Today was my boss's last day, and, ironically, my first anniversary. Julian Lombardi will be Duke's Assistant Vice President for Academic Services and Technology Support. He'll be responsible for the university's IT customer service and development.

They made him an offer he couldn't refuse.
[Read More!]

I've been trying to capture “what it is” about software that has a sense of fun, is toylike, and which allows users to feel they are directly manipulating “real” objects that they more-or-less understand. I want to shorten the link with pen pointers instead of mice. That's a lot of words. There's something more basic.

Touchability. I think human beings are uniquely wired to fondle stuff, and to want to do so. My dog sniffs and tastes. Ants use their antennae. We comprehend and alter the world with our hands. I play with my so-touchable wine glass, but not with the utilitarian water glass next to it. No child can resist touching a musical instrument left out, particularly strings and pianos because they don't need lips. I always reach for my leather coat before my ski jacket. Bad Flash sites are visually stimulating, but good ones make me want to touch it all over to be rewarded with workings and sounds.

Der Lauf der Dinge is that film in which a whole series of objects cascade in a very long Rube Goldberg. (I understand many cultures have had similar cartoonists. I think its wonderful that where previous generations drew pictures, civilization has developed to the point where individuals can and do actually realize and record such fantasies.) You may have seen a take-off of this in a car ad.

I think the reason for our fascination with this has to do with movement carrying the action. You can have theme and variation without movement, and without physical objects. Consider novels, painting, music, and zillion other things. But here we have a case where there is nothing of interest at all except for the theme and variation expressed by the movement and positioning of physical objects. And it is fascinating. A reviewer has written of the film that it is like watching a Hitchcock film with objects instead of people.

I think this all relates to previous discussion on narrative and 3D.

[This is fallout from a session at OOPSLA.]

I admit I haven't thought through the implications of the FCC's recent orders about the Communications Assistance for Law Enforcement Act, but I'm pretty damn sure that our leaders haven't thought it through.

The idea is to create the biggest unfunded mandate in history by forcing all Internet service providers to retool their systems to make it easier for the feds to monitor communications. The cost to universities alone is said to be at least $7B. I don't know what this does to municipal and home grown mesh network systems. I suppose that the intent is to make it too expensive for anyone but a TelCo to operate anything other than restrictive high-level services. The prophetic David Reed laid out the the issues five years ago, saying it much better than I can.

To this I would add an uneasiness as to what steps a person must now apply, or is allowed to apply, to protect “intellectual property.” We are required to take practical precautions to keep our freedom of privacy else we loose it. If we wreck the Internet in a rush to destroy any practical means of protecting privacy, then who in the end will be allowed to actually claim the priviledge of privacy? Only those large institutions who can afford to run their own government-approved private networks?

I want a Macintosh Tablet, but this guy is agitating for one in a strange and maybe wonderful consumer-based pull-marketing campaign.

I sometimes get asked about Croquet for computing devices with lower graphics capability, such as today's phone/PDA/iPods. I think the train of thought is that there's so much in Croquet that could be valuable independently of the immersive 3D environment, so shouldn't that part be available on lesser machines?

I feel it is only worthwhile to initially build Croquet – all of Croquet and only one Croquet – on machines with the best commonly available graphics capability and also on those with no visual capability whatsoever!
[Read More!]

There were some comments to a previous entry that I thought were worth calling attention to all by themselves. The general theme of these was that of user interface and how the role of media in storytelling can inform the design of new UI paradigms. Highly appropriate for Brie.

So I'm moving those comments here. I want to keep the original page for the my attempt to define the heart of Croquet independently of UI, applications, and software distributions. [Read More!]

When Croquet is a success, what will it be? Really? Forget about the applications, what will Croquet itself actually do?

The other day I was sitting on my back porch. Resting comfortably on my lap was all the resources I needed to do my high-tech computer work. The box also played my favorite music, and when my wife asked about the lyrics, I was able to look them up in the greatest library the world has ever known. We checked our calendar, and printed a custom map to the next day's event. And so forth.

Not so very long ago, it would have been very hard to imagine this, despite having had it all spelled out for us by Vannevar Bush or by Douglas Englebart on specific dates in 1945 and 1968. For any given technology, it seems to be very hard for most of us to fully imagine our future with it. I think the reason for this is that when the future comes, it's all about the applications. The music player. The information index and specific song lyric libraries. Calendars, directions, and the tools for my work. We live in applications. We buy applications. Applications make or break a technology. But these applications don't just happen because they are good ideas. They happen only (and not always) when there is a suitable enabling technology. It is rare that we think about what the enabling technology really is, fundamentally.
[Read More!]

There's an interesting short editorial in Tech Review about the significance of mesh networks. This is where wireless networks can be made from a vast network of independent, individually owned, volunteer peers, rather than a centralized distribution of wires or radios towers. The essay brings together three themes of Wetmachine.

The technology is an overlay on a self-organizing P2P network, closely related to Croquet and the Internet itself, and a strong interest of Croquet and TCP/IP architect David Reed. There's “Inventing the Future.”

The essay then mentions how such networks are not owned by anyone, and that this effects commercial network carriers, particularly for the “last mile.” There's “Tales of the Sausage Factory.” (Indeed, I am indebted to Harold for first exposing me to this powerful technology, right here on Wetmachine.)

Finally, the editor broaches the cybernetic quality of these beasts. Meshes draw inspiration from the behavior of swarming bees, so might not there be emergent properties in such meshes that go beyond sterile function? There's our host John Sundman, whose “Cheap Complex Devices” draws more than a casual comparison between a swarm and human consciousness — or is it computer consciousness?

My oldest daughter (age 13) just “independently” invented Croquet. Or more specifically, she's reinvented the underlying computation model called TeaTime. She's been playing a computer game called “Sims”, in which a single player can create a simulated world, populated with characters that she has configured. These character interact with each other based on their “personalities.”

The version of Sims she uses is not collaborative: each game is independent of anyone else playing the game. But my daughter has a friend (born within a few hours of her, from two parents that lived in the same dorm as my wife and I). Her friend also has Sims, and being 13 year old girls, they play their own games while they talk on the phone with each other. “Let's make a character called 'Howard.” Let's have him do such-and-such. Let's do this. Let's do that.“

They're each using the telephone to coordinate the ”commands" to their respective simulations. Then the games play, producing the same results, even though the game isn't designed to be networked. That's exactly how Croquet works.

Now, there are other issues in the Sims, and these girls are as interested in the differences as in keeping things in synch. Pretty cool.