Mapping Hybrid Ecology ideas rev.1

October 12, 2007

Since we are thinking to start some really interesting brainstorming session about Hybrid Ecologies in augmented reality in Tallinn I started some ideamapping of certain thoughts.


Several community-activities with new technologies can be built upon the relationships between real spaces/objects, people and meanings:
Space with dynamically embedded meanings (eg. spoken narratives, movement) entails action potentials. The embodiment of these action potentials is a process of coupling affordances evoked by internal imagination and goals in one hand, and the perceived and culturally predefined external affordances from the environment, on the other hand. As a result, this space becomes into a place for new interpretors and starts triggering activities. Activities in places are mediated by cognitive tools (eg. language) or physical tools (eg. body movement).

Space geotagged with meanings as media artifacts (eg. textual narratives or images), which were embedded by ICT tools (mobiles, computers, pdas) or manually (etc. graffit, signs) entails action potentials. This space becomes into an augmented place for real and virtual activities (eg. blogging geotagged itinerary). These activities may be simulatneously mediated by cognitive tools (eg. language) or body (eg. movement) and ICT tools (mobiles, computers, pdas) with interfaces (?) (eg. social software like Flickr, Youtube etc.).

Activities in augmented reality are hybrid – interfaces may theatrialize certain action potentials between real and virtual sides of the realm, intentionally activated internal action potentials may be embedded through virtual interfaces to the spaces toolisizing them.

The thoughts, what might be interesting to study, are still to be elaborated. But i believe in to the interplay between three groups: actors, activity patterns and meanings in augmented places, thus, determining interesting ecosystems.


Here is the initial seed from Anatole Pierre Fuksas:

Storytelling and Hybrid Ecologies in the Age of Social Networking and Locative Media

Philology and criticism usually apply to literary works that have been written and published or literary systems as actual genres. That is, literary studies generally focus on past or present state of the art but they hardly offer predictions, prefiguring forms that will play a role into the future development of cultural landscapes. Making a remarkable exception in respect to the norm, the present contribution aims to forecast potential development in storytelling based on locative media. That is, as part of a more general inquiry on the Ecology of the Novel, it will investigate potential literary applications based on Global Positioning System (GPS), Geographic Information System (GIS) or similar geotagging standards.

In a few years narrative artists and storytellers’ communities will very likely write or tape stories that will be broadcasted by locative media mining 2.0 websites for contents to delievered by Location-based media on GPS or GIS enabled portable wireless devices. Textual narratives as podcasted stories will will invade laptop computers and mobile phones, providing readers and listeners with pertinent references or analogical interferences aimed to enriching natural environments. Presences triggered by the mirror matching of references entailed by symbolically encoded narratives, both in audio and written text formats, will infest urban and rural environments, forests and deserts, islands and hills, mountains and beaches, enhance the sensory experience of perceived landscapes.

So, questions arise. What formats may be forecasted as the standards ones when it will come to the implementation of socially shared narrative art with locative tagging? Will these new narrative standards reshape interactions between subjects and environments? Will coded and shared hybridation based on narrative contents reshape perception of landscapes? Moreover, while providing a permanently operative level of interaction between narrative contents and natural environments, will geotagged stories play crucial role in the literary system? Will eventually the novel be doomed to extintion because of the rise of socially-networked locative narratives? Rather, will the novel outlast this technological revolution too?

See Storied navigation from MIT medialab
i had a talk yesterday aslo with Mauri Kaippainen. He showed me some interesting thoughts where he used Neisser’s framework for describing the situation in hybrid systems.

neisser collaborative


It is notable that Neisser (1994) elaborated Gibson‘s concept of affordance and distinguished three perceptual modes:
- Direct perception/action, which enables us to perceive and act effectively on the local environment;
- Interpersonal perception/reactivity, which underlies our immediate social interactions with other human beings, and;
- Representation/recognition, by which we identify and respond appropriately to familiar objects and situations.

We discussed what the exploration would entail, and can the participants of the community directly view each others’ exploration or is it mediated through the narrative/visual meanings as emergent patterns in the interface.

For me the ‘object’ on the figure is too general, and it does not separate the real objects in the environment and the ‘meanings’ that are tagged to the object. On my opinion these need to be looked together but also as separate things.


My talk with Anatole:

A:If I get you right, you maintain that interaction with objects imply externalization of feelings, emotions, whatever, and the so called meaning the performer attach to the object while perceiving or affording it is somewhat transmitted to the object, that changes into a tool the performer uses to cope with the environment.

K: I assume that i may have internally an emotion or intention (i refer to the meanings or intentions that are initiated inside me as novel, creative), which i cannot express or do without the use of mediation to the external world (to someone certain, to someone abstract). Thus, i must embed this emotion or this action potential to the environment picking something, an object in the environment, or creating an object that didnt exist and attaching my action potentials or emotional cues to this object so that it will become into a tool that helps me to express this emotion/do this action, or to leave this emotion/this action potentiality as an invitation to the environment. This gives the objects i use as mediators a dimension where they become tools. But at the same time they don’t cease to be objects in another dimension.
My understanding is based on the emboding of objects by means of potential or actual affordances.

My understanding involves also the embodiment. I see it as shifting something that is initially left in the environment to some object by someone internal in order to evoke emotions or trigger actions. I cannot use any tools (that the environmental objects with affordances i perceive) are without partly embodying them, extracting something from the object (this something i see as the perspective with affordances), imagining it, initiating some neural processes that lead to my emotions and actions, and then i am able of using this object as a tool to perform action.

When i have used some tool earlier, later this embodied feeling of using the tool with the affordances can serve instead of tool.

Then there is also a possiblity, that i don’t do this embodiment directly by touching the things, but i may observe the others doing it/talking of it.
Or i may read the others having used it. In the last case i somewhat create imaginary tool with affordances, which serves as real tool for triggering my actions and i can use the imaginary tool and do what i wanted to do. (eg. i imagine streets to know where to go, and i can explain it also by using this imagined tool)

A: So, human anatomy is crucial as the shape of the object is and certainly Human phisiology is perturbated by affordances, hence performers can feel like affording a book just by thinking of it or talking about it (mirror neurons etc…).

K: yes..human anatomy and perceptional organs?

A: Now, the actual affordance of an object …

K: i dont believe the object has an actual affordance, it may have many affordance perspectives only due to different actors who have embedded/omitted some of their emotions/action potentials to the object

A:… may turbate the status of the afforded object and the change makes sense to me in terms it determines subsequently different assessment of the landscape it belongs to.

K: i cannot understand word turbate
since i disagree the first part it is hard to get the point of second part

A: I’d redefine the idea of externalizing feelings by actually affording objects in different terms.

K: yes, exactly – omitting internal affordances which we imagine as necessary prerequisties for actions/emotions to the objects in external world.
However i also believe it is kind of coupling process. The objects due to our perception, earier experiences, cultural background, embodied action potentials of these objects will always sort of extend some properties to us, that makes us to pick these objects, feel as if there are paired affordances for our action. So for me at both sides there is matching between imagined affordances.
Is it the same what you think with previous sentence of turbating?

A: That is I’d say goal planned actions so to be defined as purposeful and planned at all have to entail emotional correlates (Bechara and Damasio’s studies I quoted and I attach, one of them I have in paper, so send you the reference and another one I just got the abstract).

K: logically this sentence is not argumented here. But in principle i believe they come as pairs.

A: So, emotions are not externalized, they are simply part of the decision making process…

K: there are some emotions that precede any intentions, and there are some emotions that procede intentions or are simultaneous with emotions

A:… that is they are crucial and completely embedded into the action planning strategy.

K: at least two last versions of emotions are
but some emotions exist per se, not because of intentions
creative emotions often have no goal but emotion

A: To a certain extent, perception triggers action potential and emotional correlates at the same time.

K: i agree

A: So, in order to ‘get’ the emotion driving somebody else into, say, leaving a book into a bookshop, you may be able to decode it from CLUES he left WHILE interacting with the object, that is handling, manually affording it.

K: Yes i believe you attach the emotional potentials to the tools when you actually embed the affordances of action.
But for pure emotion to evoke emotion, do you need the action/goal things in between or can you also embed to some objects, afford pure emotion?

A: Dunno if this fixes the point and sets us on the same page, but I think it may help you with your externalizing struggle

K: for me we are at the same ground, the question was more in my use of words: embedd, externalise, omit, embody is somewhat nice word for himans to take something as part of their body parts, but for me actors and objects do not feel that different. For example trees feel me same as humans. Or stones. Or houses. Or water. So i could somewhat imagine they have some goal-directed embodiment as well.

For example there are studies in the north how trees transmit fear. Or there are many studies of water having structural kind of memory. If to think a bit more open way further, you can see my struggle with embodiment isnt so simple.

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One comment

  1. >A: Now, the actual affordance of an object …

    Hey, I don’t mean ‘actual’ as embedded into the object itself! Of course in my understanding affordances are completely defined by performers interacting with environmental features, that’s why I said anathomy is as crucial as the shape of the afforded object. When I refer to ‘turbatives’ I mean the phisiology of the animated performer is turbated by the actual (as ‘present, effective’, implying an action) affordance of an object, as physics of an inanimated object are. In the case of an affordance implying an animated performer and an inanimated target of course…

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