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Monthly Archives: March 2017
First, Facebook says its future is all video: a Fortune article video about FB, video and VR. In terms of advertising revenue, perhaps videos generate more money for Facebook than nonvideo ads. This seems to be true, as FB is greatly de-emphasizing text. The following is from a Tech Crunch article written by Natasha Lomas So, basically, if you want to spam all your Facebook friends with a video of yourself wearing an animal selfie lens, Facebook will happily put all its tech at your disposal. But if you wish to swap a few words with people in your Facebook network, Facebook actively discourages that by requiring you switch to its Messenger app to do so. It’s very clear where the company’s priorities lie. With Stories, Facebook copies Snapchat, and makes it clear that the written word is not part of its future. This is great news for Quora, Medium and other sites that promote exchange through the written word. Bloggers and news sites could benefit also, as Facebook decreases the number of thoughtful personal posts and increases whimsical and self-destructing/ephemeral .video posts. Facebook introduced : Facebook Camera Effects-funny adds on for photos, just like Snapchat filters. Facebook Direct-lets users share disappearing photos and videos in private messages -just like Snapchat Snaps. Facebook Stories- disappearing photos and videos for news feeds. Just like Snapchat Stories. A useful article and video on how to use Facebook stories; https://www.cnet.com/uk/how-to/how-to-post-facebook-stories/
A woman my age sat down next to me. Her hands were wrapped in fresh white bandages. “What happened?” She stared at me with different emotions, hatred mostly. “You wouldn’t understand. You got 100 ringgit?” I was livestreaming Borg 9 Flats on Twitch. I wasn’t doing a marathon or anything. Just seeing if anyone would show up. Maybe I could sell something. Only rosenervegas was watching. “You want one?” I pointed to the shrimp crackers by my keyboard. I wanted to see those bandaged hands try to pick up a shrimp cracker. She reached in. I jiggled the camera so she was in the video. ”Smile, you’re on candid camera.” “What’s that for? You CIA or something?” “Can I buy you a Coke?” “lol,” rosenervegas wrote. She reached across to get a cracker, almost touched me. badcarmel: feed that walrus rosenervegas: lol The schoolgirls came in and logged on. Monsterbaby: you got emo one looks like creepy pasta princessbluesky12: like love hina ravertravel1: hand transplants Jordanthe2: she can juggle my balls Our bodies were in the little rectangle at the bottom of B9F, between the map and the skinlist. We were grainy and green, like bad reality TV. The cameras here are crap. I watched myself watching her as she spilled Coke on her bandages. Everything on Twitch, every warrior and weapon in B9F, was glowing and vibrant. Especially the castle. Everywhere around us were deep crashing sounds and little boy yelps and curses, Swordfight clangs and techno. Amongst all the kids thrashing in their chairs, me and the woman with the bandaged hands were like snails. Ugly clowns. “You’re alone, right?” She sighed and sat back. It was just me in the grainy green rectangle again. hawkfire: where mummy go? bleakshywire: wa happen 2 hr handz? Dontiana came in. No one was leaving. Rayviking: handburnbaby where’d she go? "Drink your Coke," I said. She asked where the toilet was. No one else watched her walk to the back. When she returned, she was different. Like she’d put on makeup. She reached in for another cracker and the camera picked her up. rosenervegas: she’s baaackkk.
Click To TweetThe woman gestured with her bandaged hands. “ I can't understand you,” she said. I found a pencil. She winced when I slid it into her bandages. I thought I was careful. This would be entertainment, two players on the same piano. Dontiana: is she gonna write or play B9? Frenchmeow: got bandage hand emotes? Monsterbaby: wat is hapn I gently moved her hand over the Q W E keys. I use D for Flash. I jumped into my smurf account and started driving. She caught on, and started stabbin’ the keys. I was throwin’ stones. Five new people showed up. We started screaming.We were scoring. Not much, but we were scoring. (the background to this story is explained here.) and yes, WordPress destroys my formatting. Every time.
This post inspired by two thought-provoking articles; both about Snap/Snapchat. On February 13, 2017, the New Yorker featured Why is Snap Calling Itself a Camera Company? a piece written by Om Malik. Snap Makes a Bet on the Cultural Supremacy of the Camera, written by Farhad Manjoo, appeared on The New York Times website on March 8, 2017.......... This 90 second video summarizes Snap/Snapchat: ……………………… ‘Sexting,’ a word which originated in 2002, symbolizes the evolution of photo-based communication. First popularized by Snapchat, sexting exemplifies how photography’s purpose has expanded beyond documentation. Photos are now components of digital conversations; the equivalent of words or phrases. Photo-based visual culture is transforming our relationship with the world, from the personal to the political. Cameras have become the new keyboards. Snapchat exemplifies the triumph and importance of this new photograph-based visual culture. This visual culture also includes drones, emojis, selfies, QR codes, GIFS, very small action cameras, the role of cameras in self-driven vehicles, AR, VR, the possibilities that exist between photographs and search engines (such as Lens by Pinterest), and the relationship between photographs and products on smartphones. It’s understandable why cameras are being referred to as “third arms”. ………………………………. Snapchat’s recent IPO touched 24 million dollars and was the talk of Wall Street. Snapchat, or Snap as it now calls itself, has one hundred and fifty-eight million daily users generating 2. 5 billion snaps per day. Its S.E.C. filing included the phrase that “images created by smartphone cameras contain more context and richer information than other forms of input like text entered on a keyboard.” Snap calls itself a camera company, but its first cameras, called Spectacles, were released in 2016, five years after the company began. Snapchat was initially known for allowing users to easily send photos that would soon disappear; ie. user-generated ephemeral content. Snapchat made its mark with sexting. Now, Snapchat is expanding into areas like content production, a promising development now that millennials have left cable. From Farhad Manjoo’s NY times article, the following pieces of information -Gretchen McCulloch, a linguist, is writing a book on how the internet is changing language. -Phatic communication, a raison d’etre for emojis and more - Oren Soffer: Snapchat brings us back to a time before the printing press/the mass usage of text and writing, when information was disseminated orally. Snapchat. Photography. Data. Search. VR. AR. Images. Ideograms. Kodak. About me: I am completing a business plan for an image-based VR startup.(WordPress seems to always mangle my nicely formatted posts. This layout issue doesn't happen with my books...)
Last night, an old woman gently pushed my nose towards a newspaper covered with fish bones and lemongrass. A rat ran over one of the sparkly shoes under the table full of women from The Golden Place and two of them screamed. The man who sells pens came by, so did the man with the folding rattan chair. Distracted by the hissing of an intruder, I stepped on a hot cigarette butt. The man with the burnt face gave away perfume samples he pulled out of a new duffel bag. The monk looked into the eyes of everyone, offered his bronze bowl to a few. I listened to happiness, drunkenness, boredom, and suspicion. Music played from little radios. Barefoot children stared at me. Now it is morning and I’m lying in the shadows of the red plastic chairs. Coins are being counted on a metal table and the man behind the Chinese newspaper is smoking and drinking coffee. When I used to live in the place with big windows I only worried about rainy days. I had no scars, no friends and both of my eyes.
the following is being rewritten and is very far from the most current version. the conversation I had with Alvin was great; this blog post is so-so...Our greatest challenge may be learning to bear incoherence. “The officer pulled me into the search area. Went through my car, my wallet, my personal letters,” Alvin says without emotion. The incident took place about thirty years ago. ”A friend had handwritten the Chinese characters for ‘democracy’ on a flyer. The officer asked me about it and I said it was related to an artwork I had done.’ Don’t distribute this,’ he said, and he let me go.” Tiananmen Square,1989: we had been talking about it. At the time, I was living in Tokyo and working at ABC News. All of our cameramen and sound guys were over in Beijing. One had hidden an 8mm video camera in a box and documented the demonstration. One afternoon during that time I was at home with our baby. On TV a student demonstrator was asked a question; her carefully pronounced answer made a reference to Abraham Lincoln. I was moved to tears. Fragility, innocence and youth amidst an unplanned massive demonstration in the most influential historical area in Asian history. During Tiananmen Alvin had been involved at The Artists Village(TAV), the first artists commune in Singapore. He made an installation in an unused chicken coop, entitled Personal Views, China’s Democracy and there was Blood. Tang Da Wu did a performance within the installation. Tang Da Wu founded TAV and is regarded as the founder of contemporary art in Singapore. At the time, the influence of TAV was felt throughout Southeast Asia. Even now, TAV members like Lee Wen, Amanda Heng , Zai Kuning, Koh Nguang How, Vincent Leow and others are exhibiting work in Singapore and internationally; their works usually reflect the activism and sense of social responsibility that were part of the TAV experience. Koh Nguang How is a documentary artist now; he was working in a museum at the time and visited TAV whenever he could. In preparation for my interview with Alvin, I sent Koh a Facebook message, asking if he had any questions. Koh’s attention to detail is impressive; he told me Alvin’s wife is from Taiwan and that Alvin did not speak Mandarin. Koh wanted to ask me if Alvin had any problems teaching in English. Mandarin was the language being used at the Nanyang Academy of Fine Arts, where Alvin taught Western Art History, Aesthetics of Art and Psychology of Art.”Nanyang” is a Chinese phrase that translates as “Southern Seas”, though it often refers to all of Southeast Asia. During the years that Alvin was teaching, Singapore was continuing to define itself.English became the language of instruction. Koh’s question highlights the complexities of language in Singapore, especially in regards to Chinese dialects. Mandarin is the one of the four official languages of Singapore and the official language of China. The word translates as “speech of officials”. “No, I didn’t have any problems, as English was so widely spoken. My classes became so popular we kept adding more. Even students who only spoke Mandarin wanted to attend. I told them they could, but that they would still have to write a term paper, even if they wrote it in Mandarin. Students were very hungry to learn about art then.” Alvin has studied in Oakland California, San Francisco, Kuala Lumpur and Rome. In Rome he became involved with a community and an exhibition, that made the most of an abandoned building owned by the Vatican. Those experiences prepared him for the possibilities of TAV. The Artists Village: in our conversation, silence often follow the phrase. Like the Impressionists in Paris, Andy Warhol in New York or Damien Hirst in London’s world of advertising, TAV is associated with a specific time and place. TAV is, perhaps, most noteworthy because it was a pioneering achievement. The internet, numerous art schools, globalization, the commodification of art and changes in government policy now make the Singaporean art world very different than it was in the Eighties. “We should not encourage escapism” is a phrase I wrote down years ago, upon viewing an exhibition about Singaporean art in the Sixties. It felt like the Singaporean art world then was lost. Alvin mentioned the West’s first art critic, Giorgio Vasari and his book, Lives of the Artists. “A book about TAV is a good idea,” he says. I let the topic drift away. I could throw myself into creating a reading experience based upon the Artists Village, but I would not want to write a book about the Artists Village. A movie script, maybe, though where would the drama lie? Perhaps there were personal dramas at TAV: romances, scandals of some sort, infighting, egotism, probably betrayals: but if so, they are unrecorded. An unimaginative movie script would follow a three act structure: Act One: Tang Da Wu revolutionizes and modernizes Singapore’s contemporary art scene by establishing TAV and attracting the island-nation’s youngest, best and brightest. Act Two: Utopia at the end of a coconut tree-lined kampung dirt road; Pure Art, but with weekly visits by the police. Act Three; Exile and Loss. On our table is the catalogue of Alvin’s paintings, in which he wrote: I hope my paintings trigger an original sensation within the viewer; natural and freely formed without history or preconditioning. And so it is with this writing; I hope to give you, the reader a sense of our conversation, a sense of the topics we touched upon. Alvin, TAV and the quiet street in Johor Bahru where we talked are all worthy of narrative writing. But I haven’t been inspired to write logically, just as Alvin is not inspired to paint realistic landscapes. Perhaps I am like an Expressionistic painter, using sentences and ideas instead of brushstrokes and pigments. Hijikata’s widow told me that her husband, the co-founder of butoh, and the writer Mishima and had fistfights over differences in aesthetics. Now...eyes glued to “smart”phones, plastic souls bury themselves in low-level radiation screen displays. Facebook comments pass for heated debate. Articles I want to read: TK Sabapathy. “No way out” The Strait Times, Singapore Art & Entertainment May 20, 1993 Jennifer Tan. “Art that faces up to problems of the world” City Weekly, Singapore. May 13, 1993 “No Bed of Roses For Alvin” New Straits Times, Malaysia October 28,1987. I learned the word “apophenia while researching the phenomenon of seeing faces in clouds, a concept I wanted to compare to the act of viewing Alvin’s paintings. I also discovered molybdomany, shadow people, pareidolia, patternicity and the work of Chonosuke Okamura , who won an Ig Noble Prize for his reports of finding tiny, tiny humans in ancient limestone. "There have been no changes in the bodies of mankind since the Silurian period,” Okamura wrote, ”except for a growth in stature from 3.5 mm to 1,700 mm." My word research also found this phrase; "a specific experience of an abnormal meaningfulness". Finally, this fact: a person withschizophrenia initially experiences delusion as revelation. If there are patterns in this text, I must find them, for discovering patterns where there seem to be none is a very good thing. My life, my meeting with Alvin, the historical events that occurred within our lifetimes; there must be patterns. Banksy. The Beatles. The kway teow I’ve just eaten, the breeze and the frangipanis above us, the patterns of the tiles below. This is a Sunday afternoon, March 12, 2017. I met Alvin a week ago; our lives share some of the same patterns. Visas, passports and turnarounds. The last painting in Alvin’s catalogue, is called Late Arrival. I cannot judge his brushstrokes, nor if there is actually detail in the completely black areas. On the upper left of the painting, is a soft-edged raggedy flag-like shape of blue and blueish-white. Close to, and parallel with, the left edge of the painting is a warm brown horizontal shape like a tree branch or rifle. On the bottom right, a spike, the same tonality asthe brown on the left. Untitled Indigo is the name of first painting in the catalogue. It is a remaking of the yin yang symbol in soft fractions. A whirlpool. A map studied at twilight or dawn. Related post: http://www.blacksteps.tv/amanda-heng- performance-art- in-context- a-singaporean-perspective-by- lee-wen/ The italicized sentence which begins this essay is from an article which appeared on the Psychology Today website on July 31, 2012. Being Amused by Apophenia, waswritten by Bruce Poulsen Ph.D. https://www.psychologytoday.com/blog/reality-play/201207/being- amused-apophenia Thank you very much Koh, and Eric/Art 52.
I began working with VR in 2002, with a software development kit for children, the CDK. The Creative Development Kit allowed inexperienced children AND serious game developers to create games and projects, using our models and commands. The CDK was studied by the Singaporean Ministry of Education and used in schools throughout Singapore, as well as in the Singapore Science Center. I took a hiatus from VR to write books, one of which has become a best seller in Singapore. I also began research f0r a book on digital cinematography/VR/art, co-produced/curated SPOKEN, a virtual gallery with Eugene Soh and wrote/co-produced/starred in a 360 short film called Beach Road. In the middle of 2016, I decided that the time was right for my VR ideas. This blog is filled with posts about research , seminars, meetings etc. I am now refining my pitchdeck for presentation to investors/VCs. I would prefer to bootstrap, but for this company, at this time, that is a challenge that would seem to take a long time to solve.
I've plenty of notes about this place, as well the nights I've spent with the present owner at the 123 Cafe... http://johorkaki.blogspot.com/2012/01/indian-curry-puffs-salahuddin-bakery-in.html?m=1 https://m.facebook.com/pages/Salahuddin-Bakery-Jalan-Dhoby/151382781582630 https://www.tripadvisor.co.uk/Restaurant_Review-g298278-d7139589-Reviews-Salahuddin_Bakery-Johor_Bahru_Johor_Bahru_District_Johor.html