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Nova highlights Bleeker's participation in the IFTF 'Blended Realities' programme, incl. pics.
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"KashKlash is a space to share thoughts on, and to shape, the future; a playground for visionary people like you, who, in a sense, are already living a few years ahead. Let’s start from the basic consideration that people have always shared and exchanged things. Sure, it comes to us naturally. But today’s digital communication systems are changing and expanding this age-old behaviour: not only are there new things to share – pictures, music, ratings, writings, videos, data and information – but there are now also many more platforms and opportunities for sharing and exchanging to take place."
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Nova reports: "The first issue of Design Research Quarterly features the above map that represents the “topography of design research” (made by Liz Sanders). She basically mapped the different approaches to design research based on two dimensions: 1. Their impetus: tools and methods coming from design practice versus those coming from the research perspective. To date, as she points out, most of the methods seem to be coming from the research field. 2. The mindset of those who practice and teach design research: the expert versus the participatory mindset. Which actually corresponds to the level of engagement designers have with people (informants, users, etc.)"
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Ito reports on the findings of the Digital Youth Project: "It's been over three years in the making, but we are at long last releasing the results of our Digital Youth Project. The goal of this work was to gain an understanding of youth new media practice in the U.S. by engaging in ethnographic research across a diverse range of youth populations, sites, and activities. A collaboration between 28 researchers and research collaborators, this was a large ethnographic project funded by the MacArthur Foundation as part of their Digital Media and Learning initiative"
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Doctorow: "Here's Far Cry 2 technical director Dominic Guay talking about the importance of "procedural content generation" for massive online games — basically, using software to create worlds that had previously been hand-built by artists. It makes a lot of sense, but what fascinates me is the narrative possibilities for fiction about games: these procedural systems have or will shortly attain a level of complexity that makes it impossible to predict their outcomes. It's the Halting Problem — worlds where software off the rails could generate impossible situations, upside-down worlds, treasure heaps, cowardly monsters and brave grass"
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"New analysis from Frost & Sullivan, Exploring the European Union Research Policy in Pervasive and Ubiquitous Computing, details key disappearing computer projects launched under the EU Fifth Framework Programme, during the period 1998-2003, including 2WEAR, ACCORD, FEEL, Interliving, GROCER, Ambient Agoras and E-Gadgets, among others."
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Nova highlights how the 'uncanny' is a perhaps overlooked and important aspect of design. Uncanny here means "the familiar can act strangely", in this example it is related to robotics but it could of course relate to anything with a degree of automation. I think Serendipity is probably important too… you cannot design 'for' the uncanny, simply pay attention when it happens.
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If you use OS maps to gather data for public use: "According to Ordnance Survey, the government's mapping agency, you've just broken its copyright, because the map you checked is licensed from it. And your […] licence, like most OS licences, doesn't allow you to put data derived from an OS map on to the world-visible Google Maps – even though Google's maps are also licensed from OS."
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