a Cultural Geography. Toronto: University of Toronto Press.
Galloway, Alexander R. (2006). Gaming: Essays on Algorithmic Culture. Minneapolis: University of Minnesota Press.
Horrocks, Christopher (2000). Marshall McLuhan & Virtuality. Cambridge: Icon Books.
Jennings, Pamela (2001). ‘The Poetics of Engagement’ in Convergence: The International Journal of Research into New Media Technologies, Vol. 7 (2): 103-111.
Lauria, Rita (2001). ‘In Love with our Technology: Virtual Reality A Brief Intellectual History of the Idea of Virtuality and the Emergence of a Media Environment’ in Convergence: The International Journal of Research into New Media Technologies, Vol. 7 (4): 30-51.
Lonsway, Brian (2002). ‘Testing the Space of the Virtual’ in Convergence: The International Journal of Research into New Media Technologies, Vol. 8 (3): 61-77.
Moos, Michel A. (1997). Marshall McLuhan Essays: Media Research, technology, art, communication. London: Overseas Publishers Association.
Pacey, Arnold (1983). The Culture of Technology. Oxford: Basil Blackwell.
Salen, Katie & Zimmerman, Eric. (2004) Rules of Play: Game Design Fundamentals. Cambridge, MA: MIT.
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Wood, John ed. (1998). The Virtual Embodied: Presence/Practice/Technology. London: Routledge.
AR technology grants virtual objects presence in physicality. This is a concept ripe with potential for academic study. Baudrillardian thought states that we would seek to assign these objects similar values to other, real world objects. The School of Economy offers the truth that scarcity creates value. Our physical, tangible world is finite, but The Virtual is infinite. Now, any object in space denies the opportunity for another object to exist there, however we know this not to be true in an Augmented Reality. I proffer that virtual objects taking up space in a finite world hold economic value, but Benjamin might argue against this view.
In his piece The Work of Art in the Age of Mechanical Reproduction (1968) which was written in the thirties, Walter Benjamin argues that film and other ‘reproductive’ media diminished or destroyed the aura that had belonged to earlier art. As Bolter et al. (2006: 24) put it, “Aura belongs to works of art that are unique, as most art was before technologies of mechanical reproduction. Aura is the sense of the ‘here and now’ that each such work possesses because of its history of production and transmission. This uniqueness lends to each painting or sculpture a special quality, which can in turn evoke an attitude of reverence on the part of the viewer”. Benjamin (1968: 222-223) said that:
“We define the aura as the unique phenomenon of a distance, however close it may be. If, while resting on a summer afternoon, you follow with your eyes a mountain range on the horizon or a branch which casts its shadow over you, you experience the aura of those mountains, of that branch.”
Benjamin (1968: 222-223)
In this we see that Benjamin equates Aura with immediacy and the uniqueness of the moment of an artefact’s viewing. Since each moment is unique for each of us, it is economically valuable, auratic even. The information age of perfect digital reproduction does not detract from the personal uniqueness of experiential reality, only diminishes the aura offered by certain mass-produced elements within it. In Benjamin’s time, art was sanctified and extremely auratic. Now, most view classical art as a digital copy or encyclopaedia reference, which embodies little of the aura of the original piece. Travelling to the Louvre offers only the added auratic experience not gained from a home computer, where one’s experience is more like anybody else’s experience of the subject, but visitors must get very close to a works in order to experience what Aura remains there.
Benjamin might say that in a world of perfect digital reproduction, virtual objects can have no Aura. The Magic Lens is not spiritually void, however, and my Reality 2.0 is not a stagnant place. It buzzes with an aura of its own, borne from the uniqueness of each interaction, live and in context. A virtual object can be duplicated infinitely, but its location in space and the immediacy of its presence in that moment that helps shape its unique meaning for every AR denizen. Physicality offers the backdrop to the unique experiences offered by virtuality, indeed, experiential reality is improved through the wider opportunity for unique moments.
Returning to the economics of virtual space, virtual objects cannot hold currency in and of themselves, but the context surrounding them has value. Advertisers could exploit this if they act fast in commercialising AR space. More interesting to me is the potential for unique virtual art objects and sculptures that could hold purely aesthetic value. In this case, interested parties would seek out the object and view its intricacies and movements in the space it was designed to fill. There is much room for spatial enquiry in this field, some of which I will come onto in my next section.
These are my del.icio.us links for June 24th
AR is considered by some to be a logical progression of VR technologies (Liarokapis, 2006; Botella, 2005; Reitmayr & Schmalstieg, 2001), a more appropriate way to interact with information in real-time that has been granted only by recent innovations. Thus, one could consider that a full historical appraisal would pertain to VR’s own history, plus the last few years of AR developments. Though this method would certainly work for much of Wearable AR- which uses a similar device array- the same could not be said for Mobile AR, since by its nature it offers a set of properties from a wholly different paradigm: portability, connectivity and many years of mobile development exclusive of AR research come together in enhancing Mobile AR’s formal capabilities. Despite the obvious mass-market potential of this technology, most AR research continues to explore the Wearable AR paradigm. Where Mobile AR is cousin to VR, Wearable AR is sister. Most published works favour the Wearable AR approach, so if my assessment of Mobile AR is to be fair I cannot ignore its grounding in VR research.
As aforementioned, VR is the realm at the far right of my Mixed Reality Scale. To explore a Virtual Reality, users must wear a screen array on their heads that cloak the user’s vision with a wholly virtual world. These head-mounted-displays (HMD’s) serve to transpose the user into this virtual space whilst cutting them off from their physical environment:
The HMD’s must be connected to a wearable computer, a Ghostbusters-style device attached to the wearer’s back or waist that holds a CPU and graphics renderer. To interact with virtual objects, users must hold a joypad. Aside from being a lot to carry, this equipment is restrictive on the senses and is often expensive:
It is useful at this point to reference some thinkers in VR research, with the view to better understanding The Virtual realm and its implications for Mobile AR’s Mixed Reality approach. Writing on the different selves offered by various media, Lonsway (2002) states that:
“With the special case of the immersive VR experience, the user is (in actual fact) located in physical space within the apparatus of the technology. The computer-mediated environment suggests (in effect) a trans-location outside of this domain, but only through the construction of a subject centred on the self (I), controlling an abstract position in a graphic database of spatial coordinates. The individual, of which this newly positioned subject is but one component, is participant in a virtuality: a spatio-temporal moment of immersion, virtualised travel, physical fixity, and perhaps, depending on the technologies employed, electro-magnetic frequency exposure, lag-induced nausea, etc.”
Lonsway (2002: 65)
Despite its flaws, media representations of VR technologies throughout the eighties and early nineties such as Tron (Lisberger, 1982), Lawnmower Man (Leonard, 1992) and Johnny Mnemonic (Longo, 1995) generated plenty of audience interest and consequent industrial investment. VR hardware was produced in bulk for much of the early nineties, but it failed to become a mainstream technology largely due to a lack of capital investment in VR content, a function of the stagnant demand for expensive VR hardware (Mike Dicks of Bomb Productions: personal communication). The market for VR content collapsed, but the field remains an active contributor in certain key areas, with notable success as a commonplace training aid for military pilots (Baumann, date unknown) and as an academic tool for the study of player immersion and virtual identity (Lonsway, 2002).
Most AR development uses VR’s same array of devices: a wearable computer, input device and an HMD. The HMD is slightly different in these cases; it is transparent and contains an internal half-silvered mirror, which combines images from an LCD display with the user’s vision of the world:
There are still many limitations placed on the experience, however: first, the digital graphics must be very bright in order to stand out against natural light; second, they require the use of a cumbersome wearable computer array; third, this array is at a price-point too high for it to reach mainstream use. Much of the hardware used in Wearable AR research is bought wholesale from liquidized VR companies (Dave Mee of Gameware: personal communication), a fact representative of the backward thinking of much AR research.
In their work New Media and the Permanent Crisis of Aura Bolter et al. (2006) apply Benjamin’s work on the Aura to Mixed Reality technologies, and attempt to forge a link between VR and the Internet. This passage offers a perspective on the virtuality of the desktop computer and the World Wide Web:
“What we might call the paradigm of mixed reality is now competing successfully with what we might call ‘pure virtuality’ – the earlier paradigm that dominated interface design for decades.
In purely virtual applications, the computer defines the entire informational or perceptual environment for the user … The goal of VR is to immerse the user in a world of computer generated images and (often) computer-controlled sound. Although practical applications for VR are relatively limited, this technology still represents the next (and final?) logical step in the quest for pure virtuality. If VR were perfected and could replace the desktop GUI as the interface to an expanded World Wide Web, the result would be cyberspace.”
Bolter et al. (2006: 22)
This account offers a new platform for discussion useful for the analysis of the Internet as a component in Mobile AR: the idea that the Internet could exploit the spatial capabilities of a Virtual Reality to enhance its message. Bolter posits that this could be the logical end of a supposed “quest for pure virtuality”. I would argue that the reason VR did not succeed is the same reason that there is no “quest” to join: VR technologies lack the real-world applicability that we can easily find in reality-grounded media such as the Internet or mobile telephone.