Interactive Narratives for Digital Humanities Gaming

As I witness my 6 year old’s engagement in games like Zombie Farm, with its complex rules and scenarios, I reflect on the tremendous cultural holdings of libraries, museums and archives and wonder how can we engage the next generation in this material? How can we make learning using archives and collections something that can meaningfully compete with traditional gaming narratives stemming from fantasy, horror and science fiction? What are the constructive elements that take content that is scientific, relates to premodern folklore or modern day fears…and translates it to an engaging game?  For decades the gaming industry has rested upon the work done by the pioneers of table-top gaming (D&D, etc.) and arcade games.  In the meantime, educational interactive gaming has not caught up, reamaining trapped in tired metaphors of flash-cards and treasure hunts.

A number of creative and analytical things are on my mind right now….I am in the initially messy stage of compiling issues, factors, observations, possibilities and visions. I am spurred on first by the amazing work of Game Researcher Jane McGonigal who persevered through recovery from a brain injury by creating a game out of it…a game that could prove useful for anyone dealing with recovery (from quitting smoking to perhaps behavioral plans for children with special needs): http://blog.avantgame.com/2010/07/superbetter-ignite-talk-and-kickstarter.html

I am additionally moved by Ali Carr-Chellman’s TED talk about how to re-engage boys in learning through interactive gaming:
http://www.ted.com/talks/ali_carr_chellman_gaming_to_re_engage_boys_in_learning.html

It then occurs to me…the metaphors in video games are similar to sports, scouts and to martial arts. They are about ‘leveling up’ (belts, badges, etc.), having ‘allies’, defeating opponents, working with teams, engaging in strategic thinking.

The narrative archs as stated before deal primarily with mythos from European-folklore based fantasy, East Asian folklore, space operas and martial-arts based dramas, Lovecraftian horror, Vampire fiction, Zombie fiction and military scenarios.

Contemporary app. games are gradually deviating from these, but they still in part stem from the original objectives set up in the age of table-top gaming development: mystery-solving, puzzle-solving, collaborative problem-solving with teams.

These are all things that are not found in our school system or museum and archive exhibits.

How can we successfully carry these over to games involving content in historical or cultural archives? How can we make such games familiar in template, engaging and meaningful?

Lastly, because the following videos struck a cord in me that I have yet to completely process in terms of its relevance and application:  The following 4th grade male teacher in Japan uses team and literacy activities to develop social and emotional empathy among children: http://www.youtube.com/watch?v=armP8TfS9Is

Can we develop games that encourage use and understanding of the materials of cultural heritage while also developing social and emotional literacy? Can we do this through games and activities?

Lots to chew on.

Digital archives, e-reading and what is lost?

Sitting down with a pile of recent New Yorker magazines given to me by a neighbor, eating a bowl of homemade soup, I marveled at how it felt to become engrossed in a medium that did not electronically glow or hum at me. Neither did it tempt with boosts of social-media-induced oxytocin when my interest in the author’s narrative began to waver. My mind felt calm as I fell into the developing piece. I fell happily into a zone unlike the frenetic zipping around on Twitter, or the  emotional juxtapositions on Facebook.

We have studied the brain activity of those online, those watching TV, those playing videogames….we are learning so much regarding how internet and computer use is creating changes in mental pathways. Have we studied the difference between MRIs of print-media readers vs. e-book/ blog/RSS/social a readers?

There is a perceived convenience in compiling, scanning, processing large amounts of citations and PDFs for research….but there is an experiential difference in going through printed articles, piles, folders, and books. I would argue that this experiential, emotional and intuitive difference informs and allows for differently motivated discoveries, reflections and insights.

How much is romantic projection and how much is neurologically accurate? And is there really a difference between those two? Is it a matter of platform? Would I feel differently if the manner in which I interact with the digital archive resembled that of shuffling through piles and pages? Would it be different sitting in a cafe versus sitting in front of my computer like a TV? Would it be different if I were using a touch-screen to move files into bibiliographic software? There are various impediments to my answering that question – limitations having to do with the cost of new equipment, my familiarity with certain software.

Still, is there some loss of serendipity?  Some level of intuitive control and mastery that years of working with paper publications has developed that the comparatively fickle and everchanging technologies of databases and metadata/retrieval systems has made too difficult for many to accomplish? Just when one develops a system of organization do frameworks and schema change and the world is captivated by promising new novelties. Akin to an office changing email platforms every two years, each model claiming improved usability and access…..the most productive professors may still swear by hotmail, Eudora or Pine.  The busiest administrators may still print up every email and file everything in paper stacks. Why? Because if too much went electronic, they know they would lose information. What they have and have done works, because their brain is busy with what else they have mastered.

What does this have to do with electronic reading and archives? Something occurred to me recently while organizing and backing up my files from my classes. I have electronic folders filled with PDFs. I have a delicious.com account swimming in tags. Viewing these files, double-clicking to open them does not invoke the same emotional revelry that relaxed flipping through old readers or paper files does. Is this actual or merely personal?  Is this generational? As a teenager in the late 80’s and early 90’s I would go to Telegraph Ave., equipped with all the latest free weeklies (SF and East Bay Weekly, East Bay Express), the latest Sandman comic books, some article of local poetry from Zeitgeist Press, a used book or two of modern literature or philosophy. Armed with these and a notebook I would order a cappuccino at the Caffe Med, walk upstairs and I would tune out for several hour listening to post-punk on my cassette walkman.

In this manner, I would browse these printed volumes, writing down quotes, book titles, zine publishers, artists names. It was this research activity into literary, cultural and creative works that fueled my acquisition choices as a book buyer in the mid-late 90’s (before corporate culture had me packing off to graduate school).  Gen-X bohemia aside, my important point is…I did not spent the majority of that time trying to figure out how to flip my cassette over, or how to access an article in the back of a magazine or newspaper, or fretting over why I couldn’t find certain comic book issues in my bag or pile on the table. The connection and interaction with information access and recording seemed as smooth and natural as one’s own synaptic flow.   Perhaps those younger than me, the ‘digital natives’ are silently scoffing at my concerns. But I am still curious – how similar or different are these two methods of content discovery?

Fast-forward a couple years – shortly after these early 90’s, outside of library/university records the “social/research web” was limited to usenet groups. I scoured dozens, printing FAQ sheets, discographies, with some vague idea of preservation.  Fifteen years later I realize this kind of activity is what amazes me about current digital archiving practices.  But as I now find articles in printed newspapers and journals and waver between cutting them out to collect yet  “more paper” vs. the time it would take to go online to that journal to seek out the electronic copy of the piece and save the citation in delicious.com (hoping that in future I could retrieve it with compatible metadata or even hope that the url still worked! )…there’s a strong chance things could become lost. I have file drawers of printed pieces from newspapers and magazines from 20-15 years ago, many of which are inaccessible online and out of print.  I am glad that I can peruse and discover articles I did not remember possessing. I also have boxes of notebooks that I wrote things down in. Obviously beside the differences in recording and retrieval there is a dramatic difference in public access. Who else beside myself can access these files or these notes?

I do not have easy answers for these inquiries other than an acknowledgment that these are challenges for both the processing of digital and traditional archives as well as challenges to cross-generational acceptance and standardization of ever changing technological methods of publishing, experiencing and preserving information.

Returning to the notion of measuring qualities of brain activity – is the activity conducted on the early days of the web, usenet groups, similar to that of surfing newsfeeds and engaging in social networking? Is there a difference between this kind of mental activity and that of reading printed material? Is zipping around a printed newspaper or magazine different than that of becoming engrossed in a novel? How is a graphic novel different? Or a video game? What does the MRI of someone reading Dostoevsky or Proust look like?

If human brain pathways are evolving – could we be losing “earlier versions” of our brains? Like languages, dialects and accents are lost…are we losing earlier pathways and structures?  Many studies argue that we are re-mapping our brains through our use of the digital.  What if these lost parts correlate with improved stress reduction or focus or things that we currently try to medicate for? Are there activities that also use these same neural zones? Painting, gardening, yoga?  Do we want to substitute a reading experience that feels like yoga or gardening with a reading experience that feels like navigating a busy freeway? Perhaps for those who enjoy the taste of adrenaline, that has its place…but before we completely switch over our means of informational input (a transition as dramatic as the printing press or discovery of electricity) it might do our mind and creative processes good to fully understand what we are gaining and what we might be sacrificing.

Running the Numbers – Austin Museum of Art

“Running the Numbers” is an exhibit that opened this weekend at the Austin Museum of Art, of Seattle-based artist Chris Jordan who produces artistic visualizations of the data of American consumption and waste. All of his works reproduce or reflect canonical works from art history or use a variety of familiar aesthetic techniques, to produce arresting pieces of beauty. However, this was a sobering and uncomfortable viewing, revolving strangely less upon the physical works themselves, the blown-up photographs and digital mosaics, than upon his visualization techniques, political conceptualization and in particular, the grim data presented.

The piece “Ben Franklin” (2007), a digital mosaic composed of small hundred dollar bills totaling 125, 000 (representing $12.5 million) created the pixilated image of Benjamin Franklin. The work was a visualization of the amount of money spent on the war in Iraq every hour from 2003 to 2008. It was a very large image (as were many of the political and environmentally oriented artworks) and in front of the piece sat a bench. Contextually what struck me the most about these works was the behavior that they inspired in the viewers. This was the first art exhibit that I attended with the audience spending more time reading the signage than gazing upon the pieces themselves. There was almost a sense of shame and nervous sobriety as the crowd milled about, glancing in furtive awe at the works. At the same time however, the atmosphere grew to resemble a quiet town hall, as viewers found themselves sitting on benches in from of these pieces and opening up into thought provoked discussions. These conversations were not so much about the artist, or even his aesthetic execution or material, but about the concepts that he was trying to drive home. Two individuals sat in front of the “Ben Franklin” work sharing an intimate discussion of the war, with personal experiences and regrets . I had to walk gingerly around them to gain a look at the artwork’s signage, their presence providing almost a layer of community performance art, protected by the meditative, free speech zone of the provided bench.

The ownership of the object in question was not clearly stated, but the exhibition was organized and distributed by the Museum of Art at Washing State University. As the piece was a digital photograph blown up to dramatic scale, the object’s condition was not in considerable danger by being exhibited as a digital master copy resided elsewhere. There was a difference in the information about each object between the signage, consisting predominantly of data, and the brochure describing the pieces’ artistic contributions: their composition, visual techniques, and which famous pieces they were nods to. A third informative layer was exemplified by the cell phone audio guide, which was found next to environmental pieces and provided information on how to keep Austin green and beautiful or asked what the role of artists in a green world was. These three forms did not contest each other, but each served different purposes: describing standard fields of information, providing historical and subjective assessments and offering relevant tie-ins with the audience and meaningful community opportunities.

As for any noticeable bias, the political views expressed by the artist were consistently backed up by the accompanying literature, promotional materials and audio guides. This is not entirely surprising, as the artist is alive and was engaged in the exhibition of his ideas. There were no critical or alternative views presented, no refuting of his statistics or techniques by the museum or curators. While greater detail on the source of the data would be appreciated, counter-arguments might be unnecessary as his critiques of American waste, consumerism and military spending are already generally debated and suppressed through the influence of corporate interests upon the media and public policy. The exhibit contained no comment on this political context and gave little depth or explanation as to “how we got here” other than providing benches in front of these large-scale, stunning works of terrible beauty.

Contemporary Asian Art resources

Some great sources from Art Radar Asia:

e-fluxhttp://www.e-flux.com – A basic yet comprehensive list of new exhibitions and announcements in the art world. Its journal, which has been published online since November 2008, raises questions about contemporary art issues.

Art AsiaPacifichttp://www.aapmag.com – One of my favorite periodicals: it covers the Middle East and Central Asia as well as East Asia. AAP also has articles that describe the major successes and progressions of major Asian artists and movements, which makes it especially helpful for research—for example, in the last issue, Zhang Huan and Roberto Chabet were mentioned.

ArtRadarAsiahttp://artradarasia.wordpress.com – As a student, I appreciate ArtRadarAsia for its broad range of topics covering all of the Asian art world. It’s an excellent resource for finding a paper topic or finding an overview of a movement or a specific area of Asia.

New York Times exhibition reviewshttp://www.nytimes.com – The New York Times art critics often review Asian art shows in the New York area. I would especially recommend reading reviews by Holland Cotter because they contain valuable specialist information on Asian art.

Asia Art Archivehttp://www.aaa.org.hk – A library of contemporary Asian art resources in Hong Kong which contains reference materials, exhibition catalogues, periodicals, pamphlets, exhibition invitations, newspaper articles, among other things. It’s comprehensive (it has over 25,000 catalogued materials), especially for East and Southeast Asia, and its catalogue is viewable online. It also has a listing of special events related to contemporary Asian art.

Wu Hung, Exhibiting Experimental Art in China: This is my favorite book about the development of contemporary Chinese art. Wu Hung, one of the foremost scholars of Chinese contemporary art, wrote this book as a catalog for Cancelled: Exhibiting Experimental Art in China, a 2000 show at Chicago’s Smart Museum. It explains the reconstruction of Song Dong’s installation Father and Son in the Ancestral Temple, which had originally been shown in the 1998 exhibition It’s Me, which was shut down by the Chinese government. It also lists all the exhibitions that were shut down or censored in the 1990s.

Emerging Japanese artists resources

Guides to Galleries/Exhibitions
Great list of collectors, dealers in NY

Assembly Language – Reference list of Tokyo art gallery spaces.

Directory of museums in Japan
Tokyo Galleries, Art Market
ArtNews.com exhibitions Tokyo
Japan Times art exhibition listings:
Artist-in-residence program Tokyo
Tokyo Visualist – Book, Curators, Artists

Galleries:
AZITO: online gallery specializing in Japanese contemporary art
Mizuma Art Gallery

Journals
Web directory of journals, organizations and events.
Tokyo Art Beat – Art e-Journal

Artnet.com – Tokyo art scene reviews
Kyoto Art Center critical journal.
Monthly Japanese art scene e-journal.

Individual Articles/Reviews/Reports:
Frieze Magazine – Tokyo – 2007
Report on 101TOKYO CONTEMPORARY ART FAIR 2009
Brooklyn Rail – Making a Home: Japanese Contemporary Artists in New York
Emerging Artists from Japan

Edan Corkill reviews for Japan Times:
The ins and outs of competitive art shows
Art world fortunes linked to the ‘noughty’ economy
Murakami’s influence continues to prevail
The parallel world of art associations
Asian art ‘madness’ a la mode
This ‘Garden of Painting’ needs to be perennial

“The logical question, then, is why not make an exhibition on the period 1995-2010, and really explore what it was all about?

The answer Shima gave was disappointing. Yes, he wanted to do that. No, he didn’t because — “for one thing” — one of the prominent figures of the period, Takashi Murakami, refused to allow his work to be included. (In the past, Murakami has told me that he doesn’t want his work included in any group shows in Japan.) The other reason Shima gave was that the other artists wanted to show new work, as opposed to work dating back to the late-1990s.

Shima’s response was to narrow his focus to the ’00s — a period where the absence of Murakami would seem less like a gaping omission. At the same time, though, he surrendered the chance to tell us his interpretation of the period dating back to 1995…..

Google Swirl

I am consistently excited by new developments in visual browsing and searching on the web. Google’s new development to come out of Google Labs, Google Image Swirl is very provocative and is very close to something that I have been imagining. It would be fascinating it the application could be employed on pre-curated collections of images (ie. to “Google Swirl” a collection of visual art, such as ARTstor). But first, what is Google Swirl?

As a bridging of Picasa Face Recognition and Similar Images, search results depend upon both image metadata and computer vision research. There are comparisons to Google’s Wonder Wheel (which displays search results graphically) and Visual Thesaurus. One enters a search term and 12 groupings of images appear visualized as photo stacks. One chooses a particular image and the Flash experimental interface “swirls” to display your image and branches to numerous other images with varying degrees of relationship to that image.

Spezify

[cross-posted from the Digital Curation blog]

I have died and gone to heaven. Spezify “is a search tool that presents textual, graphic, and photographic results in a visual format. Blogs, videos, microblogs and images, couple with web-based versions of more traditional print media to give comprehensive search results.”

For a visual thinker that loves to scour everything from Twitter to YouTube to blogs in search of the latest from galleries, artists, conferences, scholars, designers…Spezify pools and presents information in a visual collage format. It also shows you related search terms (which may or may not be relevant – i.e. an important interntational conference for Contemporary Asian Art is going on right now – so the current search of that term brought up “hotel” as a related term.)

Like Twitter, it also shows you recent “hot” search terms. Spezify displays the information in a giant visual wall that you can scroll in all dimensions. Via Twitter, Cooliris told me that there is a way that I can d/l their program even though I have a PowerPC Mac mini. This weekend I will do so and see if Spezify’s search results can be navigated on the visual wall of Cooliris. This would make for faster and improved scanning functionality.

Cooliris

imported post from Digital Curation blog
Cooliris, is a 3-D image wall that allows you to visually browse images, whether they be in Google Image, YouTube, Flickr, Facebook, Picassa, images in one’s harddrive and recent versions of the photo database program Adobe Lightroom.

I was sad to discover that I could not download this program to my own Mac Mini as it features Mac OX 10.4, Power PC, and apparently I cannot upgrade to the necessary Leopard version that supports Cooliris. Update: Previous versions (tho unsupported) are available.

You can share your 3-D image wall through a url, as well as bookmark and save it. It allows one to “jump freely” through Flickr image pools and sets – though not sure how that differs from the current way we maneuver from image pools to sets – does “jump freely” = “move fluidly?” Not sure.

It claims usability with hundreds of sites due to its being built around Media RSS format. It advertises its ability to be used to view numerous television and movie episodes on Hulu, etc. Its slideshow feature allows one to double click and launch slide shows that one can pause and rewind. It claims to have the fastest way online to search images with its’ style of “zipping” through the 3-D image wall.

Again this makes me think back to the Visible Archive from Australia – and its archival metadata visualization. If there was a way to integrate these technologies and allow one to browse visualizations of data – the future could be very exciting.