I'm trying to get there! How about?
1. Assignment title :
It came from Hypertext!!
The greatest story never sold.
??
2. My critical incident/s is…
The decision to Bundle HyperCard free on all new Apple Macintoshes (and the [w]hole its demise left)
3. I chose this incident/s because… (list at least three reasons)
it led to artists and designers (and not just computer scientists) creating interactive content with the computer as control mechanism, transformation engine and display vehicle.
It gave flesh to the idea that once disparate media types could be integrated and the acceptance of the idea of MULTI-media i.e. using content seamlessly across media types and industries
It led to ideas and paradigms some of which underpin how we interact with our systems today
It allowed for experimentation that would lead to fusion between content, interaction, relationship and interface
Ordinary people were the target audience with a distribution model that evolved rather than being designed
It created a genre of software that allowed for the creation of products and systems that challenged the relationship between the creator and the user
4. I’m going to use the following theory to help explore the incident/s
Technological Determinism? Diffusion of Innovation, Tipping Point, Hegemony
5. These are some of the things I’m going to analyse in the assignment…
The origins of Hypercard
The steps that led to the decision to release it
The uses it was put to and how it spread
the growth of content creation tools?
The relationship between creator and user | art and science
Why it ended
the (false?) idea that its successors (web 2.0?!!) democratises? gives power back? gives real choice?
That new technology which threatens established order and vested interest is quickly mutated and assimilated to make it harmless
That we are no happier
6. The incident has lead to the following change in current practice…
The proliferation of technologies for creating content - interactive or otherwise
The notion of interactive authoring
The rise of the era of engagement, interaction and active teaching
The idea that media itself has no intrinsic form but can be fluidly warped(?) to suit
7. These changes are important to me personally because…
It underpins my view of the world
I'd like to see a new Hypercard develop by some enterprising independent outfit.
The teaching profession is now obsessed with engagement, differentiation, active learning, interactive teaching, distance learning, 360 etc
I feel that modern gaming perhaps owes its evolution more to this than to traditional arcade gaming
8. In January I’m going to hand in…
I'd like to either create some kind of video essay or better still something interactive. I was hoping to spend some time this first unit attempting some Actionscript 3 and Object C but frankly other commitments and illness might have put paid to that.
I can't quite picture what form an interactive piece might take but I'll keep on it.
9. These are the references I'll be drawing upon (books, reports etc)
Currently I have in front of me to read:
A brief history of the future: John Naughton
The media in britain: Jane Stokes
Multimedia & Hypertext: Jakob Nielsen
Understanding media: Marshall Mcluhan
Once you're lucky twice you're good: Sarah Lacy
Key themes in media History: Dan Laughey
Fractal Dreams: Jon Dovey
Multimedia: Richard Wise
Malcolm Gladwell: The Tipping Point
Various TED lectures
I'm trying to get hold of some Barthes and foucault as well but I must confess I still can't get the hang of sifting through the library!
Anyway, that's the latest revision - I know there's not much change but I'm trying to pin this down - albeit slowly
Thursday 12 November 2009
'A' Critical Incident or 'The' Critical Incident?
Hi All,
still struggling with a migraine so apologies.
anyway, in response to your post Richard:
Quote:
I'm not sure you could argue that before Hypercard, there was no related practice. For example, I could argue that cinema is multimedia, being a radical innovation made up of pre-existing incremental ones. See aso the first videogames etc. In fact, go and take a look at Charles Babbage's Difference Engine in the Science Museum - although it never worked, but it did in theory (!!).
I agree with you that 'multimedia' (or perhaps more accurately its ancestors/siblings) existed in a variety of forms prior to Hypercard but the word I'm focussing on here is 'Practice'. I cannot find an example of a freely available tool/mechanism/vehicle/something else, that allowed creative individuals to cross media boundaries freely, to create interactive content without heed to existing computer science norms or prior knowledge, to view media types in an equalitarian way, to consider creating products comprised . . .
You could argue that videogames prior to Hypercard were the prevailing interactive media practice since essentially you were creating content behind an interface that allowed people to interact with it for entertainment and occasionally education. However, this required a far more in depth knowledge of computer technology, programming in Basic, Pascal, Machine code etc and where was the consideration of human computer interaction? or human to human interaction? did videogame designers really pore over questions of interface, feedback, community, user as creator?
I guess maybe they did?
Perhaps I'm talking more about empowerment? More about destroying the old Creator - User/Viewer relationship in a very concrete sense?
The Difference Engine is an example of genius! Personally I believe that we exist in a kind of "ideas and feelings" space time which like Einstein's rubber sheet model is curved. Every now and again something comes along (usually by individuals that somehow feel connected to this but disconnected from everyone else - and usually get persecuted for their troubles) that cause space time to curve and therefore defines our understanding of ourselves. The DE is one of those things. Imagine existence being bent by these items/creations/ideas/critical incidents?! But again, the DE (or the AE for that matter) uses the power relationships of its time and is not something that a painter could pick up and create 'new' art forms with. (although I suppose you could pickle it in formaldehyde . . .).
In 1986 to make cinema you did a cinema degree, to paint you did a fine art degree, to make software you did a computer science degree ad nauseum.
In 1987 someone who was trained as a sculptor could now create an interactive digital piece of work that explored form, balance, volume, narrative by authoring media types together.
Am I completely wrong here?
still struggling with a migraine so apologies.
anyway, in response to your post Richard:
Quote:
I'm not sure you could argue that before Hypercard, there was no related practice. For example, I could argue that cinema is multimedia, being a radical innovation made up of pre-existing incremental ones. See aso the first videogames etc. In fact, go and take a look at Charles Babbage's Difference Engine in the Science Museum - although it never worked, but it did in theory (!!).
I agree with you that 'multimedia' (or perhaps more accurately its ancestors/siblings) existed in a variety of forms prior to Hypercard but the word I'm focussing on here is 'Practice'. I cannot find an example of a freely available tool/mechanism/vehicle/something else, that allowed creative individuals to cross media boundaries freely, to create interactive content without heed to existing computer science norms or prior knowledge, to view media types in an equalitarian way, to consider creating products comprised . . .
You could argue that videogames prior to Hypercard were the prevailing interactive media practice since essentially you were creating content behind an interface that allowed people to interact with it for entertainment and occasionally education. However, this required a far more in depth knowledge of computer technology, programming in Basic, Pascal, Machine code etc and where was the consideration of human computer interaction? or human to human interaction? did videogame designers really pore over questions of interface, feedback, community, user as creator?
I guess maybe they did?
Perhaps I'm talking more about empowerment? More about destroying the old Creator - User/Viewer relationship in a very concrete sense?
The Difference Engine is an example of genius! Personally I believe that we exist in a kind of "ideas and feelings" space time which like Einstein's rubber sheet model is curved. Every now and again something comes along (usually by individuals that somehow feel connected to this but disconnected from everyone else - and usually get persecuted for their troubles) that cause space time to curve and therefore defines our understanding of ourselves. The DE is one of those things. Imagine existence being bent by these items/creations/ideas/critical incidents?! But again, the DE (or the AE for that matter) uses the power relationships of its time and is not something that a painter could pick up and create 'new' art forms with. (although I suppose you could pickle it in formaldehyde . . .).
In 1986 to make cinema you did a cinema degree, to paint you did a fine art degree, to make software you did a computer science degree ad nauseum.
In 1987 someone who was trained as a sculptor could now create an interactive digital piece of work that explored form, balance, volume, narrative by authoring media types together.
Am I completely wrong here?
Critical Incidents
In response to Jon's latest Blog Entry:
1: He describes the context of a given area of practice as it was before the 'critical incident';
I'm a little fuzzy here as I'm taking the position that prior to Hypercard this 'given area of practice' didn't exist. Yes there were disparate pockets of research going on (There were other applications with similar metaphors prior to Hypercard but these were in the main research projects), yes we had computer games, software and 'art' but did we really have Hypermedia/Multimedia/Interactive Multimedia/Interactive Media?
Am I wrong?
2. He then goes on to describe the critical incident;
The Bundling of Hypercard for free.
3. He provides a brief analysis of what changes occurred because of the 'critical incident'.
Creatives, programmers, educators, curiosity seekers, early adopters, 'ordinary' people et al could now create interactive content via an interface that did not seek to limit the use of the technology behind it. Since Hypercard had no hard intended purpose, the reality was that it offered a glimpse into the use of computer technology to creatively construct ways of communicating, entertaining, educating, amusing, puzzling with virtually no walls. You didn't need to be a computer scientist - or even an artist per se. You could create interesting 'toys', interactive flights of fancy or content with more direct purpose. We 'ordinary people' started to question notions of truth, knowledge, media, author, creator, interaction. . . .
I need help here to prevent my spectacles taking on a rosey tint.
4. He even drops in some 'theoretical frameworks' that might help us understand the nature of the changes occurring ('relativism' vs 'correspondence theories of truth', not to mention the essentially ideological campaign to protect the status quo - an example of a Marxist critique).
Maybe I'm going to argue against TD? (Once I get the Williams book). some diffusion of innovation? I'm definitely intrigued by Gladwell - it fits in with what I already believed back then - or am I utilising what fits into what I already believe?
Just as there are no truths any more we cannot talk about 'change' any more as some kind of 'thing' that happens. In many ways change never occurs in a way that has any meaning to our species. The rich get richer, the poor get poorer. Control is always one way. Dissenters are persecuted. Difference is eradicated or assimilated.
yet we continue to allow it. No change. The technology, the art, the literature, the theories are all the latest packaging for the same cereal we bought last week - only its now called "New" Creative Media Bites - now with added Mcluhan.
To enslave a man you don't have to tie him up, take away his rights or imprison him. You just need to make him believe that he is free.
Maybe change is one of those things where you have to live for a billions years to notice? Or you have to be a singularity?
1: He describes the context of a given area of practice as it was before the 'critical incident';
I'm a little fuzzy here as I'm taking the position that prior to Hypercard this 'given area of practice' didn't exist. Yes there were disparate pockets of research going on (There were other applications with similar metaphors prior to Hypercard but these were in the main research projects), yes we had computer games, software and 'art' but did we really have Hypermedia/Multimedia/Interactive Multimedia/Interactive Media?
Am I wrong?
2. He then goes on to describe the critical incident;
The Bundling of Hypercard for free.
3. He provides a brief analysis of what changes occurred because of the 'critical incident'.
Creatives, programmers, educators, curiosity seekers, early adopters, 'ordinary' people et al could now create interactive content via an interface that did not seek to limit the use of the technology behind it. Since Hypercard had no hard intended purpose, the reality was that it offered a glimpse into the use of computer technology to creatively construct ways of communicating, entertaining, educating, amusing, puzzling with virtually no walls. You didn't need to be a computer scientist - or even an artist per se. You could create interesting 'toys', interactive flights of fancy or content with more direct purpose. We 'ordinary people' started to question notions of truth, knowledge, media, author, creator, interaction. . . .
I need help here to prevent my spectacles taking on a rosey tint.
4. He even drops in some 'theoretical frameworks' that might help us understand the nature of the changes occurring ('relativism' vs 'correspondence theories of truth', not to mention the essentially ideological campaign to protect the status quo - an example of a Marxist critique).
Maybe I'm going to argue against TD? (Once I get the Williams book). some diffusion of innovation? I'm definitely intrigued by Gladwell - it fits in with what I already believed back then - or am I utilising what fits into what I already believe?
Just as there are no truths any more we cannot talk about 'change' any more as some kind of 'thing' that happens. In many ways change never occurs in a way that has any meaning to our species. The rich get richer, the poor get poorer. Control is always one way. Dissenters are persecuted. Difference is eradicated or assimilated.
yet we continue to allow it. No change. The technology, the art, the literature, the theories are all the latest packaging for the same cereal we bought last week - only its now called "New" Creative Media Bites - now with added Mcluhan.
To enslave a man you don't have to tie him up, take away his rights or imprison him. You just need to make him believe that he is free.
Maybe change is one of those things where you have to live for a billions years to notice? Or you have to be a singularity?
Tuesday 10 November 2009
Timeline 2
As I start to look into this I'm using the timeline to keep track of where I've been and where I need to go back to. this will continue to update throughout the Unit:
Monday 9 November 2009
When you first jump in its all cold and you feel like you're going to drown . . .
I've ben battling a b*st*rd of a migraine and trying to do some reading and research. Its sporadic and its painful but perhaps sadistically deep down somewhere in my soul there is a tiny light starting to turn on - ever so slowly. I've been watching videos, reading PDFs, book,articles, sending questions to people all over the world for the past 3 hours and right now I have 43 pages of rambling notes - I hope I can remember what they were for tomorrow (those of you who suffer from migraines will know that I mean).
Anyway,
I'm going to be posting stuff on here more regularly as I make those links between what I find and my assignment. First off, here's a video link that talks about TV and the web and also curiously mentions Hypercard and its its use:
Secondly,
here's a talk on the birth of Wikipedia:
Anyway,
I'm going to be posting stuff on here more regularly as I make those links between what I find and my assignment. First off, here's a video link that talks about TV and the web and also curiously mentions Hypercard and its its use:
Secondly,
here's a talk on the birth of Wikipedia:
Sunday 8 November 2009
A Response to Jon - first sketchy thoughts
In reply to my post on the forum Jon posted:
Great...that sounds fine and good. So...lets unpack hypercard a little further. Where did it come from...what was it originally designed to do....did it bring about the change they intended or something else?
What else was happening at the time Politically, Socially, Technologically....do some reading / thinking...and write me a three or four paragraph answer
The second bit I'm finding trickier. I was there but I need to do more than recount my own opinions!
So, by way of a temporary response:
Bill Atkinson (creator of Quickdraw, MacPaint) and influenced by Vannevar Bush, Alan Kay and Smalltalk created Hypercard starting in 1985 (originally Wildcard) with Dan Winkler supplying the language Hypertalk in 1986.
It was initially released in August 1987, with the understanding that Atkinson would give HyperCard to Apple only if they promised to release it for free on all Macs. Apple timed its release to coincide with the MacWorld Conference & Expo in Boston, Massachusetts to guarantee maximum publicity. HyperCard was a huge hit almost instantly.
Apple could not define its purpose, place in the product range or even market. The products endless capabilities seemed to potentially cut into the margins for ordinary shrink wrapped products. Even Atkinson has expressed surprise not just at its success but at the uses people were putting it to - see this link for some examples listed including renault
In its first year, one million copies of HyperCard were sold - in the previous year US computer use was 30m
HyperCard is a descendant of two ideas – a combination of a give away rolodex programme to keep track of his own journal articles plus his own research into searching and compressing algorithm for the future.
Atkinson is quoted as saying that:
“HyperCard is much more open and much more ambitious (than macpaint). . .
. . .HyperCard is something that you build on top of - It's going
to open up people because there are so many things you can do with it. . .
. . .It's certainly the largest thing I've attempted, and I
think its the most significant in terms of what it will do to the
computing community as a whole.”
“All the people with great ideas or specialized knowledge of
information won't need access to a professional Macintosh programmer with
time on his hands to express themselves. Making stacks is no big deal.
It's easy. The great ideas that are yet to come in the Macintosh
world are mostly going to be from people who aren't programmers but who
have great ideas. HyperCard is going to enable them.”
“
“The Macintosh dream has really been putting the power of the
personal computer into an individual person's hands.
HyperCard, acting like a software erector set, really opens up
Macintosh software architecture to where individual people can make
their own customized information environment, and interactive
information and applications without having to know any programming lan
guage. It takes the creation of software down to the level of MacPaint
images that you like, then pasting buttons on top of them to make them
do what you want. HyperCard puts this power into the hands of any
Macin tosh user. “
“. . .The most exciting thing for me is when
I see people amazed and pleased at the newfound power they got from a
program-when they say, ''Wow, I can do this!'' That's the feeling
people got back in 1984 when they saw MacPaint and started using it.
It's the same kind of feeling that is going to happen here with
HyperCard. But that feeling will be magnified, because the amount of
power you get out of HyperCard is really so much greater. HyperCard is
going to open up the whole meaning of what personal computers can be.”
“I think if we look a year from now, I'll bet there will be 20
times as many people making interactive inventions for the Macintosh as
there are now. A lot of people are going to get opened up, enabled,
empowered to control their computer. That's really what we're trying
to do. It's the same dream. Nothing's changed. It's the original
Macintosh dream of making the power of personal computer accessible to
anyone. HyperCard is just unfolding another layer of Macintosh. It
touches all the people who now own Macintosh computers, and a lot of
people who are going to own them because of this”
Technologically:
1984 – Macintosh
1985 – Windows
1986 Aldus Pagemaker
1987 – Hypercard
1987 Apple spins off application software business as Claris
1988 CDs outsell vynl for the first time
The introduction of Pagemaker in 1986 cemented the Mac as the core system of choice for Creatives with the emergence of the DTP market and the corresponding predictions of digital documents, paperless offices and the introduction of digital technology to print at the creative end. Correspondoingly Windows 1.0 would open up the PC platform to a greater number of people (albeit slowly) as the GUI took hold over the CLI. The idea of windows, menus, interactive regons on the screen, objects etc became part of the accepted computer experience whether Windows or Mac (PC users had to wait till windows 3.1 to really get this). Hypercard allowed creatives/educators/resrachers/tinkerers/geeks/ordinary Mac users to create products using these paradigms.
At the same time the CD was fast becoming the media vehicle of choice giving Hypercard products a new mechanism for distribution beyond the floppy.
Politically:
Thatcher Era in full swing – conservatism in the UK and the US – Thatcher re-elected
Privatisation at the forefront
Media organisation buyouts and mergers
1988 Liberal Democrats formed
The governments opposition to state control and group/community based decision making had now resulted in the first generation born into a world view where the needs of the individual are paramount.
The miners’ strike had all but killed the trade union movement and dealt a blow to the ability of the lower classes to influence political change and decision making.
Socially:
1987 Stock market collapse (Black Monday)
1986 Public Order Act
1987 Murdoch buys Herald & Weekly Times group, Harper & Row and South China Morning Post
With the needs of the individual paramount, those needs quickly become assumed fundamental rights.
Loadsamoney!
The beginning of the end of streaming in schools and the start of the ‘prizes for all’ culture. With the demise of individual political power, public attention focussed on other areas to assume some level of power/control including creation of media and the attainment of celebrity.
Post modernity replaces modernity as the prevailing view.
more to come . . .
Great...that sounds fine and good. So...lets unpack hypercard a little further. Where did it come from...what was it originally designed to do....did it bring about the change they intended or something else?
What else was happening at the time Politically, Socially, Technologically....do some reading / thinking...and write me a three or four paragraph answer
The second bit I'm finding trickier. I was there but I need to do more than recount my own opinions!
So, by way of a temporary response:
Bill Atkinson (creator of Quickdraw, MacPaint) and influenced by Vannevar Bush, Alan Kay and Smalltalk created Hypercard starting in 1985 (originally Wildcard) with Dan Winkler supplying the language Hypertalk in 1986.
It was initially released in August 1987, with the understanding that Atkinson would give HyperCard to Apple only if they promised to release it for free on all Macs. Apple timed its release to coincide with the MacWorld Conference & Expo in Boston, Massachusetts to guarantee maximum publicity. HyperCard was a huge hit almost instantly.
Apple could not define its purpose, place in the product range or even market. The products endless capabilities seemed to potentially cut into the margins for ordinary shrink wrapped products. Even Atkinson has expressed surprise not just at its success but at the uses people were putting it to - see this link for some examples listed including renault
In its first year, one million copies of HyperCard were sold - in the previous year US computer use was 30m
HyperCard is a descendant of two ideas – a combination of a give away rolodex programme to keep track of his own journal articles plus his own research into searching and compressing algorithm for the future.
Atkinson is quoted as saying that:
“HyperCard is much more open and much more ambitious (than macpaint). . .
. . .HyperCard is something that you build on top of - It's going
to open up people because there are so many things you can do with it. . .
. . .It's certainly the largest thing I've attempted, and I
think its the most significant in terms of what it will do to the
computing community as a whole.”
“All the people with great ideas or specialized knowledge of
information won't need access to a professional Macintosh programmer with
time on his hands to express themselves. Making stacks is no big deal.
It's easy. The great ideas that are yet to come in the Macintosh
world are mostly going to be from people who aren't programmers but who
have great ideas. HyperCard is going to enable them.”
“
“The Macintosh dream has really been putting the power of the
personal computer into an individual person's hands.
HyperCard, acting like a software erector set, really opens up
Macintosh software architecture to where individual people can make
their own customized information environment, and interactive
information and applications without having to know any programming lan
guage. It takes the creation of software down to the level of MacPaint
images that you like, then pasting buttons on top of them to make them
do what you want. HyperCard puts this power into the hands of any
Macin tosh user. “
“. . .The most exciting thing for me is when
I see people amazed and pleased at the newfound power they got from a
program-when they say, ''Wow, I can do this!'' That's the feeling
people got back in 1984 when they saw MacPaint and started using it.
It's the same kind of feeling that is going to happen here with
HyperCard. But that feeling will be magnified, because the amount of
power you get out of HyperCard is really so much greater. HyperCard is
going to open up the whole meaning of what personal computers can be.”
“I think if we look a year from now, I'll bet there will be 20
times as many people making interactive inventions for the Macintosh as
there are now. A lot of people are going to get opened up, enabled,
empowered to control their computer. That's really what we're trying
to do. It's the same dream. Nothing's changed. It's the original
Macintosh dream of making the power of personal computer accessible to
anyone. HyperCard is just unfolding another layer of Macintosh. It
touches all the people who now own Macintosh computers, and a lot of
people who are going to own them because of this”
Technologically:
1984 – Macintosh
1985 – Windows
1986 Aldus Pagemaker
1987 – Hypercard
1987 Apple spins off application software business as Claris
1988 CDs outsell vynl for the first time
The introduction of Pagemaker in 1986 cemented the Mac as the core system of choice for Creatives with the emergence of the DTP market and the corresponding predictions of digital documents, paperless offices and the introduction of digital technology to print at the creative end. Correspondoingly Windows 1.0 would open up the PC platform to a greater number of people (albeit slowly) as the GUI took hold over the CLI. The idea of windows, menus, interactive regons on the screen, objects etc became part of the accepted computer experience whether Windows or Mac (PC users had to wait till windows 3.1 to really get this). Hypercard allowed creatives/educators/resrachers/tinkerers/geeks/ordinary Mac users to create products using these paradigms.
At the same time the CD was fast becoming the media vehicle of choice giving Hypercard products a new mechanism for distribution beyond the floppy.
Politically:
Thatcher Era in full swing – conservatism in the UK and the US – Thatcher re-elected
Privatisation at the forefront
Media organisation buyouts and mergers
1988 Liberal Democrats formed
The governments opposition to state control and group/community based decision making had now resulted in the first generation born into a world view where the needs of the individual are paramount.
The miners’ strike had all but killed the trade union movement and dealt a blow to the ability of the lower classes to influence political change and decision making.
Socially:
1987 Stock market collapse (Black Monday)
1986 Public Order Act
1987 Murdoch buys Herald & Weekly Times group, Harper & Row and South China Morning Post
With the needs of the individual paramount, those needs quickly become assumed fundamental rights.
Loadsamoney!
The beginning of the end of streaming in schools and the start of the ‘prizes for all’ culture. With the demise of individual political power, public attention focussed on other areas to assume some level of power/control including creation of media and the attainment of celebrity.
Post modernity replaces modernity as the prevailing view.
more to come . . .
Taking the Plunge - Hypercard is Introduced to the world
I'm in favour of the Bundling of Hypercard as for me its the start of Interactive Media as we (I?) understand it. The ability for artists and designers and creative people in general to create content in any media type that had to be interacted with, had to be mediated via a computer and had to be accessible. What existed in this vein before that?
It removed a great deal of the scientific and technological mystery that enveloped the computer industry and for the first time there was a tool aimed at creating content (no-one really knew what to do with it) that used language, forms and ideas not shrouded in techno language. The content and the means of working with that content merged. A single person could do both back end and front end with a view to creating something engaging. Was this possible before? It aimed to bring the machine closer to us as opposed to the prevailing view that we had to become closer to the machine. It gave rise to the rebirth of the renaissance man idea.
We take stuff for granted now that at the time was quite revolutionary in the context of where it was i.e. in the hands of anyone who had a mac - which back then essentially meant creatives.
It removed a great deal of the scientific and technological mystery that enveloped the computer industry and for the first time there was a tool aimed at creating content (no-one really knew what to do with it) that used language, forms and ideas not shrouded in techno language. The content and the means of working with that content merged. A single person could do both back end and front end with a view to creating something engaging. Was this possible before? It aimed to bring the machine closer to us as opposed to the prevailing view that we had to become closer to the machine. It gave rise to the rebirth of the renaissance man idea.
We take stuff for granted now that at the time was quite revolutionary in the context of where it was i.e. in the hands of anyone who had a mac - which back then essentially meant creatives.
Struggling
Assignment title : No idea as yet
2. My critical incident/s is…
not sure:
the end of free Hypercard?
the birth of Hypercard?
The rise of the religion called "IT" and its high priests
3. I chose this incident/s because… (list at least three reasons)
it led to artists and designers (and not just computer scientists) creating interactive content
it led to interactive content being created
Artists and designers created interactive content using language not couched in Science
It led to ideas and standard being created for interaction
It led to the development of people called MUltimedia Authors
It led to the acceptance of the idea of MULTI-media i.e. using content seamlessly across media types and industries
Ordinary people were the target audience
It created a genre of software that allowed for the creation of products and systems that challenged the relationship between the creator and the user
I wasted 25 years on it and wonder why
Don't know about any of the above
4. I’m going to use the following theory to help explore the incident/s
No idea?
5. These are some of the things I’m going to analyse in the assignment…
Not sure
The developments at Cern maybe?
the growth of content creation tools?
the (false?) idea that it democratises? gives power back? gives real choice?
That new technology which threatens established order and vested interest is quickly mutated and assimilated to make it harmless
That we are no happier
That we are even more enslaved and the technology has not freed us.
I'm reaching here
6. The incident has lead to the following change in current practice…
Not sure
It feels like we have gone backwards. Artists do the front end and developers do the back end stuff.
we see computers as tool again - not as extensions of self
I'm not even sure what current practice is any more
7. These changes are important to me personally because…
I feel stuck in a time warp
I'm puzzled as to why things have turned out this way
I constantly challenge people's blind use of technology, their fear, their acceptance of authority - and it gets me into trouble
I'd like to see a new Hypercard develop by some enterprising independent outfit.
The technology is far more capable than we ever get to use (or allowed to use)
8. In January I’m going to hand in…
No idea
9. These are the references I'll be drawing upon (books, reports etc)
Currently I have in front of me to read:
A brief history of the future: John Naughton
The media in britain: Jane Stokes
Multimedia & Hypertext: Jakob Nielsen
Understanding media: Marshall Mcluhan
Once you're lucky twice you're good: Sarah Lacy
Key themes in media History: Dan Laughey
Fractal Dreams: Jon Dovey
Multimedia: Richard Wise
I know these are quite old but I feel like I have a lot of catching up to do. For the past 10 years I have had to put my own practice on the back seat in order to spend 70 hours a week making lesson plans and schemes of work to differentiate between those that can read and those that can't but would like to be the next George Lucas. Reading the posts of other people on this course has really opened my eyes so I suppose that's a positive thing.
2. My critical incident/s is…
not sure:
the end of free Hypercard?
the birth of Hypercard?
The rise of the religion called "IT" and its high priests
3. I chose this incident/s because… (list at least three reasons)
it led to artists and designers (and not just computer scientists) creating interactive content
it led to interactive content being created
Artists and designers created interactive content using language not couched in Science
It led to ideas and standard being created for interaction
It led to the development of people called MUltimedia Authors
It led to the acceptance of the idea of MULTI-media i.e. using content seamlessly across media types and industries
Ordinary people were the target audience
It created a genre of software that allowed for the creation of products and systems that challenged the relationship between the creator and the user
I wasted 25 years on it and wonder why
Don't know about any of the above
4. I’m going to use the following theory to help explore the incident/s
No idea?
5. These are some of the things I’m going to analyse in the assignment…
Not sure
The developments at Cern maybe?
the growth of content creation tools?
the (false?) idea that it democratises? gives power back? gives real choice?
That new technology which threatens established order and vested interest is quickly mutated and assimilated to make it harmless
That we are no happier
That we are even more enslaved and the technology has not freed us.
I'm reaching here
6. The incident has lead to the following change in current practice…
Not sure
It feels like we have gone backwards. Artists do the front end and developers do the back end stuff.
we see computers as tool again - not as extensions of self
I'm not even sure what current practice is any more
7. These changes are important to me personally because…
I feel stuck in a time warp
I'm puzzled as to why things have turned out this way
I constantly challenge people's blind use of technology, their fear, their acceptance of authority - and it gets me into trouble
I'd like to see a new Hypercard develop by some enterprising independent outfit.
The technology is far more capable than we ever get to use (or allowed to use)
8. In January I’m going to hand in…
No idea
9. These are the references I'll be drawing upon (books, reports etc)
Currently I have in front of me to read:
A brief history of the future: John Naughton
The media in britain: Jane Stokes
Multimedia & Hypertext: Jakob Nielsen
Understanding media: Marshall Mcluhan
Once you're lucky twice you're good: Sarah Lacy
Key themes in media History: Dan Laughey
Fractal Dreams: Jon Dovey
Multimedia: Richard Wise
I know these are quite old but I feel like I have a lot of catching up to do. For the past 10 years I have had to put my own practice on the back seat in order to spend 70 hours a week making lesson plans and schemes of work to differentiate between those that can read and those that can't but would like to be the next George Lucas. Reading the posts of other people on this course has really opened my eyes so I suppose that's a positive thing.
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