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Friday links

Hello! Here is some scoopage from the studio mailing list this week.

Timo, Einar and Jørn launched their new, beautiful lightpainting film looking at the invisible terrain of WiFi networks in urban spaces:

Mr Jones found this delightful little idea for an RFID record player by Bertrand Fan:

Tom spotted these magical ‘diorama maps’ of London and Tokyo by Sohei Nishino:

diorama_london

Everyone enjoyed Alice Bartlett’s “machine that dispenses chocolate according to nice or mean things that people say on twitter“…

All of it

… and here is a 3D macro lens.

Also, we have been listening to some Justin Bieber slowed down 800%, playing a lot of Tiny Wings, and watching some workmen practicing capoeira outside in the street.

That is all. Happy Friday!

The Hopeful Monsters of New York

SVA

We’re wrapping up our week teaching at SVA on the interaction course tomorrow.

It’s been an amazingly fun week – with an excellent group of students throwing themselves into material explorations, generative drawing, prototyping behaviour and surfaces and more.

It’s like Sterling’s cave of Taklamakan, made from post-it notes and acetates.

We’ve had a little blog for the week set up where we’re posting the work as it’s produced, and have put the briefs etc.

SVK: Meet Thomas Woodwind

SVK: Meet Thomas Woodwind

Woodwind is the protagonist in SVK, the comic we’re publishing by Warren Ellis and Matt “D’Israeli” Brooker in April 2011.

This is one of Matt’s early character sketches for Thomas Woodwind, who is quite the piece of work…

Here’s Warren’s character notes from an early treatment:

THOMAS WOODWIND:  I’m seeing a man of six feet or so, quite lean, with a good Patrick Stewart-ish skull fuzzed with very short pale hair. Paranoid eyes. Tending to very long black coats, probably with poacher’s pockets sewn on the inside.  A bluetooth earpiece cupping each ear, with front facing limbs (where the IR LEDS are). Also wears black gloves, I think – no fingerprints, reduction of epithelials.

Like I say – a piece of work all in all. He’s a classic Ellis character, with a mind like a steel-trap and a sharp tongue to match. He also makes Jason Bourne look like he’s trying too hard…

We’ll have some more news about the project likely next week, but I also want to point you at the site we’ve built where SVK will live. There’s not a lot there yet… but for now you can sign up for news about SVK’s release at getsvk.com

A few links for your Friday

Matt Jones sent this lovely bit of musical mojo – “a collaborative music and spoken word project conceived by Darren Solomon from Science for Girls” –  to the studio a couple of weeks ago, and I immediately spent at least twenty minutes playing with it. Hypnotic.

Matt Webb found this gorgeous isometric map of Hong Kong. I’ve not yet been to Hong Kong, but looking at it from this perspective, the immense density of the city started to sink in. Look at all those high rise buildings smushed in together!

Via Alice Taylor ‘s round-up of Toy Fair USA we discovered Kauzbots. How great are these? You get a cuddly handcrafted robot toy and support a good cause at the same time. I think several people I know may be getting these as gifts this year.

Finally, in case you missed it yesterday, the last Discovery space shuttle mission launch:

We’ve been sending humans into space for fifty years now, and there are two main thoughts that usually occur to me whenever I reflect on the fact of space flight: 1) “WTF?! We send people into space! There are people LIVING in space on the International Space Station! Un-effing-believable!” and 2) In the 1960s people expected by now that we’d have colonised the moon and interplanetary travel would be no big deal. What happened? Why aren’t we there yet?

Totems and City Avatars

Keyring

At one point during City Tracking, I commented that I still felt a connection to London during my time in San Francisco through the bike-key on my keyring (above).

(If you’re not aware of London’s cycle hire scheme – it’s a system of bike rental whereby bikes, distributed between docking stations around the city, can be unlocked with a plastic “key” and a small fee. It’s similar to Paris’ Vélib).

I suppose that could have mentioned my Oyster Card, but that usually lives tucked away in my wallet. The bike-key was something I touched several times everyday; it acts as a kind of key-fob for me.

I mentioned that, for me, the key acted as a kind of what Mike Kunivasky calls a Service Avatar. As Mike explains in his Microsoft Social Computing Summit talk:

“…because these things are now connected, their value moves from the device to the service it represents, and the actual objects become secondary. They become what I call service avatars.”

Mike is talking about electronic devices like digital cameras and TVs at this point in his talk – things that have functionality within them that is then connected to a service.

The bike-key has no functionality without the service: it’s just an RFID tag inside a piece of plastic. The service itself is unavoidably located in London. The computer systems that run it do not have to be, but the bikes themselves – the critical hardware within the service – cannot be located anywhere else.

The city and the service are tied together.

And so, for me, that keyfob that I pass through my fingers when I pick my keys up, or fidget with them in my pocket, is not just a service avatar; it’s an avatar for a city.

Then, of course, I have to unpack what I mean by “city”: not only the architecture and built environment, but also: the people within it; the transit systems that I experience so much of it through; the service layers including power, utilities, and even the payment schemes such as Oyster; the many digital layers on top, Foursquare and Gowalla and geotagged photos on Flickr and so forth.

The bike-key touches all of these: the built environment of the roads, the transit map, payment services, the digital infrastructure. It’s not just an avatar for a single service; in some ways, it’s an avatar for the entire “stack” of the city.

Time for a slight confession.

When I described the bike-key, I described it as a totem of London that I carried with me. When I said that, I wasn’t really referring to the traditional notion of an object describing the structure of kinship groups – although there are definitely comparisons to be drawn there, which Elizabeth Goodman touched on in her session on the final day.

My reference was more rooted in popular culture.

Totem

In Christopher Nolan’s recent film Inception, characters keep “totems” – small objects that behave in recognisably unique ways that only their owners know – to prove that they are truly in the real world to themselves (as opposed to being in one of the dream landscapes in which much of the film takes place).

All the totems seen in the film are objects with particular physical qualities – a spinning top, a loaded die, a poker chip, a weighted chesspiece – that behave in very particular ways (toppling, spinning) when subjected to the laws of real-world physics. Their totems prove that the laws of reality are in effect.

Nolan’s “totems” are reminders not just of the real world – but of the system that world runs on.

The bike-key in my pocket is a totem reminding me of larger systems – both the London bike network, and the city itself.

In San Francisco, it was a tangible reminder that London is still there, even though the key had no functionality in this particular city. Returned to London, the plastic key regains its powers, and returns to its normal behaviours: unlocking bicycles, capturing my usage of those bikes in its system.

As the city becomes increasingly networked – as Adam Greenfield describes eloquently in this post on the Urbanscale blog – there will inevitably be parts of that network, and thus parts of the city, that I can take with me.

On my keyring, everywhere I go, I carry a piece of London.

Week 298

Week 298 and I think we’re all experiencing a bit of emotional fatigue. In just the last five days we’ve been tossed between sadness at the news of colleagues leaving us and exhilaration from incredibly exciting, almost-too-good-to-be-true news and opportunities. It’s all a bit much, really. But we’re pushing on. It’s Tuesday and everything is ticking over. However, as Matt Webb pointed out on Twitter last week, there’s a decent chance that by Friday everything will have gone completely mental again.

With Tom back from his California escapade, we are once again completely full up in the studio. So full, in fact, that Matt Webb has had to sacrifice his desk – bless him – and is working from the sofa as we await the delivery of a couple of new desks.

Matt working on the sofa; beneath him is the fabulous map blanket by our friends at Pistil SF

In project news, SVK is getting tantalisingly close to it’s formal introduction into the world. Matt Jones, Matt Brown, Alex and Tom are all hard at work on the various finishing touches and bits that need to be in place on our end. Of course Warren Ellis and Matt “D’Israeli” Brooker are doing the heavy creative lifting on that one, but since they are toiling away in their own locales, we unfortunately don’t get to see the day-to-day progress of their work.

Jack and Timo’s work on Haitsu was nearly derailed by a combination of missing HMRC paperwork and an incompetent UPS delivery person, but they persevered and are making progress on that. Moments ago I witnessed them totally geeking out over photographic equipment.

Matt Jones, Alex and James are doing more sketching and scheming around Dimensions II in preparation for a presentation later this week.

Weminuche is a many-tentacled hydra that continues to take up a lot of the studio’s time and attention, and some of our incredibly talented partners on that project have been spending time in the studio lately to feed into various bits, push us out of groupthink mode and help solve problems in ways that only they are able to. We are very grateful for their input.

(Sidenote: I’ve been reading Steven Johnson’s Where Good Ideas Come From: The Natural History of Innovation, and it’s been really fascinating to see a lot of the things he talks about playing out in real time in the studio. If you are in any sort of creative, innovative field and haven’t read it yet, by all means add it to your reading list!)

Elsewhere in the studio brainspace pitches & bids are being assembled, legal matters are being worked out, teaching content is being prepared. And underlining all of it is good music, plenty of laughter, and genuine affection for each other. There are going to be massive changes coming to the studio soon. As I type this, though, everyone is simply focussed on the task at hand, keeping all of it ticking along. If everything is mental again come Friday, we’ll deal with it. Because that’s what we do.

Schulze & Jones speaking at SVA, NYC, March 2nd 2011

Jack and myself are going to be teaching for a week next week on the Interaction Design course at SVA in New York, and as part of our stint there we’re doing a talk 6-8pm on Wednesday 2nd March.

Looking forward to it enormously – hope to see you there perhaps.

Four Thousand Years of Urban Growth

Chandler book cover

In his opening session at City Tracking, Stamen‘s Eric Rodenbeck showed us this book. Tertius Chandler’s Four Thousand Years of Urban Growth is a historical census of the world, derived from almost any source Chandler can find.

The book sat on the front table in the room we were sharing for the duration of the conference; a constant reminder of cities past and present, fallen and still-standing. I spent some time skimming through it, and found its contents as marvellous as Eric intimated.

In the first section of the book, Chandler tours the world, listing individual cities and their populations over time.

Dieppe

Here’s some of the listing for Dieppe, in France.

As well as a running total, there’s a citation for how that figure was derived. Sometimes, it’s based on direct quotation. But sometimes, it’s based on something more like a calculation. For instance, that 1600 figure for population is based on the number of churches in the city, and the average congregation size for those churches.

Baghdad

Here’s some of the listing for Baghdad, around the 8th century AD. In 932 AD, he uses several sources: the number of doctors (and how many citizens they served); the number of baths in the city; and the area the city covered. His final figure – of 1.1 million – is closest to the estimation derived from area. Chandler includes other figures in his notes, even if he’s not comfortable with their accuracy; see, for instance, the “reputedly 2,000,000” in 833, derived from the 1910 Encyclopedia Britannica. Chandler is clearly happier with the more conservative estimate derived from the area in the 1960 Encylopedia of Islam.

City tables

At the end of the book are tables of the world’s largest cities listed by era, with their populations. These are some of the listings for a few thousand years ago.

Finally, there’s a short textual appendix that serves as a short biography of the forty largest cities in each century, from 100-1970. From all his numbers and tables, Chandler weaves a narrative of how the world’s powers and economies have shifted and changed. For instance:

“China dominates the first city tables. At 1400 and 1500 it has each time 11 of the 40 cities. At 1600 China still has the topmost place, and 2 of the top 10, but Spain, with only one in the top 10, barely trails China overall with 6 to China’s 7. The Spanish cities include 1 in America, 1 in Portugal, and 3 in Italy. In 1700 China is ahead again with 9. In 1800 it has 9, as to 10 in the burgeoning British Empire, albeit the latter has only 1 on Britain itself. Britain and China thus rule just under half of all the 40 cities at 1800…”

It’s a marvellous artefact that’s now sadly hard to track down. As Eric quite rightly noted, those neat tables are crying out to be digitised in some form. It was kind of Eric to share Chandler’s remarkable book with us (and to let me share it with you) – and as a starting point for two days of talking about cities, it felt most appropriate.

Our experimental rockets are our people

Some sad-but-proud news!

Tom Armitage

Tom Armitage was employee #1, making the leap to join BERG before it was named BERG. For 2 years he’s been both creative technologist and writer, leading technology on several projects, and also running the online face of the studio through his blogging and longer form pieces. When he’s coding, he has the rare gift of solid interaction design intuitions. And in the room, he seems to know of every weird design project and obscure game ever, and can hook you up with relevant links to whatever you’re researching.

And now he’s off! Tom is joining the London game design studio Hide & Seek as a Game Designer. We’ve been watching Hide & Seek for a while — they’re an exciting practice in the rapidly growing area of games and public experiences. And Tom is passionate about games and what they mean to people. Check out his recent talk, Things Rules Do.

It’s a great move for Tom, and we’re very proud of him.

Matt Brown

Matt Brown has been with us as senior designer and chief of music since mid 2009. He’s a wide-ranging and inventive talent, as deft with illustration and composing music as he is prototyping procedurally generated graphics and crafting beautiful and natural interfaces. He’s grown into running projects with us, and working directly at the weird creative coherence where multiple design strands overlap and coincide. When I talk about BERG as a studio, producing work which is inventive, beautiful and populist, it’s Matt’s work which has been right at the centre of that.

And at the end of March, he’s off too. Matt is moving from London to Cupertino, to invent the future as part of a jaw-droppingly impressive team. He’s joining the Human Interface Device Prototyping group at Apple as a designer/prototyper.

The news of his leaving is countered only by our terrific pride at seeing our boy done so good.

Culture

Our culture and way of working is what makes us BERG. And our culture is made by our people. Everyone here has a colossal impact on the life of the room. Nobody just “fits in,” we grow together — learning, teaching and developing as we go. Tom and Matt B are irreplaceable, we’ll miss them enormously!

That said, one of the things that makes me most pleased is that the studio is a place that people travel through and move on from. I’m proud of our alumni! When they achieve great things, I admit I take a good deal of satisfaction that a fellow traveller has carried a little bit of BERG into the world.

We keep it quiet, but the secret history of our name is that is stands for the British Experimental Rocket Group. Our experimental rockets are our people.

So what next?

The studio will grow and change. We’re established enough that we can treat these moments as opportunities. It was surprising and gratifying to have Fast Company place us #4 in their list of most innovative design firms, in such illustrious company as Stamen, IDEO and Pentagram!

And so I have more changes to announce — soon, when the ink is dry. I can’t wait to tell you.

In the meantime, please lift a glass to Tom and Matt! Congratulations fellas, well done both of you, and thank you for being part of the journey.

Saturday Links: Watson, Isotype and off-road computing

At the beginning of the week, Matt Brown linked to a website featuring the work of Gerd Arntz and pointed out that many of the iconic shapes you see there were drawn around 85 years ago. Coincidentally, there is a small Isotype exhibition running at the V&A in London, until the 13th of March.

Alex found a video which explains the thinking behind the face of Watson, the Jeopardy-winning IBM supercomputer. The concept of a spacial arrangement of colours to convey emotions is reminiscent of the Drones in Ian M. Banks’ Culture novels.

Lastly, a bit of nostalgia. One of my most vivid memories of the Amiga era was formed by a game called Drive IFF, which arrived on the front of Amiga Format magazine in June 1991. Ostensibly a racing game, it owed more to the concept of the game grid from the original Tron movie than it did to games like Outrun.

Drive IFF screenshot

To race, you need a track, and the developer’s brilliant idea was to dramatically simplify the entire design and rendering process. The racetrack is designed in plan view, and the resulting image is mapped onto the floor of a vast plain. The SNES featured a similar technique in Super Mario Kart, a year or so later.

The game didn’t enforce any boundaries, so when you reached the edge of the racetrack image loaded into a specific area of your computer’s memory, you simply carried on into the unknown. I was less interested in the gameplay, but was fascinated by the concept of this game as a window into the computer’s unconcious. In fact, the game was so unbounded it was possible to drive far enough into the unconscious space to crash the entire computer. We grabbed a short video of it in action, running in an emulator.

Roads? Where we’re going we don’t need roads.

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