I have never been to the festival of hubris and chest-thumping that is the American video games industry’s yearly trade-fair E3 (a.k.a. ‘E Cubed’, a.k.a. ‘Electronic Entertainment Expo’), but the mere thought of it makes me feel somewhat ill. A friend of mine once attended a video game trade fair in Japan. He returned not with talk of games, but of the dozens of overweight middle-aged men who practically came to blows as they jostled for the best angle from which to take up-skirt photographs of the models manning the various booths.
As disturbing and sleazy as this might well sound, it still manages to cast Japanese trade shows in a considerably better light than a lot of the coverage that came out of E3. Every so often, an event or an article will prompt the collection of sick-souled outcasts known as ‘video game journalists’ into a fit of ethical navel-gazing: are their reviews too soft? are their editorial processes too open to commercial pressures? do they allow their fannishness to override their professional integrity? Oddly enough, these periodic bouts of hand-wringing never coincide with E3.
E3 is a principles-free zone as far as video game reporting is concerned: Journalists travel from all over the world to sit in huge conference halls where they are patronised to within an inch of their wretched lives by people from the PR departments of Nintendo, Microsoft and Sony. At a time when cynicism and critical thinking might allow a decent writer to cut through the bullshit and provide some insights into the direction the industry is taking, most games writers choose instead to recycle press releases and gush about games that are usually indistinguishable from the disappointing batch of warmed-over ideas dished out the previous year. At least the creepy Japanese guys had an excuse for wandering around a trade fair doused in sweat and sporting huge hard-ons.
Continue reading Microsoft Kinect: The Call of the Womb
Adam “Everyware” Greenfield doesn’t seem to have much luck with editors mangling his articles and essays before publishing them. His misfortune is our gain, however, as it means he ends up putting the originals up on his website, as with “The Kind of Program A City Is“, a piece which appears in a more abridged form in the latest dead-tree version of Wired UK. [image by Barbara L Hanson]
Everyone seems to be writing about urban futures at the moment, be it Chairman Bruce cheerleading the Augmented Reality types (who are working on a technology whose utility is far greater when deployed in urban spaces) or Matt Jones writing the most interesting post that’s apperared at io9 in months. Blame it on whatever you want, but cities are changing fast – indeed, as Greenfield notes, faster than even the people who saw the changes coming ever expected – and we need to prepare for urban spaces that are completely saturated by networked technology:
In the networked city, therefore, the truly pressing need is for translators: people capable of opening these occult systems up, demystifying them, explaining their implications to the people whose neighborhoods and choices and very lives are increasingly conditioned by them. This will be a primary occupation for urbanists and technologists both, for the foreseeable future, as will ensuring that the public’s right to benefit from the data they themselves generate is recognized in law. If we’re reaching the point where it makes sense to consider the city as a fabric of addressable, queryable, even scriptable objects and surfaces – to reimagine its pavements, building façades and parking meters as network resources – this raises an order of questions never before confronted, ethical as much as practical: who has the right of access to these resources, or the ability to set their permissions?
The map is no longer the territory (if it ever was). Next time you see graffiti, recognise it for what it is: the echoed report of the first skirmishes and warning shots in a war for public space which is just about to start in earnest, in multiple cities across the globe and in multiple augmented versions thereof. Let’s just hope that war continues to be fought predominantly with art and commerce rather than knives and guns, eh?