Four Hundred and Ten Scrolls

2009-08-02T08:03:00.001-07:00

Way to go Blogspot for splitting everything up. Good job.

2009-07-28T10:42:00.001-07:00

We all want to be poets, I'd say. The mediums that we choose just happen to be so different.

Wii Spray, We Rejoice

2009-07-10T09:50:00.000-07:00

Yeah.. that’s right.. Some German cats came up with a use for the Wii I am actually excited about. Virtual graffiti with a spray can peripheral.

“WiiSpray – a technical experiment

During development in the Spring of 2007, Bauhaus University Media Department students Martin Lihs and Frank Matuse completed Prototype One, forming the groundwork for the WiiSpray. Upon consideration, Martin Lihs chose to further investigate this project for his Master Thesis, developing an entirely new Prototype, known today as WiiSpray 2nd edition. Complete with new ideas as to how the interface works, how the physical model appears, and a new 3 Dimensional interaction concept. The part of the software that allows Collaboration working is now in a betastatus.

However, the original idea of the project was founded much sooner.

While doing an internship in Lisbon, Martin Lihs met street and
graffiti artist „Target”. Lihs developed an interest in the medium
graffiti and the following questions arose:

“Is it possible to create a tool that allows one or more people to
interact creatively independent of space and time?

“Furthermore, is it possible to exchange thoughts and ideas through this?

“Can people who have only been observers take part in the creation process?”

These questions and the “Nintendo Wii” technology were the basis for
the resulting creative experiment.

What is the „WiiSpray“ project?

The foundational basis for the project goes well beyond replacing real graffiti as an art form. Moreover, WiiSpray
is to be seen as an interface to give graffiti a new virtual level surpassing tactile boundaries of the tangible world.

Within the system, there is a symbiosis of digital and analog as well as overcoming restrictions of distance and time. An advantage of the system proves to possess a user-friendly design simple enough for children to use. The virtual canvas allows the user to decide what is saved and what is discarded, all the while keeping the surrounding area clean and free of what otherwise would be a messy form of media.

The actual hardware tool of the artist – the spraying can – remains constant in its shape and
function and is a catalyst for this software supporting innovative computer interaction. The self-explanatory program requires no previous knowledge or reference of a user’s manual. This software allows users to make the game all their own, offering a wide
range of colors, interchangable caps, along with the possibility to incorporate the user’s personal photos, graphics, and backgrounds into the setting.

The WiiSpray provides a framework of different possibilities yet without any specifications on how to use it. Every user decides for themselves what his or her creative expressions might be.

WiiSpray is independent of platforms and is based on »Adobe Flash«,
a »WiiiSpray server« how is based on the »WiiFlash server«, and standard »Wii« technology.

WiiSpray, a technical experiment with a lot of potential for expansion and application.”

The reason why I'm excited about this is because this is device that has the ability to move two mediums forward. Often times when we speak of innovation in gaming, there is distinct lack of it. In its place however, is a great deal of denilitating flash that serves no other purpose but to limit creativity for the sake of the bottom line. This certainly isn't true for all game companies, and further, many franchises continue to strive to provide new experiences. The only thing that I am implying is that you will never see a huge conglomerate do this - simply because they don't need to. Unless we force them too.

2009-07-06T11:58:00.001-07:00

I've spent a great deal of time discussing what I will do - what I plan to do. The season for that period of inactivity is now over. This is not a space for empty and beaten manifestos or heavy handed and useless illustrations. This is an author taking back the reign from uninspired and fatigued words. This is a writer who will earn his name. Welcome back to 410 Scrolls.

2009-06-14T17:44:00.001-07:00

New words coming. A heavy project.

Deep Context, Vol.3

2009-03-12T07:44:00.000-07:00

Following these explorations, now I will offer this:

Coming Soon:

Feelin' On Yo Butt, What: Biological Determinism

from: "Blame It" by Jamie Foxx & T-Pain

We On Da Phone Like Da Da Da Dadaism: The Rejection of Prevailing Standards in Art

from: "Kiss Me Thru The Phone" by Soulja Boy Tell'Em & Sammie

Gwappin Pockets Extra Sloppy: Ain't I Believin' In Democratic Revolutionary Socialism?

from: "Ain't I?" by Yung LA feat. Young Dro and T.I

Mob Ties Tokyo: An Indie Mafia Adventure

2009-03-12T07:42:00.000-07:00

No one is going to mistake 'Mob Ties Tokyo' with the next blockbuster, multi-billion dollar title. But as indie developer, EVEdigital proclaims on their site, the are an "independent game development and digital video studio... dedicated to immersive story archs, innovative character interaction and top quality game play." Does it succeed? I would suggest giving it a shot.

"Things have changed for the old school mafia, cartel and syndicate organizations. Those with money are trying to make more. Going legit is the best way. But with ties to street gangs&druglords trying to keep the organizations in the past, change is not easy. Severing those ties takes the skill of a professional. The bosses, now businessmen, call in the best. Takuma Ishikawa, a wealthy Japanese businessman has broken his ties with the Tokyo underground and is now being extorted and threatened by a triad of street gangs. Each with their own intentions, the gangs have moved into Ishakawa’s nightclub business, using the clubs as a stage to expand their illegal activities and drug trade. Ishakawa has called on you to deal with the gangs and help his transition to legitimacy succeed. Born with connections to the world’s most powerful mob lords, you’ve learned from the best of the old and the new. Though the technologies have changed, the outcome remains the same, blood and profit. Hitman or vigilante, your loyalties lie with the highest bidder. “Anywhere at any time” is your motto and this time, it's Tokyo.." (Trailer)

An excerpt from the press release, "The team found themselves living in his mother’s basement during a record-breaking winter storm in Spokane, Washington and a completed PC game titled ”Mob Ties Tokyo”. The fact that the entire game was created by two people with a very small budget and completed within a year is a sign to other indie game makers that it can be done. “Both of us worked nearly 12 hours a day, 7 days a week on this for a year, doing the jobs of what large game companies would have had many different departments working on.”

Slip Into 8-Bits

2009-02-03T18:14:00.001-08:00

Over at Etsy, they are advertising the custom slip on shoes they design using some famous scenes, moments, and characters from some classic gaming experiences. It isn't rare to see game characters appropriated into other mediums, and seeing them on shoes is really nothing new, but, something about this struck me as very, very cool.

The First Black Video Game Character

2009-01-19T19:51:00.000-08:00

So over at Vintage Computing and Gaming they discuss, what could possibly be, the first video game character of color.

"Tomorrow, the United States will inaugurate its first black president, Barack Obama. In honor of this watershed moment in American history, I thought we should pay tribute to another African-American trailblazer: the first black video game character. After exhaustive research, I believe I’ve found him.

Thirty years ago (1979), the first obviously black video game character appeared in Basketball, programmed by Alan Miller for the Atari 800 home computer. That same year, a black basketball player also appeared in Atari Basketball in the arcade. Which came first is, at present, uncertain, but the 800 version had a distinguishing characteristic: it was in color. Interestingly, the arcade game only rendered its graphics in black and white, so the Atari 800’s black basketball star — let’s call him John Q. Basketball — broke the color barrier in more ways than one." [source]

Now, essentially, the character in question is more or less a small mass of brown pixels. Also, we could celebrate the entry of the first purple video game character.. whatever demographic that is supposed to represent. There is another article over at Microscopiq that discusses some characters in length, listing such characters as Akuji the Heartless (a mighty voodoo priest and warrior....?) and Michael Jackson from Moonwalker. There are some redeeming characters, like Jade from the classic Beyond Good and Evil, and well... that's it, not counting Shaq from his own game, and I use that loosely, 'Shaq Fu' and even Michael Jordan's own videogame Chaos in the Windy City.

I wonder why these are they examples for Black leading characters. I mean sure, Fiddy's got a game where he fights terrorists to obtain his coveted jewelry, or a crystal skull, or whatever.. but come on... Honestly... Why are these the examples that we have? In most cases, because games with Black protagonists don't seem to be very often writen with that cultural background in mind. But what is the cultural background for a Black character in games these days? In games where you can create the aspects of your character, like for RPGs for example, the cultural significance is ignored for the sake of a general background related to the period or actions the protagonists may have taken before the onset of the game's beginning. Is it important for these cultural ideas to be addressed? Or is the everyman or everywoman more important? I'm not sure. I do know that given the option of creating my own character is far more appealing because I can control some aspect of the narrative. I'm made Black Jedi's pre-Sam Jackson's Mace Windu, and I've wielded swords and spells like an ebony Merlin in the World of Warcraft.

I guess I just wonder when it isn't an everyman, or that I have to construct something to make me identify with a character that is not so much the loud sidekick that yells random ish for no reason while he sacrifices himself with a grenade in one hand and cigar in the other, meanwhile, the main characters run off to save the day and 'never forget the sacrifce of Sgt. Jerome 'Pain and Maim Train' Joseph Jenkins'.

Videogames: Again, The Root of all Evil

2008-12-23T19:03:00.000-08:00

I don't feel the need to summarize this article as it should be read in its entirety, and it is relatively short. It's from over at MSNBC.

"Waukesha Police are recommending charges after two brothers, both in their 30's, wound up choking and then stabbing and cutting each other. What's more, police say the two did that while fighting over a video game controller.

Waukesha Police are recommending charges after two brothers, both in their 30's, wound up choking and then stabbing and cutting each other. What's more, police say the two did that while fighting over a Playstation 2 video game controller.

It happened Sunday at a home on Whiterock Avenue. According to Waukesha Police, the brothers got into a fight over whose turn it was to play the game.

The fight escalated into one of the brother's choking the other. The brother who was being choked then pulled out a knife and cut his brother's hands. The brother who was doing the choking then grabbed the knife and stabbed his brother in the chest. He then fled the scene.

The brother who fled walked to the hospital, which led him to suffer severely frostbitten fingers.

Police say none of the injuries was life threatening." [Link]

Clearly, there is an issue greater than a simple, 'Who's got next?" But that will become incidental in the wake of something as ridiculous as this happening in relation to videogames. Why? Because videoames foster behavior ill suited for children. It causes them to want to get to stabbing. I myself can't easily remember a time where my Atari 2600 drove me to want to stab someone with a knife. But then again, unlike the child in the article, I didn't store knives on my person with the intent of future stabbings. Though as bad as the ET video game was, maybe I should have stabbed someone.

2008-11-10T19:44:00.000-08:00

I was fortunate enough to guest post over at Write For Freedom - home of the illustrious and witty Softjunebreeze aka Stephanie. Go there, not for my post, but for her words, and revel in the hotness.

http://write-for-freedom.blogspot.com/
Your welcome.

First Stop: Reaching Back

2008-11-08T10:43:00.001-08:00

This was written quite some time ago, but I thought it would set the pace for what is to come:

If Mims, is in fact hot based on the realization that his adversaries are not, then what becomes of that "hotness" when it is a shared experience? Is the hotness transferable? Can one be hot, while someone too, is hot? If so, what does that say about the value of the aforementioned hotness? Can I be hot? Can I be hot? Can I be hot in the same spot?

The Paradox of Mims. Mims mechanics, as it were. Mims Laws of Hotness. 1. An object in hotness will remain in hotness unless acted upon by someone who is not. 2. Hotness equals commercial appeal multiplied by limited lyricism . 3. For every "hot" there has to exist a comparable "not. I would reason that if no external hotness acts on an existing not, then the originating hotness retains its hotness, as the "not" does change its molecular structure and does not become "hot", the "not" reasons that to become "hot" it must resemble that which is hot. Thus, the one who deemed "hot", that is to say, the one who has exhibited the traits of hotness and is obedient to the three laws of Mims Hotness, can exert a degree of superiority referenced in the text, "I'm hot 'cause I'm fly, you ain't cause you not." Here, Mims does not imply that he is hot because you are not, rather, you exist in a complete state of "not" that supersedes your ability to be "hot."

It can be also called the "Law of Reciprocal Hotness." For every "Hot" there is an equal, but opposite "Not." Whatever "Not" that presses against the "Hot" is as much drawn by the "Hot" as they are repulsed by their own sense of "Not." The concept of Mims is introduced then in the words "reciprocally proportional to the Hotness" which are now traditionally added as inversely proportional to the "not" of a proposed adversary. Now, that we have established Mims Mechanics, i.e. Three Mims Laws of Hotness, we know move into the Jeezy Invariance or Jeezy Relativity. That is a principle of relativity which states the fundamental laws of ad-libbing are similar, at least in part, to varying degrees of Hotness. Ad-libs traveling at constant speed, i.e. the "Ha-haaaaaaaaaaa" and "Yeeeeeeeaaaaaaah" without interruption would not be discernible as ad-libs, but mistaken for the lyrical quota necessary to fill a particular "Hip Hop Jam", as it were. Each ad-lib is of infinite size (that is, it covers the width and breadth of any given moment), and consists of many, if not infinite, inertial frames. Any two ad-libs spoken in the same breadth, however, can cause a problematic reaction as they are slave to the rule of hotness, and can not exist in the same space at the same time.

The philosophy of hotness is one that seeks to understand the nature and justification of true hotness and its almost ethical implications. It has proven difficult in the past to provide a definitive work of lyrical prowess of the hotness method that can decisively serve to distinguish "the hot" from "those that are not."

Despite popular impressions of Mims, and his hotness approach, it is not his to answer all questions concerning those that are "not", those that exist in a perpetual state of "not". The goal of the Mim's Paradox, and by extension Jeezy Invariance is to answer only those questions concerning what is acceptable with what pertains to the almost "hot", the more so "not" and the remedy between the two existences.

Part II of my exploration:

The first object of dissection was the carefully constructed hymn, "This is Why I'm Hot", by lyrical virtuoso, Mims. Through an exploration of the very nature of hotness we were able to gather that the philosophy of hotness is one that seeks to understand the nature and justification of true hotness and its almost ethical implications. It has proven difficult in the past to provide a definitive work of lyrical prowess of the hotness method that can decisively serve to distinguish "the hot" from "those that are not." During that discussion we also introduced the "Jeezy Invariance" or "Jeezy Relativity." That is a principle of relativity which states the fundamental laws of ad-libbing are similar, at least in part, to varying degrees of Hotness. Ad-libs traveling at constant speed, i.e. the "Ha-haaaaaaaaaaa" and "Yeeeeeeeaaaaaaah" without interruption would not be discernible as ad-libs, but mistaken for the lyrical quota necessary to fill a particular "Hip Hop Jam", as it were. Each ad-lib is of infinite size (that is, it covers the width and breadth of any given moment), and consists of many, if not infinite, inertial frames. Any two ad-libs spoken in the same breadth, however, can cause a problematic reaction as they are slave to the rule of hotness, and can not exist in the same space at the same time.

Now, however, as times have changed, so too must our focus in the exploring the relationship between masterful lyrical ability and the inevitable connection to philosophy. Our goals for this particular endeavor is to reveal the secrets of Soulja Boy's opus, "Crank That", and enjoy the savory nuggets tucked within.

Now, most would be quick to write off this monumental musical moment in our history as a passing fad, or perhaps even the result of a child dropped on their head too much and can not retain a sense of balance leading to the formation of this dance. However, only when one decided to look deeper, beyond the veil, can the truest nature, the base essence of "Crank That" be understood. That Soulja Boy is actually campaigning for the creation and maintenance of a society governed by religious communism. Let us then, as intrepid explorers of the written word, delve deep and drink richly from the well of the Soulja's knowledge. The hymn begins as such:

Soulja Boy Off In This Hoe
Watch Me Crank It
Watch Me Roll
Watch Me Crank Dat Soulja Boy
Then Super Man Dat Hoe
Now Watch Me Do
(Crank Dat Soulja Boy)
Now Watch Me Do
(Crank Dat Soulja Boy)
Now Watch Me Do
(Crank Dat Soulja Boy)
Now Watch Me Do
(Crank Dat Soulja Boy)

Religious communism is a form of communism centered on religious principles and usually refers to a number of egalitarian and utopian religious societies practicing the voluntary dissolution of private property, so that society's benefits are distributed according to a person's needs, and every person performs labor according to their abilities. As Soulja Boy stirs the listener with a rallying cry, he invites them to "watch him do" (with an extended stress on the last word). To "watch him do" is to understand the unifying nature of "cranking". It is an inclusive activity governed by tribal movements that seek to brink a community on one accord. After establishing this hive mindset, Soulja Boy is then able to give a glimpse of a utopian society where all will seek to "watch him do" and "crank dat", verily. The combination of Soulja Boy's unique ideals in the face of religious communism, however, does beg for the introduction of new terminology that will take place alongside the "Paradox of Mims", and the "Jeezy Invariance." This is called "Crank Dat Communism." This is the initial revelation. Further still however, because of the encouragement of interpersonal "cranking" and the commercial appeal of the hymn (that is coupled with an understanding of class in terms of differing economic relations of production, and as a particular position within such relations), it also tends to lean with (and rock with, selah), the stapled thought of Marxism. This calls for a revision of the terminology, growing now into "Crank Dat Communism (Marxisize Dat Ho)."

Let us continue our investigation with the next stanza:
Soulja Boy Off In This Hoe
Watch Me Lean And Watch Me Rock
Super Man Dat Hoe
Then Watch Me Crank Dat Robocop
Super Fresh, Now Watch Me Jock
Jocking On Them Haterz Man
When I Do Dat Soulja Boy
I Lean To The Left And Crank Dat Dance
(Now You)
I'm Jocking On Yo B****H A**
And If We Get The Fightin
Then I'm Cocking On Your B****H
You Catch Me At Yo Local Party
Yes I Crank It Everyday
Haterz Get Mad Cuz
"I Got Me Some Bathin Apes"

Soulja Boy is perhaps many things, but a fool is not one of them. He knows the dangers of a belief that people's consciousness of the conditions of their lives reflects these material conditions and relations, and that a sympathy for the working or proleteriat can prove to be disastrous in a world not ready for it. So, in lieu of that he wishes to "Superman Dat Ho" (though in some renditions, the lesser known, but equally respected "Aquaman-ing" of the Ho, has been utilized). Superman, the idea of the man who rises above all men, is the embodiement of the class consciousness (class consciousness refers to the self-awareness of a social class and its capacity to act in its own rational interests). Thereby "Superman-ing" the Ho, is forming a joint consciousness to debate and fully overcome the doubts to the Marxist structure. After an additional cranking from the perspective of Robocop, he makes note of his almost abnormal level of sheer freshness. Let's pause here and reflect on the introduction of the Robocop persona.

Robocop deals with the Marxist ideas on alienation. Marx refers to the alienation of people from aspects of their "human nature" (usually translated as 'species-essence' or 'species-being'). Alienation describes objective features of a person's situation in capitalism - it isn't necessary for them to believe or feel that they are alienated. He believes that alienation is a systematic result of capitalism. Robocop is the alienation of the people, as the character was once human and then transformed into a cyborg dedicated to law enforcement and merchandising. It is the stoic and stale nature of capitalism given tangible form.