A small side note to today’s discussion: here’s a trailer for a game using the Kinect, that opens with a brief history of video game controls. The description of the game calls it a  “Western-themed revenge story” in which players control an undead cowboy marionette (!?) I have to say, it in no way inspires me to play the game, although I’m curious about the Kinect.


Otherwise, thanks to Justin for letting us get our hands a little dirty, so to speak. I enjoyed discovering the tool today, and I’m sorry I had to leave while you were still talking.

Some notes I made while reading for this week:

p 227 – How to discuss, or even perceive, the difference between truly obsolete and temporarily out of style. For example, I think betamax as a technology is fully dead, maybe the 8-track tape as well, but it’s less clear that vinyl is done forever. Is that because vinyl was better established before it became obsolete, or is it because vinyl still has a unique capacity?  Is that capacity strictly nostalgic, or is there an actual function that is not replaced by subsequent technologies? As a printmaker and oil painter, as well as in my daily life, this interests me.

I was also interested today in the idea that one of the desireable aspects about the programming tool for Justin was its ability, by adding “random” for example, to imitate slow technology, or even analog media. I am thinking about, oddly enough, the experience of learning to use a curling iron. What you see in the mirror is the opposite of what really happens, which means that girls using curling irons for the first time are moving all of the tools in the opposite direction of what is needed, until they learn to “re-see” what’s there, and override the apparent information.

p 228 – the conceptual distinction between invention and discovery

p 229 – an interesting comment about media as a cure for media exposure, sort of a “hair of the dog” remedy

p 259  – Reflections on object-based (possessable) vs. experience-based aesthetic value. I got to wondering about the plain old print book as an interesting combination of this tension, allowing us to distinguish between the material object and the reading experience contained within.