Design: June 2007 Archive Page

What is it for? Why is it there? Did whoever put it up realize that if there were no sign, there would be no need to warn about it? Is this a joke from the developers? Is it a lesson in recursiveness? Is it a philosophical prop? --Bizarre Sign (Lushlush)

Does it mean "Don't forget to knock your head here?" Obviously, it would be much less painful to bang into a light sign hanging from a chain than to bang into that horizontal bar right behind it. So I guess, in a way, they do want people to bang into the sign. It's just like those "low overhead" signs hanging outside garages -- it's better if the top of your vehicle makes that sign wiggle than if your vehicle gets wedged under a support.

(I flipped the image and cropped it to emphasize the effect. Not something one would do as a journalist, but that sort of thing is frequently done in the context of design.)

The idea is simple enough. Imagine a 30-storey building with glass walls, topped off with a huge solar panel. | On each floor there would be giant planting beds, indoor fields in effect--Jeremy Cooke --Vertical farming in the big Apple (BBC)

What will they think of next -- maybe, taking an urban residential skyscraper, tilting it on its side, and chopping the apartments into separate structures -- each with their own private entrance and yards?

I love the future!

However, perhaps this is not a simple matter of cause and effect. Perhaps it?s wrong to assume that the availability of good graphics technology caused the decline of games like Zork. If "interactive fiction" has migrated to the margins of the computer gaming industry, it could be due simply to a lack of good marketing, not evidence of some inherent limitation of the genre. It's quite possible that one day, when enough gamers are at last disillusioned with the latest 128-bit smoke and mirror show, interactive fiction titles will again enjoy the lucrative rewards won by Infocom during the heyday of the Zork trilogy. After all, the treasures of Zork are still there beneath the old white house, awaiting their discovery by new generations of gamers. Zork is not obsolete; merely under appreciated. Perhaps Zork is not the past of gaming, but its future. --Matt Barton --The History Of Zork (Gamastura)

I'm convinced that some people simply don't have the gene that makes them love text-adventure games. Nevertheless, now that the rhet/comp crowd has started following James Gee into an exploration of the educational value of computer games, I think we'll see more scholarship on IF.

Barton quibbles with my claim that "Zork" began as a simulation of "Adventure," but he is right to note all of "Zork"'s technical improvements. Of course, in order to recognize the need for those improvements, the "Zork" implementors first had to be both obsessed by and annoyed at "Adventure."

Nevertheless, a good article that offers some of the close-reading that I missed in "Down From the Top of Its Game," the 2000 MIT student project that tracked the rise and fall of Infocom. Barton offers some new interviews that contextualize the available academic information for the benefit of a general readership. Maintaining accuracy while not putting the general reader asleep is not an easy task, and Barton does a good job here.

(Thanks for the e-mail, Matt, but it was already in my RSS reader, thanks to Slashdot.)

I handed my notes over to the class and gave them directions to plan the next three weeks of class. They had to schedule one project and one exam. The project has to run five days straight, and they'll need the information from chapter seven to do the project. They had to make sure that they leave enough days to cover chapter five and prepare for the final, which is July 16.

Then I left the room.

It was a breath-holding heart-pounding moment, one where I wasn't sure if walking out was the right move. However, I'd done it before and -- truth be told -- I was stood right outside the door, shamelessly eavesdropping. Leaving was the only way I could teach this lesson in strategy and planning because, otherwise, my students would have centered the lesson on me. Is this what you want? Are we right? They would ask with their words and their eyes, watching me for nonverbal cues when I refuse to tell them what to do next. --Miki Louch --Formulating: putting the rubber to the road (Of ferocious tigers and wild strawberries)

At a packed session for academic librarians attending the annual meeting of the American Library Association, in Washington, the topic was how to help students who have learned many of their information gathering and analysis skills from video games apply that knowledge in the library. Speakers said that gaming skills are in many ways representative of a broader cultural divide between today?s college students and the librarians who hope to teach them. --Scott Jaschik --When ''Digital Natives'' Go to the Library (Inside Higher Ed)

I'd love to learn more about how libraries are modding themselves in order to take advantage of the considerable digital literacies that our students bring with them when the arrive on campus.

Jorn Barger, a Joyce enthusiast whose many creative electronic endeavors include coining the term "weblog," offers this animated map of Dublin, showing the progress of Leopold Bloom and other characters from the "Wandering Rocks" chapter of Ulysses. The chapter takes place on June 16, which has of late been celebrated as Bloomsday.


Last week was the Feast of Corpus Christi, which in the medieval town of York, England was celebrated with a huge outdoor festival that included wagons that were the sets for short religious plays that dramatized Christian history from the creation of the world to the final judgment (also know as Doomsday). This 2D animated map showing the progress of pageant wagons through the streets of York was part of my first scholarly publication, in 1997. I wish I'd thought of adapting the existing code to the Ulysses scenario.From Bloomsday to Doomsday

Sony Corp. apologized Friday to the Church of England for a violent computer game that features a bloody shootout inside an Anglican cathedral. --Jill Lawless --Sony: Sorry for Cathedral Shootout Game (Brietbart)

When the steam train roared into history, hissing smoke and howling into the night, it was an awesome beast, adorned in the finest woods, ivory, gold, and intricate inlays, like some Serpent King on a sacred tapestry. The automobiles of the 20's to 60's, each was a work of art. The television and radio affected the world in more ways that can be imagined, changing the entire dynamic of human social structure and communication. They were both appropriately gifted with the most lavish of hand tooled, wooden scrolled cabinetry, housings which borrowed architectural details from the grandest schools, churches and banks.

Sadly, the personal computer, which has impacted the world more profoundly than probably all of the previously mentioned inventions put together, never recieved the same kind treatment. It went from a buzzing beige cube, to a buzzing white one, to the garish space-eggs you see nowadays. --"Datamancer"

--The Nagy Magical-Movable-Type Pixello-Dynamotronic Computational Engine (Datamancer)

I absolutely love the round porthole window over the DVD drive. There should be a little brass plate on the frame under the monitor, and around the monitor there should be shelves with cubbyholes. Lots of cubbyholes.

News emerged over the weekend that Church authorities have complained to Sony about the depiction of Manchester Cathedral in the game. Some reports have stated that the Church may pursue legal action against the company.

But according to Alex Chapman of Campbell Hooper solicitors,"The Church will have an uphill battle in a legal claim against Sony, and indeed it is likely that there is no basis for a claim." --Church will face ''uphill battle'' if suing Sony, says legal expert (Games Industry Biz)

I've been following this story about Resistance: The Fall of Man.

I'm reminded of when sculptor Frederick Hart was surprised to discover that that a copy of a sculpture he had created for the National Cathedral in Washington D.C. was featured for about 20 minutes in the movie Devil's Advocate, and that the filmmakers had actually animated the sculpture to turn it into what the Anglican church leaders called a distortion of a religious sculpture.

Sony was forced to re-edit the film before they could release it on DVD and video (after agreeing to put disclaimer stickers on the copies of the movie that had already been produced).

The National Cathedral case involved a living artist, who still owned the copyright to a work that was commissioned for a religious purpose. The Manchester Cathedral case probably doesn't involve much recently-produced art, and the leaders object to the fact that the digital re-creation of the church is the setting for a gunfight.

It will be interesting to see how the mainstream media represent the Manchester case, since it involves a video game. (We've already seen that even the very edgy indie Slamdance Film Festival is not a safe place for envelope-pushing videogames.)

--How NOT To Use Powerpoint By Comedian Don McMillan (YouTube)

Thanks for the suggestion, Josh.

I generally ask my students to post their presentation notes on their blog, and rather than read through their blog entry word-for-word just take the class through the links and talk us through their main points.

I am an animator and concept artist by trade. However, I don't think my art is really so great that it deserves a "how to". My devotion to my live steam hobby however, lends my steampunk designs a level of authenticity that often lacks in steampunk art. Therefore, this is just a quick explanation of parts, and how to draw and design a machine that "looks" convincing.

Please keep in mind that these are super simple explanations of different components of live steam, and steam buffs will probably will tear these descriptions to pieces :) I feel that it is important to get the basic idea without having to go into dry and boring detail. By no means am I an expert in steam engines. This info is taken from my personal experience working on small scale live-steam engines. Most of the examples below are found on model engines, which works off of the same basic principle as the big ones. This is also just a guide. There are no set rules for concept art. You just make whatever appeals to you. In other words.... this is steam for artists, not really to educate you in details of steam power! :) However, it is important to understand some fundamentals of steam power, in order to make your drawings look believable, as something that could have been built in Victorian times.

First you have to understand steam, and how it works by looking at each part of the machine. --How to Draw SteamPunk Machines (www.crabfu.com)

I love the site -- it's got some really cool artwork and photos of steam engines (toy-sized, but real).

Some day when I have time, I want to re-design my whole website with a steam punk theme.

"Looking at this brochure, it's obvious Paul just wanted to use the 'wave' frame effect from that new PhotoFrame 2.0 software package we got last week," fellow Blue Moon graphic designer Jared Mahaffey said. "There's whacked-out, psychedelic edges all over the place--on the photos, on the floor-plan charts, even on the text boxes, for God's sake." --Graphic Designer's Judgment Clouded By Desire To Use New Photoshop Plug-In (The Onion (Satire))

BioShock will be Ken Levine's magnum opus. It will be his career defining game. It's ambitious, unusual and aggressive, mixing the high polish expected of a "next generation" shooter, with equal parts storytelling, politics, and philosophy, all wrapped up in a bloody, underwater, 1940's bow.

[...]

The most prominent character in BioShock -- Andrew Ryan, Rapture's founder -- is an embodiment of a self-centered, free-will political ideology called Objectivism. Objectivism is the brainchild of 1960s author Ayn (rhymes with mine) Rand. She defined it thus: "Man as a Heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity and reason his only absolute." Put more simply, an Objectivist says "the world is what it is, my place in it is important, the only way to know anything is to use your own head, and the best political system is one that leaves me the hell alone. "Andrew Ryan is Ayn Rand meets Howard Hughes," explains Levine.

The initial plot of BioShock -- the founding of this utopia -- mirrors the plot (albeit through a glass darkly) of Rand's 1960's epic book "Atlas Shrugged." In "Atlas Shrugged" the worlds elite -- the "atlases" -- stage a minor rebellion and remove themselves to a better place: a valley where they can be free of the eye and hand of the world's governments and those who would leech off their talents. While the rhetoric of Rapture's founder, Andrew Ryan (an anagram of Ayn Rand with an extra "rew" thrown in for obfuscation) sounds like a Randian polemic, his nemesis is ambiguously named "Atlas." To figure out which one is really the good guy or the bad guy, we'll all have to play the game.

BioShock's story -- for those who wish to stop blowing things up to delve into it -- is about translating this Objectivist ideology into the real world. "One of the things that's very appealing about Rand to me, and about Rapture, is at least in the beginning they're driven by reason." Indeed, this is what attracts most people to Objectivism: it's based on rationality above all else. By both highlighting and skewering Objectivism, Levine's on the warpath against zealots. "I'm trying to write about what happens when real people try to do things," he explains. "The characters in Ayn Rand's books are paragons." But paragons aren't real people, and Levine has written his characters to be as real as possible. They may be drawn in broad strokes, but they're human. "Real people aren't perfect. That's the problem with ideologies. Real people carry out ideologies. So even the best of intentions gets screwed up."

To attempt to do this in a game -- not a college art project, but an actual commercial blockbuster game -- is phenomenally ambitious. "You don't elevate the discussion by saying 'listen to me!'" says Levine. "You get it by saying 'look this is awesome, oh and by the way we're also talking about being a human being. We're also talking about power.'" --BioShock (Gamers with Jobs)

Mr. Singhal is the master of what Google calls its "ranking algorithm" -- the formulas that decide which Web pages best answer each user's question. It is a crucial part of Google's inner sanctum, a department called "search quality" that the company treats like a state secret. Google rarely allows outsiders to visit the unit, and it has been cautious about allowing Mr. Singhal to speak with the news media about the magical, mathematical brew inside the millions of black boxes that power its search engine.

[...]

Until now, Google has preferred pages old enough to attract others to link to them.

But last year, Mr. Singhal started to worry that Google's balance was off. When the company introduced its new stock quotation service, a search for "Google Finance" couldn't find it. After monitoring similar problems, he assembled a team of three engineers to figure out what to do about them.

Earlier this spring, he brought his squad's findings to Mr. Manber's weekly gathering of top search-quality engineers who review major projects. At the meeting, a dozen people sat around a large table, another dozen sprawled on red couches, and two more beamed in from New York via video conference, their images projected on a large screen. Most were men, and many were tapping away on laptops. One of the New Yorkers munched on cake.

Mr. Singhal introduced the freshness problem, explaining that simply changing formulas to display more new pages results in lower-quality searches much of the time. He then unveiled his team's solution: a mathematical model that tries to determine when users want new information and when they don't. (And yes, like all Google initiatives, it had a name: QDF, for "query deserves freshness.") --Saul Hansell --Google Keeps Tweaking Its Search Engine (New York Times)

Interesting details... so PageRank is not as important now as it once was.

At the end of their most recent paper reporting these findings, the researchers reflect that it is "ironic, sublime and truly humbling" that this 4,500-year-old limestone is so true to the original that it has misled generations of Egyptologists and geologists and, "because the ancient Egyptians were the original-albeit unknowing-nanotechnologists."

As if the scientific evidence isn't enough, Barsoum has pointed out a number of common sense reasons why the pyramids were not likely constructed entirely of chiseled limestone blocks. --Sheila Berninger and Dorilona Rose --The Surprising Truth Behind the Construction of the Great Pyramids (Live Science)

You may or may not be familiar with V-Tech Rampage, a flash game created by Ryan Lambourn. True to its title, the game allows the player to take on the role of Cho Seung-Hui and re-enact the fateful school shooting of April 16th. The game drew hatred from the mainstream media and gamers alike; many feel the game to have no ultimate purpose other than allowing players to kill simply for the sake of killing.

Similar complaints have been lodged against Super Columbine Massacre RPG!, created by Danny Ledonne. Like V-Tech Rampage, SCMRPG allows the player to take the roles of Eric Harris and Dylan Klebold on the day they massacred twelve of their peers.

In an effort to get Lambourn's side of the story and answer some nagging questions I had for Ledonne, I interviewed these two frequently despised, often applauded game creators about the possible importance of their games. --Virtual school shooings: interviewing two of the most hated game creators alive (Destructoid)

Ryan Lambourn, the creator of V-Tech Rampage, sounds defensive and juvenile. I haven't played his game yet, so I'm just filing this for later.

Same with I'm O.K. - A Murder Simulator