# Apr 3, 2010

“It was really important that we used the reality of the building and its people in the story of the adventure, wrote the least possible fiction, because that meant that people wouldn’t know what was real and what was Rabbit. Because the authorship is obscured, it means that everything could be part of it, and perceptions of your place are heightened and transformed.”

All Play: Playing in a city

“The evolutionary environment for technology is messy, driven by failure. It is an environment in which needs and economics run amok, killing great ideas in the wrong habitat, preserving oddities in niches. It’s an environment which may yet change beyond recognition as the world changes. But I’m peculiarly reassured by how often our ingenuity can bridge the failure gap, how failure reveals the human.”

All Play: Pecha Kucha Fail

# Mar 29, 2010

“The check-in model dominates the current crop of location-based games from Foursquare to MyTown to Loopt and Whrrl. And understandably so. Checking in is very casual and maps very easily to what people already do. We go places and then we call people to let them know where we are and encourage them to join us. It’s like the location-based game equivalent of matching three. It’s a very casual mechanic which you can learn instantaneously. The advantage of simply checking in is that it integrates well with your life. It’s similar to the way many Facebook games only demand interaction once a day—they realize people probably only check into Facebook for a short period once a day, so you need to be able to quickly do your business and be gone. But I do think checking in is just the tip of the iceberg. If other games want to combine play with the world around us, they’ll have to develop additional mechanics.”

Being there is playing there: Checking in on the emergence of location-based games | Gamezebo

# Mar 28, 2010

“Considering the work by Henry Jenkins (2006) and others on the increasing role of the consumer as collaborator or co-creator of media content, I have to conclude that a possible third institutional logic is emerging next to, and in a symbiotic relationship with, editorial and market logics: a convergent culture logic. Work done following this logic includes the (intended) consumer in the process of product design and innovation, up to and including the production and marketing process.”

Deuzeblog: Media Work & Institutional Logics

“Describing the productive consumption within collaborative projects such as the Wikipedia and online news sites, Axel Bruns (2007 a, b) introduces the concept of the ‘produser’, a “hybrid user/producer” (2007a n.p.) involved in “the collaborative and continuous building and extending of existing content in the pursuit of further improvement” (2007b n.p.). Produsers contribute to the iterative improvement of goods and services, whether explicitly, in the form of online news sites (Slashdot, Digg) or knowledge projects (Wikipedia), or perhaps without their conscious knowledge, as happens when user purchase decisions contribute to Amazon’s recommendation services.”

Confessions of an Aca/Fan: Archives: The Moral Economy of Web 2.0 (Part Two)

“Immaterial labor finds itself at the crossroads (or rather, it is the interface) of a new relationship between production and consumption. The activation of both productive cooperation and the social relationship with the consumer is materialized within and by the process of communication. The role of immaterial labor is to promote continual innovation in the forms and conditions of communication (and thus in work and consumption). It gives form to and materializes needs, the imaginary, consumer tastes, and so forth, and these products in turn become powerful producers of needs, images, and tastes. The particularity of the commodity produced through immaterial labor (its essential use value being given by its value as informational and cultural content) consists in the fact that it is not destroyed in the act of consumption, but rather it enlarges, transforms, and creates the “ideological” and cultural environment of the consumer. This commodity does not produce the physical capacity of labor power; instead, it transforms the person who uses it. Immaterial labor produces first and foremost a “social relationship” (a relationship of innovation, production, and consumption). Only if it succeeds in this production does its activity have an economic value. This activity makes immediately apparent something that material production had “hidden,” namely, that labor produces not only commodities, but first and foremost it produces the capital relation.”

Immaterial Labor – Maurizio Lazzarato

Designing interactions in the flow: tagging books at Bibliotheek Haarlem Oost

Nina K. Simon‘s excellent paper, “Going Analog: Translating Virtual Learnings into Real Institutional Change,” describes how designers can approach integrating new user behaviors into existing ones — and why it’s often essential to do so. Simon argues that many designs fail to take hold because they ask users to adopt new practices or patterns of behavior that don’t in and of themselves add value to a particular experience. People are naturally reluctant to move outside of their accustomed flows, especially in well-defined spaces like museums, libraries, and schools. But what happens when a new technology comes along that promises great returns for users while simultaneously demanding some kind of additional input from them — in effect asking them to do step out of their flow and do something that they previously hadn’t done? Responding to this question, Simon provides the elegant example of the Bibliotheek Haarlem Oost, a branch library in the Netherlands that has developed a creative “in the flow” method for getting its patrons to tag the books in its collection:

Tagging has huge theoretical value to museums and libraries as a way to allow users to create folksonomies around institutionally-held collections, and there’s a clear mission connection for institutions whose goal is to engage visitors with collections and learning. While many museums are ably exploring the world of tagging on-line, no one has figured out how to make it work in the onsite visitor experience. Tagging could be very useful onsite if there were a way to access the tags and use them to discover artifacts of interest. Ideally, there would be a complete feedback loop where you would then be able to assign tags to objects as you view them in the galleries, thus creating more data for new visitors walking in the door.

What I’m describing maps to a complicated set of inputs and outputs. At the input (performing the tagging), visitors while onsite would need a way to mark individual exhibits with keywords. Then, on the output (using tags to access content of interest), visitors would need a way to scan the keywords at any exhibit, see linked related exhibits, and receive directional information to find the other exhibits. I can think of several ways to do this, and they all have long, painful lists of behavior changes associated with them.

The library at Haarlem Oost wanted to do this same thing – to allow patrons to tag the books they’d finished so they could be displayed on shelves and in the database for others to find books they might enjoy. But Hanrath didn’t come up with a clunky technology with lots of required behavior changes and instruction sets. They did something very, very clever. They installed more book drops.

The library created a book drop for a set of predefined tags (boring, didn’t read it, great, funny, exciting, good for kids, etc.). They also created shelves for the individual tags. When patrons return books, they place them on the shelves that appropriately categorize their books. Because the majority of books in the Dutch library system have RFID tags, the shelves were enabled with RFID readers that scan the books and add the tags to the books’ digital entries in the library database. The only behavior change required is for the patron to shelve his or her books in categories, and the benefit on the output side (the tags appearing in the library on-line catalogue) is immediate.

No patron would call the activity of putting their books in book drops ‘tagging,’ and that’s a good thing. There’s little concern here about barriers to use, educating the visitor on how to participate, or even significant infrastructure or support costs. The feedback loop is there, and it works because it’s a clever, simple distillation of the core idea of tagging. (Archimuse)

# Mar 25, 2010

“Harrah’s uses “loyalty cards” to induce people to play longer and spend more money (Abumrad, 2008). The cards function like bank cards; users swipe them at the slot machines to play, and the cards register wins and losses. The loyalty cards are part of a pilot program to track individual user behavior. The casino maintains real-time data on the actions of every card-holder and uses the data to determine individuals’ financial “pain point” – i.e. how much money they are willing to spend before leaving the casino. The casino uses that pain point to stage strategic interventions during real-time play. When a player comes close to her limit, a staff member on the casino floor receives an alert from a dispatcher, greets the player, and offers her a free meal, a drink, or a bonus gift of money added to the loyalty card. By mitigating the bad experience of losing with a gift, Harrah’s extends people beyond their pain points and they stay and play longer.”

Archives & Museum Informatics: Museums and the Web 2009: Paper: Simon, N., Going Analog

“Metaphor is for most people a device of the poetic imagination and the rhetorical flourish – a matter of extraordinary rather than ordinary language. Moreover, metaphor is typically viewed as characteristic of language alone, a matter of words rather than thought or action. For this reason, most people think they can get along perfectly well without metaphor. We have found, on the contrary, that metaphor is pervasive in everyday life, not just in language but in thought and action. Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature. (Lakoff and Johnson 1980)”

Archives & Museum Informatics: Museums and the Web 2009: Paper: Simon, N., Going Analog