This was great on lots of levels: good writing, sharp on the problems of the MCU (and That Show), and excellent on Kubler-Ross. Sure, you're meant to nod along, but I still had nice new thoughts along the way.
"When people talk about serendipity, they’re not always talking about discovering something that’s totally brand-new. In fact, I’d haz ard that they’re USUALLY talk ing about randomly unearthing some thing that’s comforting and familiar. This is ten times more true with television."
Shownar: or, so, we made a thing
03 July 2009
It’s been around the internet a bit already, but I can now show you what I’ve been working on for much of the time since I joined Schulze & Webb.
What’s Shownar? Matt explained it over at Pulse Laser, the Schulze & Webb blog:
Shownar tracks millions of blogs and Twitter plus other microblogging services, and finds people talking about BBC telly and radio. Then it datamines to see where the conversations are and what shows are surprisingly popular.
And over at the BBC Internet Blog, Dan Taylor quotes the about page:
First, it will help you find shows that others have not only watched, but are talking about. Hopefully it’ll throw up a few hidden gems. People’s interest, attention and engagement with shows are more important to Shownar than viewing figures; the audience size of a documentary on BBC FOUR, for instance, will never approach that of EastEnders, but if that documentary sparks a lot of interest and comment – even discussion – we want to highlight it. And second, when you’ve found a show of interest, we want to assist your onward journey by generating links to related discussions elsewhere on the web. In the same way news stories are improved by linking out to the same story on other news sites, we believe shows are improved by connecting them to the wider discussion and their audience.
Of course, I didn’t work on this alone; as Matt points out, there was a good-sized team from both the BBC and Schulze & Webb, and it was great to work with so many talented and sharp people, all of whom have left their mark on the project.
People have been pretty enthusiastic so far, which is always nice to see. It’s also great been watching stories emerge – stories of what we found to watch or listen to in the office, ways our viewing and listening habits have changed, and there’s not much better praise than constantly wanting to use a thing you’ve made.
So there we go, Shownar. Another thing in the world.
"Today I gave a two week's notice of my intent to resign. The letter was written in frosting on a full sheet size cake. The cake was delicious and it was well received."
"I would be very interested in seeing a BSD game that introduced some moral ambiguity, or unexpected and painful consequences. I'd love to see a game where you start off with balls in full swing, then slowly start to realize that–mother*ucker–you're on the wrong side." Bill Harris gave up on Killzone 2. I'm mainly linking to this just because of the coinage of "BSD" as a genre, which is perfect.
"Sometimes, it’s worth joining the dots between a few things you find." If in doubt, make a story out of nice things you saw. In this case: a quick exploration of the fantastical in design. With lots of pictures!
Probably the most comprehensive page on Pob I've found, with, most importantly, pictures of Rod Campbell both drawing mechanisms and opening boxes. Which is the bit I always want to refer to, but never can find pics of. Until now!
"The web is about sharing … and people will share with the tools they’re given. If username and password are front and centre, then they’re the tools people will use. There’s so much usability dogma about reducing the sign-up process and throwing people into use that important details – such as explaining what all the cogs and levers do – are forgotten, or assumed as knowledge." This is excellent, and all true, and I do not know how to solve this. But Chris' comments – that this is not stupid, this is how people are – are all spot on.
"Starting a new column reprinting classic Game Developer magazine articles, this January 1994 premiere issue article goes behind the scenes of Id Software's Doom, talking to John Carmack and revealing technical specifics of the seminal game's creation." And it's cracking – lots of great detail, some neat ironies, and quite a bit about the id team's fondness for NeXT workstations.
Consolevania is over. A shame, but they make their case well, and it was lovely when it lasted.
Dopplr Blog » Blog Archive » Dopplr presents the Personal Annual Report 2008: freshly generated for you, and Barack Obama…"We’ve generated what we call the Personal Annual Report for all our users. It’s a unique-to-you PDF of data, visualisations and factoids about your travel in 2008, that we’re delivering over the next week via email to every Dopplr user who travelled in 2008. To give you an example, we thought we’d show you the Personal Annual Report of someone who’s had a very busy 2008 – President Elect Barack Obama." This is super-awesome. Can't wait for mine, no matter how small it is.
"Your argument did not address my own, but nice try". I think I'm going to need this in future.
These are lovely. The more I think about this, the more I like his Die Hard poster.
"The purpose of this analysis is to determine the evolution of gravity in the Mario video game series as video game hardware increases." Not super-accurate, but not bad; the bit when it starts the comparison against GPU word length is a little silly, perhaps. But otherwise: fun!
Consumption is also about choice
01 May 2008
Many of us linked to Clay Shirky’s great talk at Web 2.0 last week, where he described the “cognitive surplus” bound up in millions of man-hours spent watching TV. We read it, and nodded, and grudgingly admitted he was right. I mean, he has a point.
I’m somewhat envious of Chris’ slightly more considered reaction:
“I’m a bit shocked at the general protestant work ethic undercurrents. It’s not a cognitive surplus; it’s a way of coping. The real question is why these people are creating Wikipedia when they could be sleeping instead. We’re processing hundreds, if not thousands of times more information per day than previous humans – how are we meant to make sense of it all if we have no downtime?”
Envious in that some days, I wish I had the balls to say “hang on a sec“.
Chris makes a good point. He also got me thinking a bit about the issue. And I think it’s important to note than when Shirky says “television“, he has a very particular meaning of that word. He’s describing a combination of the medium itself and a particular use of that medium.
Specifically: he’s describing consumption without choice. So to all of you fans of The Wire worrying that he implicated you, don’t worry.
To my mind, Shirky is describing the (depressingly commonplace) reality wherein the television is not something you turn on, but something that is on.
I was talking to Alex about how much TV we watch a week, and whilst we thought it was quite high – six to seven hours, tops – I pointed out that most of that is television we have actively chosen to watch. This week, it’ll be Doctor Who, Battlestar Galactica, Mad Men, Pulling, Peep Show, and of course, The Apprentice. But that’s about it. We rarely ever turn the TV on “just because”, and if we do, it’s usually me doing it – and the first thing I reach for is the EPG. On top of that, we probably won’t even watch that all in real time, but PVR it to watch when’s more convenient.
We are very much in control of our television watching.
We are not the kind of customers TV companies would like us to be. These days, TV is designed to be sticky; something you consistently choose not to turn off. Trails, stings, picture-in-picture; all are designed to stop us “touching that dial”. For a network or station, there’s no difference between changing the channel or turning the box off. Everything’s designed to keep you there.
This is how it’s been for decades, and why, in houses around the world, the TV is a constant presence; once you’ve turned it on, it entices you to keep it on, and so rather than making a choice of next action… you keep watching.
(Incidentally: whilst TV has always been a medium of choice for me, radio is something I often listen to “just because”. Radio’s incredibly sticky… and yet it’s less obssessive about being sticky, I guess because the likelihood that you’re already doing at least one other task – driving, working – is high. Radio’s always been designed to multi-task).
The thing that I have in common with the Wikipedia editors, when I sit down to watch an episode of Doctor Who is that I’ve chosen to do so. Wikipedia won’t edit itself, and you can’t just do it passively; have to actively decide: “I am going to edit some Wikipedia“. The truth of the web – something we can’t say for TV – is that it’s easier than ever to switch from the passive mode (“I’m just browsing some Wikipedia“) to the active mode (“that’s a mistake; I should change it“) – and even back again (“ooh, that link looks interesting“). There’s no possible passivity in creation, but it’s possible to return to a more active state having created.
And so the world Shirky describes as preferable to the constant passivity of TV is not one of constant production, constant creation, but one where “passive” and “engaged” are two ends of a sliding scale – and that it’s the inner of that scale, not the edges, that is most commonly inhabited.
“…the thing that makes participation valuable is that someone’s there to read it.”
And the more I think about this, the more reductive I think it is to describe the TV/not-TV perspective as being one of choice/not-choice. Indeed, most of us fall into neither the “hardcore” all-choice category – constantly running things and editing pages and creating stuff – nor the “totally passive category”; rather, we hover around the middle, scaling up and down to either end. That’s something that’s often forgotten in all the 70-20-10 discussions, where someone invariably flashes a pyramid up in their slide deck: the thing that makes participation valuable is that someone’s there to read it.
The thing that makes being a ten-percenter worthwhile is the seventy percent.
And we’re not all ten-precenters, all of the time; the ten-percenters are going to stop creating for a moment, and become part of their audience. I think that’s something we lose track of in all the “culture of participation“: when do we stop to take in all the things we’re participating in? Chris put this well:
“how are we meant to make sense of it all if we have no downtime?”
I don’t think we can.
This isn’t all to say that Shirky’s point is invalid, or that he’s incorrect – far from it. More the thinking that there are subtleties contained within his talk – and the ideas it stands for – that need to be considered sooner rather than later, before we all start parroting the same lines in our own presentations. By exploring what we understand our own work ethic to be – and examining the choices of how we spend our time – we can make better judgment and make better consideration of how other people spend theirs.
“Only once you can automate the boring processes and provide free time do people have to worry about what to do with their free time.”
The other interesting thing that came out of my chat with Alex was the importance of remembering what the pre-industrial society looked like. Alex pointed out that the Victorians essentially invented the concept of “personality“. Prior to then, shaping one’s individuality was harder simply because there was less free time; the rural lifestyle shapes the individual around the seasons, the environment, the wider group. Only once you can automate the boring processes and provide free time do people have to worry about what to do with their free time. Gin filled that niche for people who really didn’t know what they wanted to be, let alone do. TV is the same: it was progress, and at the time of creation, there were fewer more compelling alternatives.
It’s only recently that the barrier to creativity/productivity has been lowered to the point that it’s a viable alternative to watching TV. Compare the number of people with blogs to the number of people who published zines thirty years ago – a big part of the barrier to making a zine is the amount of time necessary to assemble it, photocopy it, and distribute it. Now, anyone can throw up a website in an evening and potentially have more readers than many of those zines. Since the 1970s, creating-for-pleasure has become much easier, and it’s worth remembering that when we try to illustrate the diversity of alternatives to passive staring at the TV…