The Institute Screening: Thursday, September 12th, 2013 at OCADU

institute

OCADU Digital Futures is running a special free advance screening of The Institute this Thursday, September 12th, 2013, at OCAD University. We will be hosting a Q&A following the screening with at least one special mystery guest. Details below…

Where:
OCAD University Auditorium (room 190)

When:
Thursday, September 12, 2013 6:30 PM

** free **

To those dark horses with the spirit to look up and see… “The Institute” is a feature length documentary examining the San Francisco phenomenon of the Jejune Institute.

Is it a cult? Is it a game? Or is it a life changing adventure?

The film looks over the precipice at an emergent new art form where the real world and fictional narratives merge to create unforeseen and often unsettling consequences. Follow along as we disclose a world whose secret identity may mean the difference between enlightenment and total incomprehension…

http://www.theinstitutemovie.com/

More info: Interview with Jeff Hull (1), Interview with Jeff Hull (2), OCADU event listing

Pronunciation Book

“Empathy is the key to science. You don’t know that when you begin.” Tumble into the rabbit hole that is the Pronunciation Book YouTube channel, which has been counting down to…something…for the past 47 days. You may have stumbled across the Pronunciation Book before the countdown began, when all it was doing was telling you how to pronounce things like Quinnipiac, Enjolras, and banana. But since July 9th, 2013, the channel has taken a decidedly mysterious turn. Sarah Brin (@dinosaurrparty) of The Creators Project writes:

It may be possible that Pronunciation Book is not so much a game as it is an alternative reality. More specifically, it may be possible that the words and phrases repeated in the series are telling a story. However fragmented and sometimes Pynchonian the narrative may appear, this mode of storytelling may be a new development in the field of serial narratives. (Charles Dickens, Vladimir Nabokov and many other writers were known to have published their work in regular installments, too.)

This is all pure conjecture, of course, and we’ll have to wait September 24th (77 days from July 9, 2013) to find out whether or not there is a message to be found within Pronunciation Book. (The Creators Project)

More: Unfiction: Pronunciation Book – Countdown 77

Half a shade off from the reality we are living already: an interview with Jacob Garbe of ISA

Jacob Garbe is a Bay Area artist, designer, and MFA student at UC Santa Cruz. His latest ARG-like creation, XMPLAR, involves an iOS and Android app, a frighteningly believable fictional corporation (of which Jacob is apparently an employee), a series of physical installations involving a dizzying array of display systems and interfaces, and a live performance. If you’re in the area, you can experience the dramatic culmination of this phase of XMPLAR at the UCSC DANM ground (ctrl) exhibition on May 2, 2013. The exhibit runs until the 5th, but the opening reception on the 2nd promises to be extra special. Wherever you are, you can explore the app and website now and for the foreseeable future. Jacob spoke with me via email over the weekend:

First, could you tell us a little bit about XMPLAR, both from a storyworld point of view, and from your perspective as an artist?

XMPLAR is about a collective of nascent artificial intelligences created to learn and evolve with stimulus from crowd-sourced photography/surveillance. The gist of the experience is one where the player is put into an initially uneasy partnership with an AI, which gradually matures over time into a more whole-hearted commitment to its concerns and desires. It’s a world only half a shade off from the reality we are living already, with a soupçon of magical realism thrown in to spice things up.

As an artist, this piece is trying to concretize some ideas I’ve had for awhile now about the use of technology to create persistently reactive work. The intention is to make something that evolves over time, but never requires people to start from scratch. I’m looking to build a long-term relationship with my audience, over multiple experiences in different media. It’s also an exorcism/indictment of the always-hungry corporate façades doing their best to monetize, control, or package a product from the world around us.

How did you get into this kind of practice? What’s your background, and why are you interested in this strange hybrid of narrative, interaction design, and performance?

I was into computer science and robotics when I was younger, but had a change of heart while in undergrad, and ran headlong into Humanities. I’ve also always considered myself a writer in practice, if not so much in product at times. So there’s a thread of narrative to all my concerns.

After graduating, I started making my peace with the science/art, hard/soft disciplines through works of hyperfiction, which got me interested in the use of anonymized tracking in order to make readers’ experiences persistent. I was working as a web and graphic designer at the time in Kentucky.

I entered the UC Santa Cruz Digital Arts New Media program two years ago, and everything has exploded from there. I’ve gotten really interested in using web technology to make reactive projection installations, as well as bringing back my work with physical materials through electronics.

To me, working with all these different media is a way to push myself, and to also break through the barrier of normalcy we’ve built up around technology. I want to make it magical again. I love to make things composed of ordinary parts that, when added up, become extraordinary.

Who or what are some touchstone inspirations for you?

I’m inspired materially by the growing normalization of surveillance–both on a person-to-person level, and the organizational level–through mobile apps and GPS. Businesses like Internet Eyes, where we’re given the ability to spy on each other with sanction from the government through their own CCTV cameras, and given “prizes” for catching criminals, is a source of constant amusement and horror to me. There are so many corporate entities out there that eclipse any fiction I can create, the best I can hope is to pull faces at it and hope to expose that to my audience.

On a lighter note, I find a lot of inspiration in the work of other ARGs like the Jejune Institute and your own Reality Ends Here! I think these works are ultimately a real labor of love, and those sorts of experiences where creators take an intensely individual focus on the recipients is really ballsy and laudable.

I’m fascinated by the role of chaos in this project, particularly with respect to narrative. At first, the prompts I receive from my XMPLAR seem totally random. But as things move on, various structures — story figures, characters, etc — start to emerge. How did you do this — and, perhaps more importantly, why?

There are a couple intentions at work in the code. On one level there is an element of randomness, within the bounds of a selected set. I’m drawing from a database of millions of concepts, so things can naturally diverge quite quickly. But I try to build in checks such that the player is drawn into certain directions as they move through the experience. It sort of builds a bank as you go, and that informs its selection process. But it’s important to me to allow space for the player to map their own ideas onto the XMPLAR’s workings. There is nothing more interesting to me than hearing people offer theories on what they think the XMPLAR are doing when they take that picture!

There is also a particular story I am hoping to tell with this first chapter. But as with all good ARGs, it’s important to me to see what the players are thinking, and to let that shape the story moving forward. I’m hoping it will be a highly-mediated, but highly-responsive, dialogue!

I know you’re collecting a lot of data in real-time about usage of the app, and that this data is going to appear in a variety of ways at the exhibition. Are you seeing anything surprising in the ways that people are using the app? Are there any common trends in the way that people engage with their XMPLARs?

I’ve been surprised by how wildly the engagement varies. I was also surprised to see a fair number of people dive into the app before I’d really planned on any way of getting the word out! Thankfully having that information available made it possible to react quickly. It’s probably also horribly American of me, but I’m surprised at how the distribution of users has been pretty even-handed inside and outside the US. And to be honest, I’ve been surprised and a little unnerved at how the XMPLAR processes have been recovering from errors and ushering people onward in the experience. The chaos I’ve introduced into the project is hopefully a wave I can continue to ride!

I like interacting with my XMPLAR in front of my TV. It’s actually a great way of watching TV, as it gets me searching through the channels for images I could use as responses to the prompts. I find myself watching stuff I wouldn’t normally watch, and looking at parts of the frame I usually tune out. In this way, my XMPLAR is detourning my TV watching experience. How is this typical (and/or atypical) of the way you expected people to engage with the project?

Oh wow, I hadn’t even thought of that! That’s amazing. Taking a picture of a picture of a picture! But that’s exactly the experience I am hoping to create. I’ve had players come up to me and tell me how they had never noticed something totally weird in their day-to-day world until their XMPLAR asked them to take a picture of “fine-grained parallelism” or something like that. And that’s what I’m shooting for with this first chapter.

Where and when is the exhibition, and what can people expect to see there?

The big opening is on May 2nd from 8-10pm…this Thursday! It’s at the Digital Arts Research Center up at UC Santa Cruz. I’m exhibiting with other members of my cohort in the Digital Arts program. In addition to getting a chance to see some of the data visualizations of what’s currently happening in the game, there are some interesting plans in motion that should hopefully result in a very punctuated, transitory, and shocking experience. There will be some recording happening I think as well (as any automated security company worth its salt would) so people physically unable to attend should keep an eye on the ISA Website.

Finally, what’s next for XMPLAR — and for you?

If you can believe it, I’m going to be starting a PhD in Expressive Intelligence at UC Santa Cruz this fall. So there may be more fact in XMPLAR than people suspect by the end of things, as far as AI goes. The idea is to fold this ongoing piece into my practice moving forward, while pushing myself in the sort of “harder” areas of artificial intelligence to substantiate the fiction more fully, while also continuing to move the experience into weird areas like telerobotics and cybernetic systems!

Thanks, Jacob!

Further information: Integrated Security Automation, Inc., UCSC DANM ground (ctrl), Jacob Garbe.

Henry Jenkins interviews me about Reality Ends Here

Special thanks to Henry Jenkins for conducting a wide-ranging two-part interview with Simon Wiscombe, Tracy Fullerton, and me about my dissertation project, Reality Ends Here (A.K.A. SCA Reality, “The Game”, etc):

All of this cloak and dagger stuff was part of an innovative game — an Alternate Reality Game of sorts — which is being conducted amongst the entering Cinema School undergraduates this year. If my own experiences are any indication, the game is proving to be enormously successful at getting students involved, excited about entering the Cinema School, more aware of its resources, more connected to its faculty, more engaged with its research, more connected across different divisions. It is also getting them involved in collaborative and production like activities than most entering students who have had to wait for a bit before they would be allowed to take production classes. I’ve seen lots of discussion over the past few years about the potentials of using ARGS for pedagogical purposes. But, this is the first time I’ve seen such a large scale experiment in integrating ARG activities across an entire school to orient entering students to a program and to serve a range of instructional goals. The passion the game is motivating in USC students is palpable. And I can tell you that many of the faculty, who have gotten pulled into the game through one play mechanic or another, are feeling a real pride in their school for its willingness to embrace this kind of experimentation and innovation. (henryjenkins.org)

Read the full interview.

More info on the game here.

Jeff Hull on The Games of Nonchalance: a guerrilla street war against banality and routine

Jeff Hull is the founder and creative director of Nonchalance, a hybrid arts consultancy based in San Francisco. At this year’s IndieCade, Nonchalance won the World/Story Award for their “epic, immersive, poly-media, real-world adventure,” the Games of Nonchalance. In the Games of Nonchalance, participants experience a vast transmedia interactive narrative woven into the fabric of the Bay Area, following threads of story and mystery through city streets and a wide array of on- and offline media artifacts. I caught up with Jeff Hull shortly after his appearance at IndieCade.

Hi Jeff, glad to finally get around to this again (click here to read Jeff Hull’s previous interview with Jeff Watson). What’s been happening with Nonchalance over the past few months?

Basically hustling, trying to develop the business so we can continue to do radically creative work. A lot of elbow rubbing and hob-knobbery, presentations and pitches and such. There’s more exciting things, too, like doing a TEDx talk, and winning our first Indiecade Award! We’re quite proud of that.

For those who weren’t there, could you quickly describe what you did at IndieCade?

Without building the “Jejune Institute South”, we were trying to produce a street level installation to give visitors a sense of the real world nature of our game. There were a lot of art and artifacts from the game, with some gritty multi-media to back it up.

I thought of you recently as I was giving a talk on remix culture. We ended up discussing the Situationist concept of detournement, and it occurred to me that this is a good baseline description of the kind of work Nonchalance does. Is that what you’ve been doing all these years, detourning the Bay Area (and sundry other places)?

I never thought of it in that way, but the answer is yes, absolutely. I’ve always been a cut & paste, drag & drop kind of artist, and shamelessly so. I have no qualms about it because I know that what I’ve produced from these other sources is completely original.

One of the things I like the most about Situationist art is how it’s geared toward inspiring the viewer/participant to discover the untapped possibilities of the world around them — “to expose the appalling contrast between the potential constructions of life and the present poverty of life.” What are the potentials you’re exposing, and what kinds of poverty — intellectual, emotional, or even economic — do your projects work against?

“Potential constructions of life” is a great description for what we’ve attempted. We’re presenting this parallel universe in which we’re actively at war with banality and routine. It’s a guerrilla street war, too, not some hypothetical plane. The potential is for collective behavior that promotes warmth and trust, communicating something very meaningful through mass media, and generally allowing for variation, color and fun in the civic realm. The poverty exposed is that of spontaneity and creativity in every day life. We don’t always recognize how confined or restricted or repressed we are, and I’m speaking generally about “us” as a group or society, rather than us as individuals. Re-imagining and then reconstructing how we operate and function as a culture is our greatest aspiration. We can only do it in these microscopic slivers, though. The slivers exist in tandem with the rest of the world, often overshadowed by it, but they do exist, awaiting discovery by the curious dilettante.

Interestingly, the Situationists actually thought through the idea of pervasive or ambient urban/social detournement, which they (somewhat awkwardly) called “ultra-detournement.” In the same passage, they write, “the need for a secret language, for passwords, is inseparable from a tendency toward play.” Is this a need that you have? What needs do you see Nonchalance as being capable of fulfilling?

You always blow my mind with these questions, causing me to deeply reconsider everything I’m doing. The reference kind of evokes “The Crying of Lot 49″ in which secret symbols are leading toward an entire social strata hidden right under our noses. I love the concept because it suggests a kind of sleeping giant in our midst. I suppose Nonchalance is gesturing toward that giant, prodding at it’s awakening.

A wise man once said that “[an] emancipated community is a community of narrators and translators.” This kind of “emancipation” seems to be a core component of some of your recent projects, most notably Scoop!, which invited players to become reporters for an actual (temporary) FM radio station. Are even your more narrative-heavy projects like The Jejune Institute really just sly ways to get people to narrate and translate their own community?

Yes and no. We certainly enjoy superimposing our own narratives over other more dominant stories, especially on the local scale. It’s very liberating. And within that framework we’ve strongly encouraged user generated content, and experimented with “open source” media programming, such as Scoop and the 01 project.

On the other hand, that user generated content is highly facilitated and curated by us (because we consider ourselves the ultimate arbiters of style and taste in our productions). We give people a creative template to work within. There are a few folks who have run with it, though, and gone completely off the map. I’m calling out Garland Glessner, Carolee Wheeler, and Michael Wertz, founders of the Elsewhere Philatelic Society. It borrows themes from Nonchalance, but it is it’s own unique and beautiful world. That’s a great example of people narrating their own communities.

Is this sort of what you mean by “Situational Design”?

Not exactly. To be honest, what I mean is “Lifestyle Curation”. That is; allow us to creatively direct an afternoon of your life. To offer a real world glimpse of the “what if”, and invite you to experience the world around you in a slightly different, although heavily contrived, way. I’m reclaiming the word “pretension” by the way. It is a positive force in my universe.

Do you feel that social media and screen-mediated forms of community are anathema to the kinds of visceral experiences you’re trying to create? If so, how is this conflict complicated/mitigated as pervasive computing and mobile media blur the boundary between the real and the virtual?

Actually, through conversations at Indiecade we began to develop a vision for a game on a traditional platform that promotes user generated content and real world interaction. That’s a direction I’d like to see video games take, where passivity becomes antiquated. Technology both empowers us and disables us to various degrees. It can support or discourage real world experience. I suppose the Games of Nonchalance represents a certain nostalgia for more sensual forms of expression and interaction. But how did we produce these experiences? How do most people discover them? Through computers.

Thanks for doing this again. Let’s catch up soon — and see you at IndieCade!

Always a pleasure, Jeff! Until next time.

[This interview originally appeared at the always-awesome jawbone.tv]

[See also: Trap doors and hatches all around: Jeff Hull on infusing variability and play into the workaday world]

ARGFest Panel: City Gaming & Public Art

ARGFest 2010 is just around the corner, and I’m lucky enough to attending as a panelist. I’ll be taking part in a discussion with Anne Dennington, Carl DiSalvo, and Sara Thacher titled, “TransGenre: City Gaming & Public Art.” Here’s the description, written by panel organizer Peggy Weil (see schedule here):

ARGs are not only transmedia, they are TransGenre. Games in general, and city games in particular, have “crossed over” from the cult/gamer and commercial/marketing sectors as celebrated innovations in public art. International art festivals from the Venice Biennale to San Jose’s ZeroOne are commissioning game designers to create site-specific artworks transforming the urban landscape into urban gamescape.

While urban game designers are tech-savvy and urban gamers find themselves in virtual and augmented realities – required to take full advantage of mobile/social networks – games as public art have theatrical roots, particularly in street theater, improv, performance art, club culture and literature.

This panel will address the intersection of city gaming as public art identifying both precedents and opportunities for game designers to create work for public spaces. (ARGFest)