"We would then take the data generated from these walks and plot them into a computer representation of the area and generate visualisations from that. Building an audiogeography superimposed on the physical landscape with the sound levels as experienced by somebody who would walk through the area." Some nice work from Alper and Kars.

Brad Sucks has converted his own material to Rock Band tracks in Rock Band Studio, and will soon be selling them straight to your 360. Harmonix really are bringing something to the game here – amateur/unsigned musicians can now use Rock Band to sell music (with appropriate notecharts, obviously), in the same way they started to use MySpace as promotion a few years ago. Awesome.

"The ST-LINK USB programmer/debugger comes attached, but it’s easy to crack one off and use this for future STMicro-compatible projects; clearly a plan of giving away the razor and selling the blades." $7 for a microcontroller which also has the usb connector/debugger attached; snap it off when you're done.

"It boils Digital Britain down to three Ms – media, music and movies – myopically ignoring the pioneers of new technology, and ?
showing a blind spot for all creativity outside the so-called creative industries… Instead of empowering digital Britons, the bill follows the lead of music and movie corporations, who already apply a presumption of guilt to their customers. Instead of treating the web as a platform of possibilities, it recasts it as a tool for mass theft." Excellent, excellent leader from the Guardian on the frankly scandalous digital economy bill.

"…maybe this is the best of both worlds. An audience that, having crossed the barriers to entry, is by its nature more invested in our work; a public profile by which we have the means to occasionally reach into the mass consciousness, but which affords us the freedom to continue experimenting with subject, form, and style; an industry which is truly international; which is capable of producing both multi-million dollar blockbusters and single-creator labors of love (and releasing both on the same platform); which manages to be neither too big nor too small, and is the more vital, unique and exhilarating for it. We are a medium for us, and while there are more and more of us every day, we'll never be for everyone. In a way, that's beautiful." I think Steve's about right.

"In the Dark Carnival campaign of Left 4 Dead 2, you can win a garden gnome at the fairground near the start – and there’s an achievement for carrying it all the way to the end. It is, in fact, the same goddamn gnome I carried through Episode goddamn Two, for the same goddamn reason: there was an achievement for it. By the end of that ordeal, I prayed I’d never set eyes on his (”stupid fucking”) face again – but here he is, and here I am, and here we go." Tom Francis gets the gnome achievement in L4D2, and lives to tell the tale.

"…we’re still in talking-dog territory here, where the fact of socialness matters more than the outcome. This won’t last forever, of course. It probably won’t last out 2010." Tom is sharing some notes from that "140 Characters" conference; he's got some sharp insight/ideas.

"I did a set of four walks in Austria; two long ones, two short ones. I did some "daystreaming" where using bits of technology I was updating my location, status and pictures as I walked." Ambient information gathering, whilst taking in the outdoors, and all for charity. Lovely.

And it just worked first time. Awesome!

"The list is the origin of culture. It's part of the history of art and literature. What does culture want? To make infinity comprehensible. It also wants to create order — not always, but often. And how, as a human being, does one face infinity? How does one attempt to grasp the incomprehensible? Through lists, through catalogs, through collections in museums and through encyclopedias and dictionaries." Eco on lists.

"Today, the UK government's Department For Transport unveils a new browser-based MMOG, created by New York-based developer Area/Code. Designed for early teenagers to learn principles of traffic safety, it's probably the largest 'serious games' project ever to be created for the UK. Code Of Everand is the result of over two years of work with the Department For Transport by Area/Code principals and designers Frank Lantz and Kevin Slavin, not only because of its size and ambition, but also because of the complexities of developing it for a government body… We spoke to Lantz, Slavin and Simon Williams, who led the project at Carat, the Department For Transport's media agency, about what Code Of Everand is, how they pulled it off, and why they think it could prove that games can be a powerful platform for learning." Edge interview.

Wonderful, wonderful interview with Eggleston. So much care and attention in the work and the way he describes it; so many lovely illustrations. The "color scripts" alone are great, but really, it's all worth your time.

It's a digital clock made out of scrollbars; divs being resized to force overflow and generate a scrollbar make up the seven-segment display. Bonkers.

"Using a simple correlation scale comparing marketing spend and sales against Metacritic rating and sales, Divnich found that marketing influenced game revenue “three times more than game scores”… “There is no compelling reason to focus on quality, you should literally just spend that money and time on marketing.”" I'm not sure he's suggesting this is a /good/ thing, but he is pointing out that it's what the numbers say. It's still depressing.

"Grackle68k is a twitter client for early Macintoshes running System 6 through OS9."

Does what it says on the tin. Blimey. But also: awesome.

"Tommy, I appreciate you. You do so much for me. You make an excellent vegetable chili. And that time I was on a trip for work and you caught that mouse all on your own, you were really brave. On the flip side, Nick, Coach and your brother Ellis, they offer the security of a well-oiled killing machine. We cover each other. We share health packs. And we don’t cook vegetable chili."

"SoI think it's not unreasonable to read that the article is presenting the stance that the evolution of the status of games from 'toys and entertainment' to 'art' is fundamentally linked to the idea of authorship coming from the singular creative vision of an individual. For the record, I strongly disagree with this stance – and furthermore, I feel it is treacherous ground in which to plant the 'games are henceforth art' flag, as I suspect it is ground that will quickly be lost to (or surrendered by) the first generation of artists who even attempt to question it (in fact – for those of us 'in the know' it has been and continues to be, questioned all the time)."

"…sometimes I fear our endless preoccupation with making the case for video games is self-defeating. It feels defensive and, at its worst, produces a kind of micro-culture obsession with analysis: a 24/7 bloggo-Twitter tilling and re-tilling of the same small plot of dirt. In this self-absorbed environment, each new game's worth is measured by its ability to move the needle on emergent narrative, artistic expression, genre refinement…or whatever criterion we're applying this week to prove games matter to people already convinced." Yes. Not the reason I've been taking a break from writing about it, but something that plays on my mind before I put fingers to keyboard.