Point Cloud is an attempt to reimagine our daily interaction with weather data.
"How exactly this happened, in [Chris] Kohler’s admitted simplification, concerns the split between japanese and American gaming in the 1980s. American gaming went to the personal computer, while Japanese gaming retreated largely to the console. Suddenly there were all sorts of games: platformers, flight simulators, text-based adventures, role-playing games. The last two were supreme early examples of games that, as Kohler put it, have “human drama in which a character goes through experiences and comes out different int eh end.” The japanese made story a focus in their growingly elaborate RPGs by expanding the length and moment of the in-game cut scene. American games used story more literarily, particularly in what became known as “point-and-click” games, such as Sierra Entertainment King’s Quest and Leisure Suit Larry, which are “played” by moving the cursor to various points around the screen and clicking to the result of story-furthering text. These were separate attempts to provide games with a narrative foundation, and because narratives do not work without characters, a hitherto incidental focus of the video game gradually became a primary focus."
— Bissell, Tom. Extra Lives: Why Video Games Matter. New York: Pantheon books, 2010. (via carvalhais)
"The trend toward feudal-romantic fantasy may seem harmless. Heck, I enjoy Tolkien and steam punk and some of the best fantasists. But dreaming wistfully about kings and lords and secretive, domineering wizards is a sugary path that leads ultimately to betrayal. Because kings and lords and wizards were never our friends! Indeed, for most of history they were the chief plague destroying hope for humankind. Oh, some kings and wizards were less bad than others. But they were all “dark lords.” Our fixation on them is a legacy of the 10,000 years in which feudalism reigned, when chieftains controlled the fables by ordering the bards what to sing about. A long, grinding era when humanity got nowhere. When the strong took all the women and wheat, and forced everyone else to recite fables about how right it was."
"The nature of the innovation established by Creative Commons, by the Free Software Movement, by Free Culture, which is reflected in the Web in the Wikipedia, in all the Free Software operating systems now running everything, even the insides of all those locked-down vampiric Apple things I see around the room. All of that innovation comes from the simple process of letting the kids play and getting out of the way."
"I’m increasingly more interested in the relationship society and individuals have with technology, and less interested in the technology itself. I’ve been focused on dealing with the function of art in culture, and intentionally exploring that space in a more concentrated way."
Data Driven Stories: Aaron Koblin for the Future of StoryTelling
Aaron Koblin discusses his high-profile web-based creative projects which have all been groundbreaking:
A sort of dreamscape unto itself, this film charts the creation of several of acclaimed artist Aaron Koblin’s most imaginative and game-changing projects, including the crowd-sourced music video for Johnny Cash’s song “Ain’t No Grave” and the user-customized short film “The Wilderness Downtown,” which is set to Arcade Fire’s “We Used to Wait” and was created entirely in HTML5. Koblin also describes the genesis and evolution of what may be his most groundbreaking work to date: “This Exquisite Forest,” a collaborative art project and online story generator (created with Chris Milk and the Tate Modern museum in London) built and nurtured by web users. Koblin’s remarkable oeuvre draws increasingly on the immense computing, storage, and data-sharing capabilities of the current generation of computers—as well as recent innovations like hardware-accelerated browser graphics—and demonstrates in the most vivid ways imaginable the infinite artistic and narrative possibilities of crowdsourced digital creation and autonomous storytelling.