Digital Direction

@rcajackhardiker

Jack Hardiker

196 posts

Visual Design

The developers OK’d one of my UX flow diagrams, so I’m now moving onto the visual design of the app. I want to get this side of things sorted as soon as possible, because the coding is the bit of the project slightly less in my own control, as I won’t be able to do it alone.

App flow diagrams

Following a meeting with the team of developers that are hopefully going to help me code the app, I have started to think about the structure and UX. In particular I’m exploring how participants will join an ‘experience’ and find other participants.

Exploded Screen

For the physical installation that will explain the app, I want to do something creative with the screens. I want to use them more figuratively. I’m not going to pretend they are phone screens, but equally I don’t want them to look like computer screens. I think this would be conceptually confusing. I’m considering embedding them in wood to take them entirely away from their usual form. I decided to order the different components that make up a screen and put them together myself. This way I can embed them however I choose. The screen itself is lovely and thin.

First attempts at hummingbird illustration

These are my first attempts at illustrating with a Wacom tablet and pen. I’m considering using animation in the piece. It might be a mistake as I don’t consider myself particularly good at either illustration or animation.

Mini-Lecture on Classification at the Royal Geographical Society

I gave a short 20 min introduction to my research, to the first year school of communication students.

Running the test animation on six screens

In addition to creating an app, I am also going to create a traditional installation for the final show. This will visually explain how the app works. For this I will have six screens that each represent a different person’s phone.

This turned out to be harder than expected. I had worked out a way to run six different video feeds out of a powerful Intel NUC computer. However, it turns out the videos can’t be synced well enough and the animations goes out of time. After some more research it looks like the best way to run multiscreen animation is to network a number of raspberry pies.

Basic multiple screen animation test

Each of these screens would be a phone.

Rough Idea

As explained in my previous post, I’m working on an idea that pulls together a number of the research topics I’ve been exploring. I want to create a performance/installation that is created my the audience themselves. The audience is the installation. The audience is the performance. Currently the plan is to create a system for installation art/theatre play out across ten participants phones, that will work synchronously as one long screen. The piece will involve video, sound and instructions. I want to democratise art and theatre and put it in the hands of anybody with a phone. Perhaps an art teacher in a rural school could show her students a piece of installation art, using just their phones. Interactive installation art is something that that we in London have access to, but outside of major cities there is much less access. To test this idea of democratised, mobile, digital art/theatre, I will create a piece using the system/framework. Hopefully the first of many. A digital theatrical piece that explores the theme of classification through an investigation of the history of the hummingbird.

Research Map and Next Steps

I decided I needed to take stock and asses my research journey so far, in order to asses where I should take the project next. Giulia suggested I do a research map. It’s proven to be really helpful, allowing me to discover links between old a new research areas. In many ways my research has gone almost full circle. I have returned to ideas around classification that I explored in my dissertation. But I am also starting to think again about Auslander’s discussion of liveness. What degree of technological mediation is permissible before a performance ceases to be live? I’ve also come back to Richard Schechner’s comment on theatre no longer meeting the needs of the people.

I'm formulating an idea that gathers a number of research interests into one project that playfully explains the perils of classification. The idea also touches on a number of my other research areas... Auslander: Liveness, Luddites: Rebellion, Situationists: Playfully Serious and others.

Meeting with Natalie Raaum Creative Learning Producer at Complicité

Complicité is an international touring theatre company, based in London. Many of their shows have included cutting edge technologies. Natalie has also previously worked at Punch Drunk and Coney, who both use technology in novel and interesting ways.

I explained my work to date, particularly my work with alternative narratives and historical fiction. I then explained my aspirations for the final project. She said her company do a lot of work in schools and have previously tried to find ways to bring technology to school, but have always struggled with the issue of access to the technology. She was very positive about my attempts to use every-day technology to produce art and tell stories. She also described a project she’s running called the lost learning library, where the children don’t realise they’re part of a theatre piece. It sounds brilliant.

Meeting Bob Watts, birdwatcher and editor of the London Bird Report for the Natural History Society

I met with Bob to discuss bird classifications. He was such a joy to talk to - entirely devoted to bird watching and classification. He’s travelled the world ‘birding’, and writes a yearly bird report for the Natural History Society.

Bob pointed me at a bunch of great things to look at. Thankfully he confirmed the association I have made between AI and bird classification to be a strong one. He also confirmed humming birds were a good choice, as they are constantly reclassified, and there are ongoing squabbles about what constitutes a new humming bird and what doesn’t.

Bob explained ‘lumping’ (grouping similar birds together) and ‘splitting’ (breaking up previously lumped groups). He explained that classification has evolved with new technologies: visual, audio, DNA (feathers, pooh and blood samples). He also explained what constitutes a new species. A new bird is only considered a new species if it has the ability to produce fertile young. I find this quite fascinating. Who created this rule?

Google Hackathon

I attended a Google hackathon exploring ‘digital wellbeing’. 60 creatives in a room. Google Creative Lab is a department at Google that’s job is to creatively show off the capabilities of the company’s innovation. I have mixed feelings about the hackathon thing. Being a norther, cynicism is in my blood. This wasn’t a cynical environment. That said, the positivity and optimism was scarily infectious.

Visual Reference: Void Vision (2018) Directed by Alexander Stewart

I love the almost scientific aesthetic, coupled with the dreamlike voiceover. The film is both fact and fiction simultaneously. It focuses on a cinematic scenario where the real and the simulated are equally constructions. It presents images to be questioned, as the nature of reality is considered and re-considered.

Sorting Things Out: Classification and Its Consequences - Geoffrey C. Bowker and Susan Leigh Star

This has been an important book for my project, returning me to the topic of classification. The book explores the role of categories and standards in shaping the modern world. It investigates a variety of classification systems, including the classification of diseases, the Nursing Interventions Classification, race classification under apartheid in South Africa, and the classification of viruses. The book touches on points covered in my dissertation such as information black-boxes, and the issues raised by Haraway around objectivity. The book also takes a similar archeological approach to my dissertation. It’s quite surprising and depressing that this book was written in 1999. It feels like very little has progressed in terms of people’s wariness of classification - which is especially concerning in light of ongoing AI developments.

I began transcribing important moments in the book...the list got rather long!

Remarkably for such a central part of our lives, we stand for the most part in formal ignorance of the social and moral order created by these invisible, potent entities. p.3

Information scientists work every day on the design, delegation, and choice of classification systems and standards, yet few see them as artefacts embodying moral and aesthetic choices that in turn craft people’s identities, aspirations, and dignity. p.4

Foucault’s (1970; 1982) work comes the closest to a thoroughgoing examination in his arguments that an archaeological dig is necessary to find the origins and consequences of a range of social categories and practices. p.5

No one, including Foucault, has systematically tackled the question of how these properties inform social and moral order via the new technological and electronic infrastructures. Few have looked at the creation and maintenance of complex classifications as a kind of work practice, with its attendant financial, skill and moral dimensions. p.5

Every link in hypertext creates a category. That is, it reflects some judgment about two ore more objects: they are the same, or alike, or functionally linked, or linked as part of an unfolding series. p.7

In this, a cross-disciplinary approach is critical. Any information systems design that neglects use and user semantics is bound for trouble down the line - it will become either oppressive or irrelevant. p.7

- Who does what work? We explore the fact that all this magic involves much work: there is a lot of hard labor in effortless ease. Such invisible work is often not only underpaid, it is severely underrepresented in theoretical literature (Star and Strauss 1999). We will discuss where all the “missing work” that makes things look magical goes. p.9

Classification: A classification is a spatial, temporal, or spatio-temporal segmentation of the world. A “classification system” is a set of boxes (metaphorical or literal) into which things can be put to then do some kind of work - bureaucratic or knowledge production p.10

The system is not complete. With respect to the items, actions, or areas under its consideration, the ideal classification system provides total coverage of the world it describes. So, for example, a botanical classifier would not simply ignore a newly discovered plant, but would always strive to name it. A physician using a diagnostic classification must enter something into the patient’s record where a category is called for; where unknown, the possibility exists of a medical discovery, to be absorbed into the complete system of classifying. No real-world working classification system that we have looked at meets these “simple” requirements and we doubt that any ever could. p.11

It is a struggle to step back from this complexity and think about the issue of ubiquity rather than try to trace the myriad connections in any one case. The ubiquity of classifications and standards is curiously difficult to see, as we are quite schooled in ignoring both, for a variety of interesting reasons. We also need concepts for understanding movements, textures, and shifts that will grasp patterns within the ubiquitous larger phenomenon. The distribution of residual categories (“not elsewhere classified” or “other”) is one such concept. “Others” are everywhere, structuring social order. pp.38-39

An Aristotelian classification works according to a set of binary characteristics that the object being classified either presents or does not present. At each level of classification, enough binary features are adduced to place any member of a given population into one and only one class. p.62

Goodwin (1996) provides an elegant description of working student archaeologists matching patches of earth against a standard set of colour patches in the Munsell colour charts. He argues that earlier cognitive anthropological work on colour assumed a universal genetic origin for colour recognition, but failed to examine the kinds of practices that informed the ways in which colour tests were designed and carried out in the course of this research. p.65

The classification system that is the ICD does more than provide a series of boxes into which diseases can be put; it also encapsulates a series of stories that are the preferred narratives of the ICD’s designers. pp.77-78

One of this book’s central arguments is that classification systems are often sites of political and social struggles, but that these sites are difficult to approach. Politically and socially charged agendas are often first presented as purely technical and they are difficult even to see. As layers of classification system become enfolded into a working infrastructure, the original political intervention becomes more and more firmly entrenched. p.196

“If you’re black and pretend you’re Coloured, the police has the pencil test.” “The pencil test?” “Oh, yes, sir. They sticks a pencil in your hair and you has to bend down, and if your hair holds the pencil, that shows it’s too woolly, too thick. You can’t be Coloured with woolly hair like that. You go to stay black, you see.” (Sowden 1968, 184) p.212

In the early pre-apartheid days, it was easier to change race category than it became later. Kahn notes that “between 1911 and 1921… some fifty thousand individuals disappeared from the coloured population rolls” (1966, 51). Many families living in the categorical borderlands went to great length to establish themselves as white, keeping photos (sometimes fabricated) of white ancestors (Boronstein 1988, 55).

Language and Race as Conflicting Categories: There are thousands of ironic and tragic cases where classification and reclassification separated families, disrupted biographies, and damaged individuals beyond repair. The rigid boxes of race disregarded, among other things, important linguistic differences, especially among African tribal languages. p.218

The Case of Sandra Laing - “Ten-year-old Sandra Laing slipped unnoticed into the school cloakroom. She made sure she was alone, then picked up a can of white scouring powder and hastily sprinkled her face, arms and hands. Remembering the teasing she had just endured in the schoolyard during recess, she began scrubbing vigorously, trying to wash off the natural brown colour of her skin.” (Ebony 1968, 85)m - p.221

Invisible Categories - an anecdote related to literary critic Alice Deck: In the 1930s, an African-American woman travels to South Africa. In the Captetown airport, she looks around for a toilet. She finds four, labeled: “White Women”, “Colored Women,” “White Men,” and “Colored Men.” (Colored in this context means Asian.) She is uncertain what to do; there are no toilets for “Black Women” or “Black Men,” since black Africans under the apartheid regime are not expected to travel, and she is among the first African Americans to visit South Africa. She is forced to make a decision that will cause her embarrassment or even police harassment. p.245

Three social institutions, more than any others, claim perfect memory: the institutions of science, the law, and religion. p.275

Scientific professionals, thought, have often claimed that by its very nature science displays perfect memory. p. 275

Information, in Bateson’s famous definition, is about differences that make a difference. Designers of classification schemes constantly have to decide what really makes a difference; along the way they develop an economy of knowledge that articulates clearance and erasure and ensure that all and only relevant features of the object (a disease, a body, a nursing intervention) being classified are remembered. In this case, the classification system can be incorporated into an information infrastructure that is delegated the role of paying due attention. A corollary of the “if it moves, count it” theory is the proposition “if you can’t see it moving, forget it.” The nurses we looked at tried to guarantee that they would not be forgotten (wiped from the record) by insisting that the information infrastructure pay due attention to their activities. p. 281

This final part of the book attempts to weave the threads from each of the chapters into a broader theoretical fabric. Thought the book we have demonstrated that categories are tied to the things that people do; to the worlds to which they belong. In large-scale systems those worlds often come into conflict. The conflicts are resolved in a variety of ways. Sometimes boundary objects are created that allow for cooperation across borders. At other times, such as in the case of apartheid, voices are stifled and violence obtains. p.283

Assigning things, people, or their actions to categories is a ubiquitous part of work in the modern, bureaucratic state. Categories in this sense arise from work and from other kinds of organised activity, including the conflicts over meaning that occur when multiple groups fight over the nature of a classification system and its categories. p.285

One of the interesting features of communication is that, broadly speaking, to be perceived, information must reside in more than one context. We know what something is by contrast with what it is not. Silence makes musical notes perceivable; conversation is understood as a contrast of contexts, speaker and hearer, wonders, breaks and breaths. In turn, in order to be meaningful, these contexts of information must be relinked through some sort of judgement of equivalence or comparability. This occurs at all levels of scale, and we all do it routinely as part of everyday life. pp.290-291

Consider, for example, the design of a computer system to support collaborative writing. Eevi Beck (1995, 53) studied the evolution of one such system where “how two authors, who were in different places, wrote an academic publication together making use of computers. The work they were doing and the way in which they did it was inseparable from their immediate environment and the culture which it was part of.” To make the whole system work, they had to juggle time zones, spouses’ schedules, and sensitivities about parts of work practice such as finishing each other’s sentences as well as manipulating the technical aspects of writing software and hardware. p.291

The marginal person, who is for example of mixed race, is portrayed as the troubled outsider; just as the thing that does not fit into one bin or another gets put into a “residual” category. p.300

The myriad of classifications and standards that surround and support the modern world, however, often blind people to the importance of the “other” category as constitutive of the whole social architecture (Derrida 1980).

Such “marginal” people have long been of interest to social scientists and novelists alike. Marginality as a technical term in sociology refers to human membership in more than one community of practice. p.302

Marginality is an interesting paradoxical concept for people and things. On the one hand, membership means the naturalisation of objects that mediate action. On the other, everyone is a member of multiple communities of practice. p.302

“I am an East Ender therefore I must talk like this; and I must drink such and such a brand of beer.” Aided by bureaucratic institutions, such cultural features take on a real social weight. If official documents force an Anglo-Australian to choose one identity or the other - and if friends and colleagues encourage that person, for the convenience of small talk, to make a choice - then they are likely to become ever more Australian, suffering alongside his or her now fellow country people if new immigration measures are introduced in America or if “we” lose a cricket test. The same process occurs with objects - once a film has been thrown into the x-rated bin, then there is a strong incentive for the director to make it really x-rated; once a house has been posted as condemned, then people will feel free to trash it. p.311

“Similarity is an institution” Mary Douglas (1986, 55) p.312

In this book we demonstrate that classifications should be recognised as the significant site of political and ethical work that they are. p.319

In the past 100 years, people in all lines of work have jointly constructed and incredible, interlocking set of categories, standards, and means for interoperating infrastructural technologies. We hardly know what we have built. p.319

The moral questions arise when the categories of the powerful become the taken for granted; when policy decisions are layered into inaccessible technological structures; when one group’s visibility comes at the expense of another’s suffering. p.320

The importance lies in a fundamental rethinking of the nature of information systems. We need to recognise political values, modulated by local administrative procedures. These systems are active creators of categories in the world as well as simulators of existing categories. p.321

Often using innovative techniques such as imaginary devices, but not traditional formulaic means, they achieved the right answer the wrong way. One child called this “the dirt way.” p.321

We have suggested one design aid here - long-term and detailed ethnographic and historical studies of information systems in use - so that we can build up an analytic vocabulary appropriate to the task. p.323

- Rendering voice retrievable. As classification systems get ever more deeply embedded into working infrastructures, they risk getting black boxed and thence made both potent and invisible. By keeping the voice of classifiers and their constituents present, the system can retain maximum political flexibility. This includes the key ability to be able to change with changing natural, organisational, and political imperatives. p.325

This integration began roughly in the 1850s, coming to maturity in the late nineteenth century with the flourishing of systems of standardisation for international trade and epidemiology. p.326

On a pessimistic view, we are taking a series of increasingly irreversible steps toward a given set of highly limited and problematic descriptions of what the world is and how we are in the world. p.326

We have argued that a key for the future is to produce flexible classifications whose users are aware of their political and organisational dimensions and which explicitly retain traces of their construction. In the best of all possible worlds, at any given moment, the past could be reordered to better reflect multiple constituencies now and then. p.326

In this same optimal world, we could tune our classifications to reflect new institutional arrangements or personal trajectories - reconfigure the world on the fly. The only good classification is a living classification. p.326

Johann Wolfgang von Goethe alternative colour wheel

Well after Issac Newton’s mathematical approach to colour, Johann Wolfgang von Goethe began his own experiments with colour. His experience as a painter and artist led to a fascination with the phenomena of colour much like that of Newton’s, though he disagreed with Newton’s idea that darkness was just an absence of light.

Unlike Newtons’s scientific approach, Goethe went into detail about the psychological aspects of colours and their relationship to human emotions and behavioural traits. He hoped his investigation would aid painting, which he deemed “an art which has the power of producing on a flat surface, a much more perfect visible world than the actual one can be”.

Goethe’s study is no less valuable than Newton’s. Interestingly Goethe came to many of the same conclusions as Newton, however, he did this using his own subjective voice, and without the use of science or maths.

We still have trouble defining colour today.

Examples of Goethe’s descriptions:

Yellow-Red: “In looking steadfastly at a perfectly yellow-red surface, the color seems actually to penetrate the organ. It produces an extreme excitement, and still acts thus when somewhat darkened. A yellow-red cloth disturbs and enrages animals. I have known men of education to whom its effect was intolerable if they chanced to see a person dressed in a scarlet cloak on a grey, cloudy day.“

Blue: “This color has a peculiar and almost indescribable effect on the eye. As a hue it is powerful — but it is on the negative side, and in its highest purity is, as it were, a stimulating negation. Its appearance, then, is a kind of contradiction between excitement and repose.”

Yellow: “In its highest purity it always carries with it the nature of brightness, and has a serene, gay, softly exciting character.”

https://www.brainpickings.org/2012/08/17/goethe-theory-of-colours/

Original book open source: https://archive.org/details/goethestheoryco01goetgoog/page/n7

John Clare poetic animal classification

John Clare (13 July 1793 – 20 May 1864) was an English poet. The son of a farm labourer, he became known for his celebrations of the English countryside and sorrows at its disruption. As an alternative to the strict classification of Carolus Linnaeus, John Clare’s detailed descriptions of nature are both meticulous and poetic. Rather than claiming scientific objectivity, they are distinctly situated in his own voice. He does a beautiful job of describing living things, but also their behaviour, context, surrounding, and their impact on their surroundings. A good example of this is ‘The Nightingale's Nest’:

The Nightingale's Nest

Up this green woodland-ride let’s softly rove, And list the nightingale - she dwells just here. Hush ! let the wood-gate softly clap, for fear The noise might drive her from her home of love ; For here I’ve heard her many a merry year - At morn, at eve, nay, all the live-long day, As though she lived on song. This very spot, Just where that old-man’s-beard all wildly trails Rude arbours o’er the road, and stops the way - And where that child its blue-bell flowers hath got, Laughing and creeping through the mossy rails - There have I hunted like a very boy, Creeping on hands and knees through matted thorn To find her nest, and see her feed her young. And vainly did I many hours employ : All seemed as hidden as a thought unborn. And where those crimping fern-leaves ramp among The hazel’s under boughs, I’ve nestled down, And watched her while she sung ; and her renown Hath made me marvel that so famed a bird Should have no better dress than russet brown. Her wings would tremble in her ecstasy, And feathers stand on end, as ’twere with joy, And mouth wide open to release her heart Of its out-sobbing songs. The happiest part Of summer’s fame she shared, for so to me Did happy fancies shapen her employ ; But if I touched a bush, or scarcely stirred, All in a moment stopt. I watched in vain : The timid bird had left the hazel bush, And at a distance hid to sing again. Lost in a wilderness of listening leaves, Rich Ecstasy would pour its luscious strain, Till envy spurred the emulating thrush To start less wild and scarce inferior songs ; For while of half the year Care him bereaves, To damp the ardour of his speckled breast ; The nightingale to summer’s life belongs, And naked trees, and winter’s nipping wrongs, Are strangers to her music and her rest. Her joys are evergreen, her world is wide - Hark! there she is as usual - let’s be hush - For in this black-thorn clump, if rightly guest, Her curious house is hidden. Part aside These hazel branches in a gentle way, And stoop right cautious ’neath the rustling boughs, For we will have another search to day, And hunt this fern-strewn thorn-clump round and round ; And where this reeded wood-grass idly bows, We’ll wade right through, it is a likely nook : In such like spots, and often on the ground, They’ll build, where rude boys never think to look - Aye, as I live ! her secret nest is here, Upon this white-thorn stump ! I’ve searched about For hours in vain. There! put that bramble by - Nay, trample on its branches and get near. How subtle is the bird ! she started out, And raised a plaintive note of danger nigh, Ere we were past the brambles ; and now, near Her nest, she sudden stops - as choking fear, That might betray her home. So even now We’ll leave it as we found it : safety’s guard Of pathless solitudes shall keep it still. See there! she’s sitting on the old oak bough, Mute in her fears ; our presence doth retard Her joys, and doubt turns every rapture chill. Sing on, sweet bird! may no worse hap befall Thy visions, than the fear that now deceives. We will not plunder music of its dower, Nor turn this spot of happiness to thrall ; For melody seems hid in every flower, That blossoms near thy home. These harebells all Seem bowing with the beautiful in song ; And gaping cuckoo-flower, with spotted leaves, Seems blushing of the singing it has heard. How curious is the nest ; no other bird Uses such loose materials, or weaves Its dwelling in such spots : dead oaken leaves Are placed without, and velvet moss within, And little scraps of grass, and, scant and spare, What scarcely seem materials, down and hair ; For from men’s haunts she nothing seems to win. Yet Nature is the builder, and contrives Homes for her children’s comfort, even here ; Where Solitude’s disciples spend their lives Unseen, save when a wanderer passes near That loves such pleasant places. Deep adown, The nest is made a hermit’s mossy cell. Snug lie her curious eggs in number five, Of deadened green, or rather olive brown ; And the old prickly thorn-bush guards them well. So here we’ll leave them, still unknown to wrong, As the old woodland’s legacy of song.

Good blog post for bio on John Clare: https://gerryco23.wordpress.com/2010/06/16/john-clare/

Carolus Linnaeus

‘Taxonomy’ is the scientific system of classifying and naming organisms. One of Linnaeus’ contributions was the development of a hierarchical system of classification of nature. The system is still used today.

Linnaeus’ system fails to account for the amount of change that occurs in nature. A naming system based on physical attributes breaks when the thing you are naming continuously evolves and changes visually.

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