Shortly after Augmented Reality Event – are2010, I talked with Bruce Sterling on skype and in gdocs about his experience there.  I am posting the conversation in two parts to make it a more blog friendly length!

The picture above is the Auggie Award for the best AR demo (above) designed by Sigal Arad Inbar.  It was won by YDreams! See, Ivan Franco recounts the team’s ARE 2010 experience, and winning the event’s first-ever Auggie Award, for more.   The video below was shot at the YDreams booth by Bruce Sterling.

“The Hotness” – YDreams rocking it at ARE2010 from brucesflickr

Rudy Rucker, who was hanging out with Bruce Sterling, captured the are2010 buzz and some great images in his post, Augmented Reality, Painting, Twitter. As Rudy put it:

“AR is hoping to be a next big thing, a cozier and more commerce-driven cousin of the old VR, or virtual reality.”

Bruce Sterling’s opening key note is up, ARE 2010 Keynote by Bruce Sterling: Bake a Big Pie!, and also the ARE 2010 Keynote by Will Wright: Brilliant Inspiration for the Augmented Reality Community with more videos from are2010 on the way.  One must read post on are2010 is Chris Cameron’s post, Augmented Reality’s Next Steps: Sitting Down with the Titans of AR.

Talking with Bruce Sterling, Part 1

The Auggie panel, Bruce Sterling, Jesse Schell, and Mark Billinghurst inspect the award.

Tish Shute: In your keynote at the 9am of the augmented reality industry you asked some questions of the are2010 audience: “What’s the mission statement?  You’re the world’s first pure play experience designers, except that user experience it’s mostly futuristic hot air.  But run with that, right?  What are your tactical steps?  You should get dressed, have a coffee, have a to-do list.”

How much of that did you see going on in the next two days?

Bruce Sterling: Well, I wasn’t privy to any of the business discussions.  I didn’t think it was an accident that this standard AR enabled tag thing came up from Bruno Uzzan, Total Immersion.  That seemed to me to be a useful thing.  I was always interested in the Augmented Reality Consortium.  It struck me as remarkable that there was this group of people who clearly all knew one another and it had some kind of game plan.  I applaud them for that, because these are not the 1980’s.  [laughs]  You know, it’s just a different world for young startup companies.

Tish Shute: I think you’re right. There seem to be some VC conversations going on, we don’t know what went on in the meetings, but it was noticeable in the atmosphere of excitement, and remarked on by a few people. So I think that kind of was definitely going on.

And, of course, I was so busy I never even got to see the expo properly! You said you wanted to be surprised.

Did anyone surprise you in any of the talks, in any of the expo?

AR used as interfaces for devices

Italian augmented robot from SEAC02 from brucesflickr

Bruce Sterling: I have to say I was a little bit surprised to see Andrea Carignano demoing a robot. I happen to know him because he’s here in Torino. He’s the guy that came out of Fiat and went into AR. I am not a particularly huge robot fan, but I think it’s of great interest that AR is used as interfaces for devices, as opposed to the Jesse Schell idea that AR is all about a “man with the X-ray eyes.”

My suspicion is that a lot of surprises will come out of mashups of AR.

Tish Shute: I didn’t get to see Andrea’s robot.  So what did it do?

Bruce Sterling:  It’s basically a sister device to that little helicopter that those Parrot AR Drone guys were doing.  It’s a little autonomous robot and it runs around with a webcam on it.  You can place video into the acquisition stream coming off the robot.  You can play a game, and blow away imaginary monsters or whatever.

Tish Shute: It’s interesting, because did you notice Will Wright and Patrick O’Shaughnessey, Patched Reality, spend some time hacking the Parrot AR drone in the hallway?  Did you come across them?

Bruce Sterling: Rudy was there with them.  You know, I didn’t want to watch Will Wright hack a robot.

[laughter]

Tish Shute: They seemed to be having fun even though as it turned out the power supply was dead.

Bruce Sterling:  I’m sure Will enjoyed that.  As a game designer, you want to go out and get your hands dirty with a plastic gizmo.

[laughter]

My Swiss Army knife can’t get through airport security, so I really don’t want to strip anything down.  But yeah, what else did I see that was of particular interest?  I was pretty happy about the Korean guys because they are a difficult group to get close to.

AR companies are like mini-global micro-startups.  They’re “glocal”.

“Korean elegance at the Zenitum booth” – from brucesflickr

Tish Shute: Zenitum.  What did you like from Zenitum.  They were one of our sponsors, along with Qualcomm.

Bruce Sterling:  I know that Seoul is like the number one center for augmented reality discussion.  But it’s  difficult to get behind the scenes as a journalist there and  track what’s going on in Korea.  I’m fine with Italian “realtà aumentata.”   And I feel like I’ve got a handle on French “réalité augmentée.”   The Germans were not hard to find, and the Dutch all speak English!  But the Koreans, and whoever the hell it is in Kuala Lumpur…  I have no idea what’s going in Kuala Lumpur, and only the vaguest idea of what’s transpiring in Singapore!  But I know that people there are paying a coherent interest.

So the Koreans show up, and they had some relatively predictable anime style 3D avatar conversion stuff.  But they had a really nice display space.

“Anime figures become three-d smartphone animated avatars,” from brucesflickr

Tish Shute: Ah, So Zenitum created a hot spot at the exhibition?

Bruce Sterling:  Yeah.  The Koreans had  IKEA furniture and some nifty little woven baskets.  They’d really classed up their presentation.  Most Koreans in tech tend to be kind of muscular.  The Koreans are not known for their refined presentations.  On the contrary, they tend to undersell everybody else.  But I don’t know, maybe they’ve been hanging out with Samsung and upgrading their design chops. [laughs]

Tish Shute:  Did you take some photos you could send me?

Bruce Sterling:  I took a few, but  I don’t consider myself a photographer.  They’re all up on my Flickr set. It was interesting to see so many people from so many different nations in such a collegial atmosphere.

Tish Shute: Yes – there were many different countries represented at are2010

Bruce Sterling:  It’s the beginning… and so global at such a young stage.

Tish Shute: Yes. As you said, it was 9 AM, so everyone was actually super excited to be gathered together from across the globe to start a new day together.  As you mentioned, there was a very warm affirmative vibe – everyone sharing a passion.

Bruce Sterling:   They have an online commonality. They seem to be aware of one another’s work through the Internet.

Clearly they had all heard about one another.  That’s a departure from earlier models of tech startup, where you usually have like three hippies in a local garage.  Now you’ve got German-American-Korean outfits like Metaio, and Total Immersion has a Russian affiliate.  They’re inherently multinational, both inside the company and out.

Tish Shute: It was the multinational garage, wasn’t it?

Bruce Sterling:  Yeah.  AR companies are like mini-global micro-startups.  They’re “glocal.” There’s something quite new to me about that.  I don’t find it’s shocking, because in Europe today it’s common to find startup teams who are multinational.  But to see such intense globalism at such an early stage of an industry is really different.

Tish Shute: Yes it made for a fun atmosphere?  It was wonderful running into Iguchi Takahito, Tonchidot.  You have a great rapport with each other despite the language barrier?

Bruce Sterling:  Yeah.  That guy from Tonchidot, he’s very charismatic.  He’s punchy.  That’s reflected in the very strong graphic design from his company.

Tish Shute: Using minimal English to make the case for Sekai No Camera at the Auggies, Iguchi Takahito still got through to the audience.

Bruce Sterling:  Well, his visuals were good.

What AR means for artistic practice…

Picture of Eric Gradman’s Cloud Mirror, from James Alliban post ARE2010 – Augmented Reality utopia in Silicon Valley – see for more on the are2010 ARt Gala

Tish Shute: So before I move on to wider themes, I’m going to wrap up on some of the different aspects of the conference.  I was chairing the technology track but you were more free roaming, was there anything that went on in the sort of hallway discussions and the presentation rooms that struck you?

Bruce Sterling:  Well, I did get collared by artists.   They really wanted to talk to me.  We got into some serious discussions on  what AR means for artistic practice.  How you can do this and reach that, how can one sharpen up one’s presentation?  I mean, they really wanted some art criticism.

Tish Shute: That’s very interesting.  Did you come up with anything that you hadn’t been thinking about already through the conversations?

Bruce Sterling: I’ve seen augmented reality installations before, and I certainly know many electronic artists.  But I don’t know.  People in the AR art space, they are looking for guidance and trying to find fellow spirits.  In their own way, they have the same pioneer spirit as the business people.

Helen Papagiannis shows Iguchi Takahito, Tonchidot, her AR Wonder Turner, an exquisite corpse inspired installation

Tish Shute: Yeah, it’s interesting, because we wanted the art gala to be even bigger, but it turns out, because of the logistics of putting up art in a conference space is fabulously expensive, because it has to be all installed and hung…

Bruce Sterling:  I’m keenly aware of that.  At Share Festival in Turin we bring in six installations, and it’s very heavy work.  It really takes a lot of logistics.  It was like a Battle of the Bands.  It’s like doing a rock concert.

Tish Shute: One of the installations I was really sad to not have there was Uber geeks’  “Steve” H.E.AI.D installation that Brady Forrest & Co. took to Burning Man.

So I was very happy that we actually did get the number of artists we did.

Bruce Sterling:  Well, there aren’t a million AR artists in the world, so it’s hard to judge.   I didn’t see many business people rushing up to have me critique their business plans.

Tish Shute: [laughs]  They were all in the meeting rooms.

Bruce Sterling:  Maybe it’s for the best.

VC and AR Startup Action

The Zenitum Booth, are2010, photo from Chris Cameron’s Flickr stream

Tish Shute: Do you know that why your talk started a few moments late is because we had 50 people who arrived from the Silicon Valley neighborhood I guess!

Bruce Sterling:  Did they not preregister?

Tish Shute: No. They all stood in the line for the same day registration!

Bruce Sterling: It ‘ll be interesting to see what transpires there, if there is a little wave of startup action.  God knows they need some place to put their money, because the VC scene in the US is pretty much moribund.

Tish Shute: Ogmento is the first US AR Games startup to get VC, I think.  I think there was some VC action at are2010 for sure.  And Qualcomm obviously seems to have commercialization plans for their AR technology, and to be scouting talent  and ways to deliver new AR experiences.

Jay Wright, Qualcomm presents Joe Dunn, e23 Games, winner of the are2010 StartUp Launch Pad with a check

Bruce Sterling:  Some  people don’t need venture capital.  I mean, Google Goggles isn’t going to be hurting for VC money, obviously [ see Chris Cameron’s RWW post, Google Goggles Coming Soon to iPhone] .  AR may come up through other methods, like people allying themselves with Hollywood, or peeling off of advertising companies.   There’s a lot of outfits who might conceivably want in-house AR skills.  Then when people set up a specialty AR shop,  they  peel off the list of clients.  I don’t know.  Those old days  of Silicon Valley venture capital seem like a lost world.

Tish Shute: Yes.  I, again, didn’t see anything really of the business tracks and production tracks.  Did you get back and forth between the tracks?

Bruce Sterling:  I went to the Hollywood tracks.  I mean, to the extent that I could.

Is Hollywood stirring? Who’s going to have the first breakout AR property?

Tish Shute: So what did you see from…Is Hollywood stirring?  Is it waking up?  I mean I know Kent Demaine, Oooii,  and Brad Foxhoven, Ogmento, spoke about the Hollywood AR scene.

Bruce Sterling:  There were guys there from LA who were sort of saying, look…they are aware of us, but they just want AR to promote their properties to some particular niche.  They realize that AR is potentially a mass medium and that you could do some real AR entertainment.  So they were batting around some ideas as to where that might happen.  Like, could it come out of a console gaming scene?  Who’s going to have the first breakout AR property?  A popular hit AR property, as opposed to like a neat way to sell shoes, or whatever.   Really, anybody’s guess is as good as theirs or mine.  But at least they were actively guessing.

Tish Shute: I know the breaking the fourth wall discussion has been going on for a while and now the question is, whether AR is going to take down the fourth wall and bring interactive storytelling into the mainstream.  Did you hear any of that?

Bruce Sterling:  Well, I always shy away from discussions of that kind because I don’t think there’s any “final thing.”  Practically everything that AR is involved in right now is  a transitional technology. Also, because I am a storyteller, I get alarmed whenever people in technology start saying, “Oh well, it’s all about telling stories.”  Because obviously it isn’t.

People can tell stories perfectly well orally, and absolutely nobody does that.  AR is not at all about telling stories.  It’s about a great many other things, such as user bases, niche audiences,  media saturation, urban informatics,  convergence culture, and the language of digital media.   I could list these factors until the world looks level. It’s really becoming pretty chaotic.  As I was saying in my speech, AR companies are media startups who almost never use the old-fashioned word “media.”

Tish Shute: Oh, that’s interesting.  Yes.  So why do you think that has happened that way?

Bruce Sterling:  Well, it’s because they are trying to do a different thing than media does.  I mean, they are trying to “augment reality.”  They don’t want you to know that you are using a medium.  They don’t want you to realize that you’re watching computer animation overlaid on some video acquisition stream.  That would defeat the whole point of AR.  It’s entirely different from an analog medium like television, where you turn on the television and there’s a constant stream of station identification alerts.   That’s like: “Don’t touch that dial!  You’re on channel 13!  Stay with us!”  Then it’s like, “And now a few words from our friendly sponsors!”  That medium was engineered to keep your eyeballs locked to a single stream that they’re feeding you.

In AR, it’s much more participative, more geolocative.  I’m not particularly interested in station-identification branding from my AR provider. What I really want to see is the interactivity of the augments they’re bringing to me.  It’s like  FlickR, the photo sharing site. You don’t have any TV-style splash page for FlickR.  “Hi! We’re FlickR! FlickR, bringing your photos to you!” No, FlickR is all about “you, you, you,” your photos, your tags, your friends, your activity around you.   It’s immediately trying to be very participative.

Tish Shute: Will Wright got to that point, didn’t he. He was trying to move us into an idea of blended reality. That the game is about the world, not about the dragons or the overlays per se.

Bruce Sterling: Right. I think that’s true. But see, the world isn’t a medium. A medium is something like this interview,  where I’m connecting to you and there’s a video Skype channel between us.  Whereas AR is more about spatial 3-D,  about 3-dimensional impositions.  Pieces of media: sound, vision, information visualization, tags, floating tags, air tags, icons, arrows, warning signs, warning sounds, tactility, whatever, being brought into the environment around us.

That’s why it’s properly called “augmented reality” instead of just augmented media.   If you call your work “augmented media,” you’re really in trouble. Because if it’s all about augmenting somebody else’s media, why doesn’t that medium just buy you, and augment their own selves?    If you think that way, instead of augmenting the world, you’ll just be a modest little plug-in for old-school media.

The World as the Platform

Blaise Aguera y Arcas, Microsoft, Santa Clara, are2010, photo from Chris Cameron’s Flickr stream

Tish Shute: Yes, which is why Blaise so generously gave the technical underpinning  for augmenting reality in his tech talk – about the trellis and the grapes,  he really explained how the world can become a platform for augmented reality.

Bruce Sterling: I wish I could have seen that. I did not see Blaise’s speech.

Tish Shute: We’re going to put the videos up in better quality.  People in the front row have put it up on the web already.  He really went into some of the challenges of mapping for augmented reality.

Bruce Sterling: His visual-mapping technique is important.  Registration is super important for AR.

Tish Shute: I think it was a really generous talk actually because he went step by step on how we will do this.

Bruce Sterling: I rather imagine that Microsoft has patented those steps.

Tish Shute: Oh, yes, I guess so!

Bruce Sterling: I could be wrong. Maybe they’ll open-source it. You never know.

Tish Shute: You never know. Because the world as a platform isn’t something one company can own, or go it on their own to exploit.

Bruce Sterling: I expect there to be a thorny path, but sometimes I’m surprised. Sometimes people really do try to fertilize the tech field in the hope of getting a good corn crop before they start fighting.

Tish Shute: We’ll I keep hearing that we may even see the unlikely marriage of Apple and Microsoft  – maybe wishful thinking, but there are motivations beyond AR for this unlikely match, and certainly between them these titans have what it takes to realize the grand visions of AR ? [laughs] But who knows…

Bruce Sterling: Well, yeah, it depends on where the thing catches fire.

Tish Shute: Yes. You mean whether AR catches fire in the form of  AR and mapping..

Bruce Sterling: It’s hard to say, but I’m convinced now that there’s more going on than I once thought. I thought that Bruno Uzzan made a very good speech for his company when he talked about how he worked on AR for eleven years.  Eleven years is no flash in the pan.   He has his long list of clients and successful applications. I thought he was right in his impatience with the press for not catching on. It’s gone on for quite awhile. The mere fact that you’re not aware of it, doesn’t mean it doesn’t exist.

The Illusive AR eyewear

My are2010co-chair, Ori Inbar, CEO and co-founder of the hottest new AR game development start-up, Ogmento, donning his goggles to open are2010 – picture from Chris Cameron’s Flickr stream

Tish Shute: Yes. So, the other theme you brought up in your opening keynote and I would be interested to know if anything you saw at are2010 changed your view is the illusive AR eyewear, and  if we actually got AR Goggles that worked they would bring AR’s gothic sister, VR, back from the grave right? [laughs]

Bruce Sterling: Right.

Tish Shute: It took quite a lot of work, but we pulled together a six-company HMD panel, right?

Bruce Sterling: Yeah. I was impressed to see so many of them there.  And I was chagrined to see how prototype-like all their gadgets were. But that doesn’t surprise me, because if any of those head-mounts were remotely working, they would be hyped out the wazoo. Everybody’s been waiting for them and hoping for the best. They’re obviously not ready for prime time. [laughs] Maybe in certain limited applications. Like maybe a diving mask. [laughs]

Tish Shute: No, I think what was nice though they got inspired and they all got together on the last day. I saw them having a meeting about standards. They got inspired to actually work together.

Bruce Sterling: Yeah, well, unless they’re going to invent mechanical eyeballs that those machines can fit onto, it’s going to be tough. OK, I’m a skeptic, but I’m prepared to be surprised. I’m also a skeptic in Artificial Intelligence, but as soon as they bring me an AI that can write a decent novel, I’m going to get it and review that book. [laughs]

Tish Shute: It’s interesting. Re AI, I’m totally in agreement with you. In terms of the way computers turned out, it wasn’t AI per se that they turned out to be good for, not in the way everyone had dreamed of it, rather it was the harvesting of human intelligence that turned out to be the big thing. But what is interesting is that despite all of that, AI or machine learning, as it is now called, permeates our whole society now from the stock market to how many businesses make many of their decisions.

Bruce Sterling: Well, there’s a lot of so-called collective intelligence.  But Marvin Minsky-style hard AI, no way. Alan Turing-style AI, forget about that.

Tish Shute: Yeah. So, that’s an interesting comparison with the HMDs.

Bruce Sterling: People stretch the definitions.  It’s like, well, my car engine is Artificial Intelligence. Yeah, so is your wall transistor. No, I don’t really think so.

And AR is a similarly big tent. I mean, Uzzan had to admit that he had denied that AR was AR, unless it was using his favorite technology. And he felt embarrassed to be rubbing shoulders with people who put AR into cell phones. And I can understand his feeling there, because, gee whiz, that’s certainly not what AR pioneers had in mind. But he had to admit he’d become more ecumenical about it. Obviously, they’re  there and doing business like gangbusters. You can’t very well ignore success, right?

I had a similar feeling about the goggles. Obviously, the goggles would be great, should they work. But if they did work, I rather think virtual reality would come very strongly to the fore.  You’d see people doing all kinds of elaborate immersive-style stuff.   A truly immersive technology doesn’t need to “augment” much of anything.

Tish Shute: Yeah, you’re right.

Social Augmented Experiences

Bruce Sterling: I think many of the most interesting AI aspects are not personal in the way goggles are.  They’re not about guys walking around with personal tech. They’re about big, communal, social-media experiences, like stage shows, and urban informatics, things where large numbers of people can interact with the same augmented reality. The projection mapping, which I go on and on about. Augmented public spectacles.

Tish Shute: Yeah, projection’s our best example of a social augmented experience right now because we are yet to have an easy way to do networked social augmented experiences easily – but that is of course the thrust of my interest in ARWave [see the slides for my presentation, AR Wave:  Federation, Game Dynamics, Semantic Search, Mobile Social Communications here].

Bruce Sterling: I think of Edison’s early days, when he wanted to sell movies to people for a nickel a clip.  You had to bend over and put your eyes on this visor and turn this crank. That coin-op device was easy for Edison to monetize, as opposed to getting a bunch of people to sit in theater seats. But people laugh at movies when they’re together in the seats.   Cinema is a more social, involving experience in a crowd situation.

Tish Shute: But it started with them, didn’t it, Hollywood – the movie biz? Basically Nickelodeons, right?

Bruce Sterling: That’s right. They were Nickelodeons. They were a lot like the goggles because they isolated the user.

Tish Shute: Yeah, that’s a really important point that the goggles are not Nirvana because of this question of whether they actually detract from the social augmented experience and blended realities, by drawing us into VR experiences?

Bruce Sterling: I’m tempted to claim that they’re more a VR technology than an AR technology.

Tish Shute: That’s a very interesting point because…

[thunder]

Tish Shute: Wow! What was that?

Bruce Sterling: Thunder storm.

Tish Shute: Oh, my God, how very Gothic! [laughs]

Bruce Sterling: It can get pretty loud up here in the mountains.

Tish Shute: Oh, you live in the mountains, better still!

Bruce Sterling:  Torino is in the foothills. This is Piemonte. So the Apennines are over there. The Alps are over here. We do get some rather spectacularly unstable weather.

Tish Shute: It sounded like a bomb to my NYC ears. [laughs]

Bruce Sterling: Yeah, it didn’t hit the building, but it was maybe half a kilometer away. I saw the flash.

Tish Shute: Oh, you did?   Well, I hope you don’t lose your power midstream here.    I was really happy to hear of that connection between Rudy Rucker and Layar  [Rudy was touched when Maarten Lens-FizgGerald from Layar said that he met the Layar co-founder at a Rudy Rucker lecture].

Bruce Sterling: That was very fun, yes.

Tish Shute: Wasn’t that wonderful? What was that experience like going around the conference with Rudy?

Bruce Sterling: Well, you know, Rudy’s very into graphics. He’s a mathematician, so he understands the underpinnings of this stuff. But he’s a skeptic. He thinks they’re kid toys. He’s not a gamer. He’s a good old-fashioned computer-science hacker. So he wanted to tell me all about his new eighth-order, fifth-dimensional fractals. He showed me a great many of them. They’re psychedelic. Rudy’s fractals are considerably trippier than most apps that help you find a barber or a train station. [laughs] Rudy really is a visionary. He’s into some very weird stuff.

Gamer Guys at are2010

Brad Foxhoven, Chief Marketing Officer, Co-Founder, Ogmento at are2010

Tish Shute: At are2010 there was a lot of discussion about how game dynamics and AR are going to intersect, right? Anything that you saw of interest there?

Bruce Sterling: Well, obviously, there are gamer guys there. Ori’s a gamer. The gamer guys are getting some money. The big buzz right now in gaming is, of course, social gaming.  Farmville has kicked everybody’s ass because it’s not even a game and yet it has more users than the entire gaming industry.

Tish Shute: I know, right! [laughs]

Bruce Sterling: Obviously that’s kind of humiliating. For a long time, I’ve seen people trying to do giant multiuser games on cell phones. It’s difficult to do because the interface on cell phones is crap, right? People aren’t going to run around responding to SMSs.

I can imagine people running around with little Wii-style bats that have audio and visuals on them. It makes a very large native AR game seem more plausible.

Tish Shute: Yes. that would be cool!

Bruce Sterling: Again, it’s not very gamelike to use those little fiduciary markers.

Tish Shute: No.

Bruce Sterling: Moving little cardboard chips, around like with card games…. It would be pretty easy to set up a little AR chess game.  Star Trek style hologram chess pieces,  and so forth. But it’s just cumbersome.

Tish Shute: And also, from what we’ve seen from things like Foursquare, the proximity based social gaming doesn’t have to offer very much [a crown badge, a mayorship] to get some mind share.. the social is the primary game dynamic…

Bruce Sterling:  I’ve seen a lot of different philosophies of gaming over the years. Who’s to say that Second Life doesn’t have the best idea? They built a little scene and then slammed their gate shut behind them.  But at least they’ve got a really nicely-paying little cult stuck in there. It’s different. And it’s manageable and it’s really theirs, theirs, theirs.  They don’t have to call in outside experts to try and run the monster.   They haven’t blown it up to the scale of Yahoo! where they’ve lost control of the enterprise, and gone into a tailspin of management overhead. Second Life has a very intense, almost a cultish atmosphere among the player-slash-developers.

Tish Shute: One thing that helped them was the thing they were always criticized, that the barrier of entry was so high. But once they got people they never left, right?

Bruce Sterling:  That’s not a bug, that’s a feature.

Tish Shute: One of the best features!

Bruce Sterling: Yeah, it’s like being in Mensa. Why don’t you lower your barriers to entry and get in some interesting stupid people?

Tish Shute: [laughs]

Bruce Sterling: In Mensa, we’d rather sit here making puns about neutrinos and fourth-order quadratic equations. [laughs] OK, that’s a business model, if that’s what you want.

The Man With the X-Ray Eyes!

Jesse Schell’s during his keynote, “Seeing,” at are2010, picture from Chris Cameron’s Flickr stream

Tish Shute: Ok!  Now to unpack the man with the x-ray eyes idea, Jesse Schell’s keynote theme.  This is a root metaphor for AR – making the invisible visible, seeing through walls. To me. I think you kind of wrote the book on this because all my ideas on what radical transparency might be come from you – your idea of Amazon.org is key to how I understand this..

Bruce Sterling: Oh, really? That’s funny.   I was touched that Jesse brought up that famous Corman film, because I was a judge in a fantasy film conference in Trieste earlier this year.  And Roger Corman was there.  He was the guest of honor.   “X: the Man with the X-ray Eyes” was one of the films shown during the conference, and I saw it.  I even had dinner with Roger Corman.  I had never met him before, so that was quite amusing.  The difficulty with a film of that kind is that what we science fiction writers call a “House of Cards Ending.”  In that story structure,  you ramp the thing up until the protagonist sees God, and then he has to be destroyed by the falling pillars of the temple.  That’s a classic science fiction structure:  like Frankenstein.  For the sake of the drama, Corman evades the issue of what’s really going on. For instance, let’s just suppose “the Man with the X-ray eyes” is not in fact a psychopath.  Let’s say he gets a grant from the Department of Health and Human Services, and he acts like a real scientist, not a stock B-movie “mad scientist.” So he has, like, backup guys, and some placebos, and a large group of people to test it on, trusted colleagues, and so forth.  You wouldn’t get any of that movie’s wild activity out of that.  What you would get is like a 5% improvement to people’s vision.

Then, in a year, there would be a 10% improvement in people’s vision.  There would be a  classic industrial story.  A rising star, you know, a cash cow.   Real tech isn’t done by a single guy as a divine curse.  It’s created by classic  tech startup culture.  So a runaway technology really behaves in the way that personal computers do.

Tish Shute: The things that get me all Utopian and happy about this are the ideas like those you first outlined with the notion of Amazon.org.

Bruce Sterling:  It would be easy to do an entirely different kind of film than “Man with the X-ray Eyes.”  Something much less B movie,  much less pat.  I mean, at the end of the film,  he destroys his own hardware and blinds himself.  Why?  For what rational reason would he do that?  Why doesn’t anybody else know the big secret of what he’s doing?  Why aren’t there Koreans doing it?  Why aren’t there Austrians doing it?  Why aren’t there Italians doing it?  Why?  AR doesn’t behave like that.  It’s not one lone guy with magic eye drops.  It’s entire teams of people that have been working on stuff for 17 years.  They all approach it in different ways.

Now, they are going to get scandals in AR.  I can guarantee you that.  They are going to get into  hot water eventually.  At least some people will surely come out and accuse them of being Roger Corman B movie monsters.  But unless they accidentally discover atomic fission or destroy the Gulf of Mexico with an oil spill [laughs], I don’t think they’re going to be particularly badly off!   The trouble I imagine  for AR people is very typical new media trouble.  It’s like movies being accused of corrupting our morals, or comic books being accused of leading to violence, or Google being accused of making us stupid and warping our brains.

I’m not an alarmist in that sense, but at least I’m concerned about real threats.  Roger Corman is a B-movie director who’s trying to sew up his lost plot ends by destroying his hero and his hardware. That’s not very plausible. It’s a nice science fiction movie device, but technology isn’t a movie.

Tish Shute: Yes. Well, the other thing that you always remind us of with AR is not to be saying it’s going to be this glorious moment when it’s no longer gimmickey, no longer pop culture. You always emphasize that’s actually part of what’s good about it.

Bruce Sterling: It’s not an accident that practically everybody in that audience knew about Roger Corman.  Nobody looked surprised; not the Austrians, not the Koreans. They were all like: “Oh, yes! Roger Corman!  Love him!”

Tish Shute: There were so many Rudy Rucker fans. Were you watching Twitter? People like Eric Gradman were succumbing to fanboyz moments..

Bruce Sterling: “Yeah. Rudy Rucker, he’s the best.”

“Rudy Rucker gripping an Augmented Reality shoe” from brucesflickr

Tish Shute: [laughs]  I noticed you inspired him to join Twitter..

Bruce Sterling: Well, I’ve got 8,000 followers and, obviously, a lot of them are Rudy’s fans.  Of course he’s going to be gang-rushed on Twitter. That’s not really any more surprising than two motorcycle stunt guys at the same attraction. And I’m a big fan of his Rudy’s blog.   He’s always got interesting things to say.

Tish Shute: Yes. AR does seem to bring out some of the coolest smartest people!  This morning I had breakfast with Joshua Kauffman in Central Park.  He is an advisor and entrepreneur working on design in the public sphere.  I was feeling rather brain dead and jet lagged.  I told Joshua I was wondering how to get the cottonwool out of my brains for this interview and he suggested,  the All Souls College one-word question interview!  Have you ever heard of that? – although apparently they recently scrapped it.

Bruce Sterling: Well, I’ve heard of All Souls College there in Oxford. What was their interview question?

Tish Shute: They used to use only one word, so they would only give you one word. It’s not a question. Basically, they throw out the word and then you had to spin off from there.

Bruce Sterling: You’re supposed to free-associate on a single word?

Tish Shute: I guess so. I hadn’t heard about it, but Joshua suggested it.

Bruce Sterling:  Well, it’s possible..

Tish Shute: Joshua came up with some good words..

Bruce Sterling: Right.

Tish Shute: We were talking about these proximity-based social work networks like Foursquare and Gowalla and how they may influence the emergence of social augmented experiences.

So Joshua’s suggestion for the first word was “territorialization” e.g. how do these new mobile social experiences like Foursquare,  and the observation that actually rather than breaking down territorialization, which would be a good thing, tend to support territorialization…but perhaps new forms of territorialization?

Bruce Sterling: Yeah, they’re re-intensifying it in a very odd, electronic fashion.

Tish Shute: Yes.

Bruce Sterling: I have noticed that.  It’s not true of stuff like projection mapping or the webcam fiduciary display stuff. But with the handheld stuff, and especially the urban informatic stuff, it really can’t help but take on a local flavor. Layar is like “Augmented Dutch Reality.”

And TonchiDot really is “Augmented Japanese Reality.” It’s hard to imagine a Layar interface going gangbusters at Tokyo.  Whereas the TonchiDot interface, which is very clearly influenced by Anime and cartoon graphics…. Maybe it could find some niche of hipsters in Amsterdam hash bars…

…to be continued in Part 2

Augmented Twitter

Presenting Augmented Twitter (see video and slides above) at Jeff Pulver’s 140 Characters Conference (#140conf ) was super fun, and great video makes this a conference that you can enjoy catching up on after the fact.  Jeff Pulver does an excellent job of keeping people to a challengingly short format.  Even I managed to bring my talk in under 5 mins!

#140conf is a real time mobile social crowd, and pretty attuned to Augmented Reality.  Everyone had heard of Augmented Reality in the audience, and while most had never tried an AR app, nearly everyone used a mobile social app like, Four Square, Gowalla, or Latitude.   As Dan Harple (@dharple) – Executive Chairman, GyPSii, said in his  interesting presentation, Evolution of Location and Places,  “everyone get’s connection, and that connection in real time is the thing if we can get it, and that real time connection is innately mobile.”

ARwave aims to push mobile, social, real time connection even further with augmented reality.  As Anselm Hook puts it so brilliantly in his presentation at EComm, “AR is about publishing “verbs” – interactive, actionable, digital agents not publishing 3D models.”  I have some mega posts brewing on this topic.  Augmented Reality will need to support publishing game like behavior, and digital agents that can embody a set of actions and reactions.

This need for augmented reality to publish behavior, and to share and integrate, in one view, multiple real time data streams are just some of the reasons AR Wave uses an open federated protocol.  Federation is also particularly important for augmented reality because, as Anselm pointed out at WhereCamp,  AR will certainly demand very efficient distribution of state change at the systems level –  to move the computation to its lowest latency.

The only other cloud over our Augmented Reality party at #140conf  was that #ashtag kept our co-panelist and panel chair from joining us.   Rita J King, @ritajking, who is Innovator-in-Residence at IBM’s Analytics Virtual Center, the “General of the Imagination Age,” and Dancing Ink Productions, and Joshua Fouts, @josholalia, “Cultural Attaché,” and Chief Global Strategist of Dancing Ink, were on a 5 day trek out of #ashcloud, and, sadly, not there for our panel.

Bu Twitter, once again, was a life line in a time of crisis connecting them to TEDxVolcano, an impromptu unconference with must see presentations from Rita and others, see Rita’s blog for more.

So the two of us carried the flag for  Augmented Twitter.  Myself and Jerry Paffenfdorf, futurist, artist, entrepreneur and swell guy – the co-inventor of the most famous real time social web system you have never heard of (actually I tried and loved it in alpha testing, before it was quote “shut down by blood thirsty investors”).

Now Jerry lives in Detroit Michigan where he works on the Loveland Micro-real estate project which is the simplest, cheapest, funnest way to become a land owner.  At a dollar a square inch it mixes video games and real estate, like Farmville for urban development.

Joshua and Rita, our very virtual panel mates, are the first and largest inchvestors, and creating their own micro city within the project.  Jerry is one of the most creative and original thinkers on the planet, so treat yourself to glimpse of what is on his mind in the video above – Loveland, 3D mailbox, canned augmented reality, and the relationship of virtual worlds to the real time social web.

Jerry also hat tipped one of the most captivating projects and presentations of the conference, Alon Nir’s, The Story Behind @TheKotel, “Tweet Yr Prayers!”  What a great story about the power of Twitter to reach out into the world, and beyond!  I got a chance to chat with Alon at #140conf, and I found out he is brother of augmented reality guru, Rouli Nir, @augmented.  Rouli is known for his sharp and comprehensive AR commentary on Augmented Times and Games Alfresco.  Cool family!

Before I close this post, I want to mention @AndyDixn’s talk on the prison sysetm, A conversation with Andy Dixon: What the prison yard & twitter have in common.  This conversation, I think, is a great example about what makes #140conf special.  As @nwjerseyliz pointed out, we, “hear few voices from those who’ve experienced that side of the issue.”

Thank you @jeffpulver for creating such a cool staging for so many diverse voices.

And before I close here is what the only slide I didn’t have time to show said!

If you liked “Augmented Twitter”
Don’t miss Augmented Reality Event!

2 days, 3 tracks, 40 AR companies, 76 SpeakersArt! Magic! Competitions! Awards!Bruce (the Prophet) Sterling, Will (The Sims) Wright, Jesse (Gamepocalypse) Schell, Blaise Aguera y Arcas (Microsoft Bing) and You! The sneak preview of the schedule is here.

Register today at Augmented Reality Event.com

Discount code for @140 attendees, (and readers of this post!) TISH245 activates $245 price for full conference.

See you there!

Amphibious Architecture – “submerges ubiquitous computing into the water—that 90% of the Earth’s inhabitable volume that envelops New York City but remains under-explored and under-engaged.”

Toward the Sentient City, brought “architects and urban designers into a conversation that until now has been limited largely to technologists,” and created an extraordinary opportunity to investigate distributed architectures of participation of what we might call the “outernet.”  This is a timely conversation as “web squared,”  “smart things,” the “internet of things,” or the “outernet,” and their popular “ambassador” augmented reality are rapidly becoming everyone’s “business.” From “evil” marketers, to global corporations, environmentalists, artists and community activists -  everyone, it seems, is interested in the possibilities of this new frontier.

It is a challenging task to respond to, Toward the Sentient City, an exhibition whose backdrop includes a series of conversations on Situated Technologies – published by the Architectural League, from a circle of people who have been thinking, writing, and speaking on networked urbanism for many years now, including: Adam Greenfield, Mark Shepard, Matthew Fuller, Usman Haque, Benjamin H. Bratton, Natalie JeremiJenko, Laura Forlano, Dharma Dailey,  Philip Beesley, Omar Khan, Julian Bleeker, Nicolas Nova.  And the exhibition itself has a very thoughtful group of respondents, see posts from: Dan Hill, Martijn de Waal, Enrique Ramirez, and Mimi Zeiger.

But one of  Toward the Sentient City’s key accomplishments was to go beyond the rhetorical, and to put practical examples out into the world to organize a discussion on some of the ideas and possibilities of ubiquitous computing that have barely begun to emerge from academic research, and entrepreneurial blue skying.  As curator, Mark Shepard, explained:

“The aim is to provide concrete examples in the present around which to organize a discussion about just what kind of future we might want. Whether they’re prototypes or not, these commissions are concrete examples. They’re not abstract ideas. And we can go stand next to each other and look at and interact with something which is out there in the world behaving in the way it behaves, performing as it does, and we can then begin to have a discussion about it that is less dependent upon powers of rhetoric. So it’s not about me persuading you about an idea but it’s about us evaluating something that’s living and existing in this world. And that was really the intention of the show.”

The commissioned works - Amphibious Architecture, Breakout!, Natural Fuse, Too Smart City, and TrashTrack, that were the hub of Toward the Sentient City’s events, themes and texts, provided a unique glimpse at some of the possible dystopian and utopian futures of a “smart” city.  But, most importantly,  all the works questioned what might be new architectures of participation for a sentient city.

New Architectures of Participation: Hybrid Social Networks with Human and Non-human Participants .

Of the five works, Amphibious Architecture and Natural Fuse were particularly fascinating to me because they explored the possibilities of sensor networks to create new forms of distributed participation in networked ecosystems that connected the experience/trajectories of human and non human actors – fish, plants,  and people.

Both Amphibious Architecture, and  “Natural Fuse” – from Usman Haque and Haque Design + Research, gave exhibition attendees the chance to experience at a personal level our relationships with our non-human neighbors.

Amphibious Architecture from the The Living Architecture Lab at Columbia University Graduate School of Architecture, Planning and Preservation (Directors David Benjamin and Soo-in Yang) and Natalie Jeremijenko, Environmental Health Clinic at New York University, used a sensor array to “pierce the reflective surface of the water” that separates us from the underwater ecosystem below.  The sensor arrays just below the surface of the East River and  floating light array (see picture on left opening this post) create a new interface between people and fish whose movements and water quality are transmitted in light.

One could also SMS the fish and the single beaver that lives in the rivers surrounding NYC to find the conditions they were experiencing. But turning the city’s “back stories,” like the movements of “Yo beaver,” and the oxygen levels and water quality of the rivers into “fore stories,” is only one of the many ways Natalie JeremiJenko explores how we can engender the empathy necessary for humans and non humans to live in harmony and mutual benefit.

Toward the Sentient City also held workshops/presentations in conjunction with Conflux 2009. After her Conflux presentation, Natalie Jeremijenko of Amphibious Architecture (which is also a collaborative project between xClinic, The Living, “and other intelligent creatures on the East River”)  invited participants to enjoy a lunch of cross-species foods at the East River site. 

The cross-species lunch takes an existing interaction pattern through which people and fish are already communicating, i.e., people going to the river – the waterfront,  and feeding the fish Wonder Bread (which is bad for humans and fish); and transforms this desire to feed the fish into something which actually can remove the mercury content from the fish and our bodies by removing it from the food chain, so a previously inharmonious connection between people and fish, is redirected into a productive interaction benefitting both species.  As it turns out, food that is good for Fish (see pictures above), and removes mercury from their bodies can also be nutritious and tasty for humans.

Natural Fuse, from team members, Usman Haque, creative director, Nitipak ‘Dot’ Samsen, designer, Ai Hasegawa, designer, Cesar Harada, designer, Barbara Jasinowicz, producer, used sensors to  link humans and plants in network where we are accountable for how our behavior effects others in your ecosystem.

If you brought an ordinary plant to the exhibition, you could take home an electronically assisted plant and become part of a social network of humans and plants. This network of humans and electronically assisted plants is also a carbon sink and if  more energy is consumed than the total number of plants in the social network can offset, plants begin to die giving immediate feedback and consequences to being greedy about energy consumption. For more about joining the Natural Fuse network see here.

We are in the pre-dawn of  sensor networks like those Natural Fuse and Amphibious Architecture created – social networks  that link human and non human participants in entirely new ways are largely an uncharted territory. (Note: The upcoming Situated Technologies Pamphlet 6 – “Micro Public Places,” Marc Bohlen and Hans Frei, indicates it will continue the journey with an investigation of  “transparent and distributed participation.”)

Where Does the Social Negotiation of  Technology Happen?

Frequent questions that came up at the presentations given by the teams that produced the commissioned works were: Does this idea scale?   Does it close the loop in that you get answers to the questions asked?  How does the conversation gain agency?  And where does the social negotiation of technology happen?  (These last two questions were asked by Mike Kuniavsky at Mark Shepard’s presentation at Conflux: “Sentient City Survival Kit.” – see picture above)  I think it is fair to say that these questions for the most part remain unanswered. But Toward the Sentient city was alive with ideas and practical examples about ways we can explore these questions more deeply.

Usman Haque in response to the question, “Does this experiment scale?,” replied:

“it would, but at an individual level because it has to remain at the individual level because it is about the individual in relationship to the wider social context as opposed to building a forest to offset a city it is about each individual making choices of their own about what they do and  having some kind of knowledge about the effect they are having on other people because most of the time we are quite complacent – we are able to do whatever we want because we are not necessarily aware how our intrusions effect both human and non-human neighbors….’

So how does this close the loop?  Usman explains that one of the key aspects for him is that if you do take home a plant you become part of a system in which you are no longer anonymous and if a plant is threatened (plants get three lives) you have the opportunity to email the person in the system who has threatened your plant.  Usman noted that one of the interesting things that happened in the context of the exhibition, where there was a single unit, was that 90% of the time people switched it on to selfish mode – presumably because they were anonymous.  Another aspect of Natural Fuse that raises interesting questions is that as more people decide to join the network the risk of a plant being harmed by any particular individual’s selfishness lessens.  As Martijn de Waal, in his response that unpacks some of the deeper philosophical, epistemological, and ethical questions that Natural Fuse addresses, observes:

“The concept of a commons thus assumes cooperation and mutual accommodation. Could Sentient Technology play a role in the allocation of limited resources between citizens? Could it lead to the emergence of some sort of peer-to-peer governance model, that could prevent overusage of scarce resources?”

New Aesthetics of Distributed Participation

The works of, “Toward the Sentient City” point to possibilities for a new aesthetics of distributed participation in which users and system are no longer separated but instead “develop joint forms of observing and knowing that neither [...] is capable on its own.” (quote from upcoming, Situated Technologies Pamphlets 6: Micro Public Places, Marc Bohlen and Hans Frei).  Natural Fuse and Amphibious Architecture examine the new transactional realities of the Sentient City.

But there are many questions left unanswered.  We know a lot about the power of generativity from the internet (see Zittrain)-  the ur “architecture of participation.” As Zittrain points out, the “generativity” of the internet is “the engine that has catapaulted the internet from backwater to ubiquity.” Tim O’Reilly coined the phrase, “architecture of participation,” to “describe the nature of systems that are designed for user contribution,” such that “participants extend the reach/increase the value of the system.”  But as Tim O’Reilly put it in his recent talk, “State of the Internet Operating System:”

“Web 2.0 is about finding meaning in user-generated data, and turning that meaning into real-time user facing services.  “Web Squared” takes that same concept to real-time sensor data.”

We know little yet about what constitutes generativity for the “outernet,” particularly for the kind of  hybrid social networks that Natural Fuse and Amphibious Architecture present.  Social Networks that connect people and place, humans and non humans, challenge dichotomies of man and nature, and machine and user in new and unexpected ways.

At the moment, the internet is going through a metamorphosis with the emergence of real time technologies like XMPP, PubHubSubBub and Google Wave and the coming of age of mobile computing.   While these shifts were not investigated specifically in any of the commissioned works I think all the works  begged the question,  What is a common platform for social interaction in the “outernet,” or sentient city?  I was not entirely satisfied, from this point of view, with a web interface for Natural Fuse or SMS as a mobile interface for Amphibious Architecture.

David P. Reed points to the relationship between social mobility what he describes as the 3rd cloud  and the need for a common platform (see David Reed – Social Mobility and the 3rd Cloud. Hat tip to @srenan for pointing me to David’s presentation).

Slides above are from David P. Reed’s presentation,  Social Mobility and the 3rd Cloud

What is an architecture of participation for mobile, social interaction? This is something I am very interested in.

Recently I began a project with a small group of augmented reality developers and enthusiasts to use Google Wave Federation Protocol as a transport system for open distributed, social augmented experiences (lots more to come on this soon – you can see the back story in my posts here and here).  Wave has introduced an open federated architecture of participation that combines asynchronous & synchronous data,  bringing  together the advantages of real-time communication with the persistent hosting of collaborative data (like wikis).

Augmented Reality puts who you are, where you are, and what you are doing center stage, and is an interface for “communications embedded in context” and “enabled by identity” – two key qualities of what David P. Reed calls the 3rd cloud.  An open, distributed framework for augmented reality could create  an interconnected sense of AR, one that fuses augmentation, data overlays, and varied media with location/time/place and crucially, social networking.  Such an interface would open up many possibilities for the new transactional realities that could integrate real-time cloud based data with a human perspective and social networking.  I am using the term, transactional realities  to suggest an extension into social augmented experiences of  what, Di-Ann Eisnor, Platial, describes as,  “transactional cartography” – “the movement from map providing entertainment/information to map as enabling action” (see Human as Sensors).

We have only just got a glimpse of  how real time technologies and “communications embedded in context” will transform social interaction and our cities.  This post on Writing as Real-Time Performance that looks at the Google Wave playback feature is a brilliant example of how real time technology turns familiar practices like writing inside out, and catapaults us into new time trajectories. And, if you haven’t already seen Matt Jones of BERG’s, brilliant look at, “All the time in the world” - from the “soft time” and “squishy time” of  cell phone culture, to their anticedents in real-time computing, go now!  Also see Dan Hill’s work on “time based notation,” and Tom Carden’s work for mysociety.org

Transactional Realities Between the “Asynchronous City” and the “Synchronous Internet of  Things”

Out of Toward the Sentient City’s five commissioned works, only Trash Track focused on the “synchronized Internet of Things.” Trash Track asks what can we learn from the aggregated data streams of “smart” trash about the infamous path of trash from cities of privilege to rivers of want,  rather than exploring the the particular transactional realities of a social network that linked people with their trash

The goals of Trash Track were, Assaf Biderman explained during his presentation:

“to learn about the removal chain, to see if knowing more could promote behavioral change, and investigate if smart tagging could one day lead to 100% recycling.”

The team from SENSEable City Laboratory, MIT included – Carlo Ratti: Director, Assaf Biderman: Associate Director, Rex Britter: Advisor, Stephen Miles: Advisor, Kristian Kloeckl Project Leader, Musstanser Tinauli, E Roon Kang, Alan Anderson, Avid Boustani, Natalia Duque Ciceri, Lorenzo Davolli, Samantha Earl, Lewis Girod, Sarabjit Kaur, Armin Linke, Eugenio Morello, Sarah Neilson, Giovanni de Niederhausern, Jill Passano, Renato Rinaldi, Francisca Rojas, Louis Sirota, Malima Wolf.

However, Assaf,  in his presentation, presented another project from SENSEable City Laboratory in partnership with the City of Copenhagen, The Copenhagen Wheel.  This project seems to work brilliantly at the intersection of the “asynchronous city” (Bleeker and Nova) and the “synchronized internet of things”  The “smart” wheel – a low cost, open source, human electric hybrid is:

“an electric bicycle wheel that can be easily retrofitted into any regular bicycle and location and environmental sensors which are powered by the bike wheel and in turn provide data for a variety of applications.”

This project, that aims to promote urban sustainability through smart biking, opens up many possibilities for a bottom up architecture of participation for the sentient city (see video here).

Mark Shepard describes something he calls “propagative  urbanism:”

“a way of thinking about shaping the experience of urban space in terms of a bottom-up, participatory approach to the evolution of cities.”

And, in the most recent pamphlet in the Situated Technologies pamphlets series, #5 “Asynchonicity Design Fictions for Asynchronous Urban Computing,” Julian Bleeker and Nicolas Nova invert an emphasis in the so-called “real-time database enabled city” with its synchronized Internet of Things….  and speculate on the existence of an “asynchronous city.”  They “forecast situated technologies based on weak signals that show the importance of time on human perspectives.”  They ask:

“why, besides ‘operational efficiency,’ would we want a ubiquitously computed environment?  What are the measures of ‘better’ that we want to count as meaningful?”

They explain:

..we are trying to think through what “urbanwares might be – urban operating systems – if they were less about synchronization, top-down construction and connected channels of information and databases and so forth, and more about asynchronized, decentralized things.  Software, data, time out of alignment, incongruities, tiles and imbrications of the geographic, spatial parameters into a delicious kind of lively peasant’s stew.”

One takeaway, perhaps, from Toward the Sentient City is that it’s at the intersection of  the  “asynchronous city”  and the  “real-time database enabled city” where many new transactional realities of the sentient city will arise.