Aggressive Technologies is Overvalued

A couple of weeks ago Paul Bond and I caught up with Martha “Sinclair” Burtis to do a playful skit around the fictional company Aggressive Technologies that the students in not only created, but have also been running with. The idea was that Paul and I would be chatting about the class and some of the undergirding financials of Aggressive Technologies, calling into question their valuation, arguing they are essentially riding on the irresponsible AI hype of this bull market bubble in order to manipulate their share prices.

It is at this point the company’s very aggressive legal representative, Martha Sinclair, barges in on our chat to essentially issue the most colorful cease and desist order you may ever hear. It is so fun to do this stupid stuff, and I love that Martha and Paul are still up for the insanity. It has been a very on and off semester for me given my own issues, but this kinda fun reminds me what I am missing. #4life.

Posted in digital storytelling | Tagged , , | 2 Comments

100 Years of EdTech

I was more than a little envious of all the great folks enjoying the OER24 conference on the ground in Cork last week. It looked like an absolutely smashing event, and as I blogged last year, it’s definitely my favorite non-Reclaim event—how about that qualifier! Meredith Huffman and Maren Deepwell were doing Reclaim proud on the ground, and it seems like Alan Levine got Gasta-ed, a 5-minute baptism by fire. By all accounts both keynotes were brilliant, and I got a pretty good sense of things following along on Mastodon (this bava got federated).

But possibly the single biggest element of this year’s event was the celebration of Martin Weller’s 30 years in edtech. He’s written the books; he has blogged the posts; alongside Maren he was instrumental making the OER conference what it is today; and he’s been steering GOGN for over a decade alongside all the other penguins.

GOGN Penguins saving pedagogy during the Pandemic

In many ways this event marks the closing of a chapter in Martin’s role in edtech as he retires from the Open University, steps down as lead of the GOGN research group, discontinues his lucrative and wildly popular 25/30 years of Edtech franchise, and even let’s his blog….nope, he is not allowed to stop blogging. Martin has been a huge inspiration and influence on many folks over the last 30 years, and I come in around the 20 year mark of his journey when we both started blogging in order to link pop culture to edtech in sometimes a fairly shoe-horned manner—he has since become the king of the edtech metaphor.

Martin Weller’s Metaphors of Ed Tech

Martin’s post “Follow the Biscuits” bemoaning his less than ceremonious institutional send-off struck me as all too familiar, and his noting how damaging that is to an already fragile higher ed morale hits the nail on the head. In fact, so much of his blogging has done just that over the last twenty years, and his work has helped me understand the limits and possibilities of our field with a playful, human, and always intelligent take on the challenges we face.

When Brian Lamb and I were driving up the West coast of the United States last year, he noted just how unique a space Martin has been able to carve out in our field through his blog, books, and various other endeavors. It’s not too often you get so many volunteers lining up to read and comment on chapters of your latest book (see the 25 Years of EdTech franchise referenced above). I joke about Martin’s work, but that’s only because I am jealous of how well he has been able to both see and communicate the unique struggles facing the field of open education—he’s a believer, but he is also very practical about what that means to the wider world which makes him an amazing translator and ambassador.

Martin Weller’s The Battle for Open —documenting the MOOC years and more

I’m not sure what the next 75 years of edtech will bring, but I think that part of it will be driven by the open, playful spirit of Weller’s stand-out work. Maybe he’ll just write pulp horror novels from here on out (which is probably necessary after the work he has put in), but I do know that his commitment over the last 30 years has resulted in one of the few voices that was able to so succinctly articulate a moment. The fact that the OER24 conference ended with a standing ovation for his contributions was probably the thing I missed most; I really wanted to stand up alongside a group of fellow travelers and clap for everything he has given us over the years. Thanks Martin, you’re the metaphor maker that keeps on giving!

Posted in Instructional Technology, OER23, OER24, open education, Uncategorized | Tagged , , | 3 Comments

That Mathers Aesthetic!

The great Maren Deepwell (who Reclaim Hosting has been lucky enough to work with after her long stint as ALTs brilliant CEO) has created a visual anthology celebrating 10 years of Reclaim’s art. It’s a very cool video, and I highly recommend you partake in the celebration 🙂

I’m really proud of the brand we’ve been able to forge over the last decade. Trying to make a relatively boring product like web hosting compelling has been one of the funnest elements of the job. What’s more, getting to partner with the entire Reclaim team and the likes of Bryan Mathers to do it has been the real gold.

Gold Record plan for the newly launched Reclaim.Press

Bryan will quickly deflect any praise or compliment right back at you taking little to no credit for how much his own visual storytelling shapes our identity by capturing a raucous sense of cultural play without sacrificing a deep, company-wide commitment to an open and independent web.

Bryan Mathers early vision for the indie edtech record store with snide proprietor and all 🙂

There’s a fine line to walk between tongue and cheek references and an underlying commitment to what can be referred to as indie edtech or trailing edge technology. A belief that the new and shiny can often obfuscate the long history of edtech, but also erase any sense of its embedded cultural history that impacts ours daily lives.

The iconic, industrial visual label of Reclaim Cloud

The link between edtech and vinyl or edtech and an independent record store is not only playful, but also an argument for the production of online culture and the value of an independent space to do it. Reclaim understands itself outside the homogenizing box-store mentality of massive social media sites and hosting services, much like independent record labels such as Dischord that are anathema to the mainstream business of music. It’s about community, it’s about focus, and it’s about controlled, responsible growth. These are so many of the understated, subliminal messages in the Mathers Aesthetic that are directly linked to an ethos of indie edtech.

The ds106 album cover where Giulia Forsythe remixes Raymond Pettibon that in many ways pre-figures Bryan Mathers remixing

I don’t think it would be an overstatement to say that Bryan, however inadvertently, has become the Raymond Pettibon of indie edtech, and his aesthetic permeates far beyond the confines of Reclaim Hosting’s “album covers.” If I was being selfish I would refer to all the great work he has created for us over the years as the “Reclaim aesthetic,” but if I were to be honest it’s more appropriate to say “that Mathers aesthetic!”—and we have just been lucky enough to be early to the party. Go ahead, try and create your online identity with an AI prompt, we’ll be over here working with the artists.

Posted in art, Reclaim Cloud | Tagged , , , | 6 Comments

ReclaimEDU: the Infomercial

“I have fallen and I can’t get up”

I had the good fortune to do a stream last week with Pilot and Maren about ReclaimEDU, something we’ve been doing for clients for well over a year now, but have not pushed more broadly until just recently. “What is ReclaimEDU?” you ask. Well, it is high-availability WordPress hosting that ensures your site remains up. This depends upon your site being duplicated across different data centers in different regions to allow for instant fail over. What’s more, speed and security are crucial thanks to global caching, DdoS protection, and bot management. In other words, if you have a site that just can’t go down, then ReclaimEDU is for you. Also, I am using the “I have fallen and I can’t get up” GIF because Paul Bond referred to my spiel in the following video as my “infomercial” -which I take as a compliment!

Posted in reclaim, video, WordPress | Tagged , , | Leave a comment

The Dr. Oblivion Bot

In the latest episode of Reclaim Today, Paul Bond and I catch up with Michael Branson Smith (MBS) in order to break down how he created the Dr. Oblivion bot running at Oblivion.University. Paul has been integrating the bot into his ds106 course quite impressively over the last several weeks by introducing students to how to build such a Frankenstein creation.

As it so happens, MBS is a repeat offender on Reclaim Today, we chatted a few years ago about his CSS-generated animated movie posters—that are amazing—and it seems his creativity has no limits. He’s not afraid of AI or CSS!

Posted in AI, digital storytelling, Oblivion University | Tagged , , , , | 1 Comment

The Old Disturbance

I cannot say how many days passed. The old disturbance had returned and in that state of blackness one can no more tell the days than a blind man notice the changes of light.

From Graham Greene’s The End of the Affair

I’ve been silent on the bava for quite some time as I’ve been struggling over the last several months with an uncharacteristically deep depression. It started in the fall, but finally consumed me for most of December and January. I’ve been fighting my way back out throughout February, and I’m definitely starting to feel better as the “old disturbance” retreats to the shadows.

One of the things I started doing once I could reclaim a bit of focus from the steely grips of anxiety and dread was read books, and I read a bunch—it felt pretty damn good. The quote above is from one of them, and it speaks directly to my situation in ways I was not ready for, but also deeply struck by. Turns out Graham Greene struggled with what is believed to be bipolar, and reading this novel was like looking into a mental mirror at various moments. Difficult, but also amazing, given how well he captures the emotional turmoil invisible to the onlooker, yet deeply anchored in the mind of anyone navigating a misaligned orbit of  tormented thought. Great narrative allows for that intimate relation with the reader, and while it was hard to manage at times, I was also strangely comforted by this frank confession from a fictional character in depressed, post-war England.

Antonella calls it bibliotherapy, and I think she got that term from Schopenhauer’s notes on aging with dignity, so I think I’m in pretty good company all around. It feels good to be back on the blog.

Posted in blogging | 28 Comments

A Guided Videodrome Review using ChatGPT

I’m in the midst of preparing for AI106, and I wanted to finally dig in a bit on ChatGPT using some of the advice proffered by Middlebury’s prompting poetry exercise “It’s Not Magic, It’s Math.” I wanted to start with a very basic review of David Cronenberg’s Videodrome (1983), and then try and ask the machine to get more topical and eventually theoretical by invoking Marshall McLuhan. The prompting is increasingly more biased by my own sense of the film (or things that I’ve read elsewhere), so the responses were not necessarily revelatory—I was in many ways asking it to give me what I wanted. That said, it is able to bring together a bunch of cogent ideas around the film quite quickly, and holds up as a basic summary review/reading, which does make you wonder if math and magic don’t overlap a little bit 🙂

GIF of Dr Oblivion as an 80s AI chatbot

My final question was more of a fact-finding mission to see if there is any evidence that Cronenberg studied with McLuhan at the University of Toronto, something I believe I heard, but may have hallucinated. Turns out McLuhan was teaching there while Cronenberg attended the university, but Cronenberg never took a course with him, which a quick Google search also confirms. I’m not sure exactly what this establishes, maybe that the machines can compile and regurgitate a lot of summary information very quickly. Or perhaps that I am obsessed with Cronenberg and Videodrome? Maybe both, but the fact that Videodrome was about a shifting sense of consciousness due to the rise of mass media and the resulting hallucinations certainly tracks on what a lot of people are talking about with AI. The idea of Dr. Oblivion as the VHS-based AI from the 1980s is fascinating to me in this regard, and gives the genius that Michael Branson Smith created with Oblivion University yet another layer of metaphorical richness. Once you give the chatbot a voice and a bit of a persona/attitude, the power of those responses enters new territory of Uncanny Valley.

Can you write a short review of David Cronenberg’s 1983 Videodrome?

Certainly! “Videodrome,” directed by David Cronenberg and released in 1983, is a mind-bending exploration of the intersection between technology, media, and the human psyche. James Woods stars as Max Renn, the CEO of a small television station searching for edgy and provocative content. His quest leads him to “Videodrome,” a mysterious and disturbing broadcast that blurs the lines between reality and hallucination.

Cronenberg’s film is a surreal journey into the dark recesses of the human mind, where the boundaries between the real and the imagined become increasingly blurred. The narrative is filled with surreal and grotesque imagery, embodying the director’s trademark body horror aesthetic. The film’s prophetic take on the dehumanizing effects of media and technology feels even more relevant in today’s hyper-connected world.

The performances, particularly James Woods and Debbie Harry, are compelling, adding a layer of authenticity to the unsettling narrative. The practical effects used to bring the bizarre and nightmarish visions to life are a testament to Cronenberg’s mastery in creating visceral and disturbing cinematic experiences.

“Videodrome” is not a film for everyone, as it delves into challenging and thought-provoking themes. It’s a cult classic that has gained a reputation for its bold and unconventional approach to storytelling, pushing the boundaries of both horror and science fiction genres. If you appreciate films that challenge conventions and explore the darker corners of the human psyche, “Videodrome” is a must-watch that continues to resonate with audiences for its daring and visionary storytelling.

Can you ay more about the use of television and VHS in this film as a kind os substance abuse?

Certainly! In “Videodrome,” David Cronenberg uses television and VHS technology as a metaphor for a kind of substance abuse, exploring the addictive and mind-altering effects of media consumption. Max Renn, the protagonist played by James Woods, becomes increasingly obsessed with the mysterious and disturbing content he discovers on Videodrome, a pirate television broadcast. The film presents a narrative where exposure to this extreme and provocative media has a transformative impact on the viewer, akin to a drug.

Much like substance abuse, the characters in the film experience a loss of control over their own perceptions and realities. Max Renn’s descent into the dark world of Videodrome is marked by hallucinations, blurring the lines between what is real and what is a product of his altered mental state. The film suggests that the constant exposure to graphic and violent imagery has a profound and deleterious effect on the human psyche, akin to the destructive consequences of substance addiction.

The use of VHS technology, a popular medium for home video consumption in the 1980s, adds another layer to this metaphor. The accessibility and ease of replicating and distributing VHS tapes parallel the idea of a dangerous and contagious influence spreading rapidly, much like a drug epidemic. The film reflects concerns about the potential harm that unregulated and extreme media content can inflict on individuals and society as a whole.

Cronenberg’s exploration of the addictive nature of media and its potential to reshape human consciousness is a central theme in “Videodrome.” The film serves as a cautionary tale about the power of mass media and the psychological toll it can take on those who immerse themselves in its most extreme and distorted forms.

Can you use Marshall Mcluhan’s theories of media to offer an analysis of Videodrome?

Certainly! Marshall McLuhan’s theories of media, particularly his famous phrase “the medium is the message,” can be applied to analyze David Cronenberg’s “Videodrome” in a thought-provoking way.

In “Videodrome,” McLuhan’s ideas about the impact of media on society are mirrored in the film’s exploration of the symbiotic relationship between technology and human consciousness. The concept that the medium itself shapes and influences the message is evident in the film’s narrative, where the Videodrome signal becomes a transformative force, altering the perceptions and realities of those exposed to it.

McLuhan also discussed the idea of media as an extension of the human senses. In the case of “Videodrome,” the television and VHS technology act as extensions of the characters’ sensory experiences, blurring the boundaries between the virtual and the real. McLuhan’s emphasis on the immersive and participatory nature of media finds resonance in the film as characters become not just passive consumers but active participants in the dark, hallucinatory world of Videodrome.

Moreover, McLuhan’s exploration of the global village, where communication technologies shrink the world into a more interconnected and immediate space, can be seen in how the Videodrome signal spreads and connects individuals on a mass scale. The film suggests that the media, in this case, has the power to create a shared, albeit disturbing, experience that transcends traditional boundaries.

Additionally, McLuhan’s ideas about the numbing and desensitizing effects of media are reflected in the film’s portrayal of the characters’ gradual acceptance and normalization of extreme and violent content. The medium of Videodrome becomes a kind of drug that desensitizes its users to the moral and ethical implications of their actions.

In conclusion, “Videodrome” serves as a cinematic exploration and critique of McLuhan’s theories, particularly regarding the transformative and participatory nature of media. The film engages with the idea that the medium itself, in this case, the Videodrome signal, is a powerful force that not only communicates a message but fundamentally shapes the consciousness and behaviors of those who engage with it.

Can you find any research to establish Cronenberg was a student of Marshall Mcluhan?

There is no credible evidence or research to suggest that David Cronenberg was a student of Marshall McLuhan. Cronenberg is a Canadian filmmaker and director known for his work in the horror and science fiction genres. While both Cronenberg and McLuhan are prominent figures in Canadian cultural history, there is no indication that Cronenberg studied under McLuhan or had a direct academic connection with him.

Marshall McLuhan was a media theorist and professor, best known for his influential work on media studies, particularly his ideas about the medium being the message and the global village. His academic career was centered around his work at the University of Toronto, where he taught from 1946 until his death in 1980.

David Cronenberg, on the other hand, attended the University of Toronto but pursued a degree in literature. He later shifted his focus to filmmaking and gained recognition for his unique approach to the horror genre, incorporating elements of body horror and psychological tension into his films.

While both Cronenberg and McLuhan have made significant contributions to Canadian culture, there is no evidence to suggest a direct mentorship or academic relationship between them. Cronenberg’s filmmaking style and thematic choices may have been influenced by cultural and intellectual currents of the time, but any connection between Cronenberg and McLuhan appears to be more indirect and contextual rather than academic.

Posted in AI, ai106, digital storytelling | Tagged , , , , , | 4 Comments

Demystifying AI

As Paul Bond and I try to get the bones of AI106 together for the coming semester-long ds106 course focused on AI, I’m appreciating the amazing work the good folks at Middlebury College have done to frame an engaging, hands-on introduction to Artificial Intelligence. Their Digital Detox course focused on Demystifying AI is really off to a quite impressive start. Paul and I will be borrowing heavily from their work and looping it in to the weekly roundup of resources given how well they balance explanation with focused action. I love the idea of creating a space for the broader Middlebury community (and beyond) to explore the emergent phenomenon of AI. What’s more, the site looks so beautiful!

Screenshot of Middlebury College's Demystifying AI site

Screenshot of Middlebury College’s Demystifying AI site

Posted in AI, ai106, digital storytelling | Tagged | 3 Comments

Zoomfloppy Driver Issues

This Christmas holiday I decided to return to playing with some peripheral hardware I bought for the Commodore 128D machine I discovered here in Italy 8 years ago. I have already written extensively about both the Zoomfloppy Drive (the subject of this post) as well as the uIEC SD card drive that provides a SD-card enabled drive, which is pretty slick. In fact, I went so far as doing a 5-minute video comparing what each does and does not do. I was good, and thorough.

But 7 and a half years have past and things have changed on the computer front. I erased my portion of the Macbook Pro that I originally setup for the Zoomfloppy that was acting as the bridge with the c128D. OpenCBM is the software/driver that the Zoomfloppy depends on to access the drive, and thanks to this brilliant post by Christian Vogelgsang I was able to get OpenCBM running on my Mac back in 2016. But, not surprisingly, a lot has changed since and  when I returned to the process recently I have been hitting some snags.

So, this post is a “message in the bottle” approach to a solution, and I’ll be throwing it out into the vast ocean of the internet (being sure to comment on Christian’s blog) with hopes someone might know a way I can get the drivers working on my Mac again so I can use the Zoomfloppy.

My Zoomfloppy board is running Firmware v7, so I tried to install version 2 of the code Christian provides to install with MacPorts, but I get the following error message:

Can't map the URL 'file://.' to a port description file
("can't set "revision": revision must be an integer").
Please verify that the directory and portfile syntax are correct.
To use the current port, you must be in a port's directory.

The main log error code reads as follows:

:debug:build Environment:
:debug:build CC_PRINT_OPTIONS='YES'
:debug:build CC_PRINT_OPTIONS_FILE='/opt/local/var/macports/build/_Users_miles_opencbm/opencbm/work/.CC_PRINT_OPTIONS'
:debug:build CPATH='/opt/local/include'
:debug:build DEVELOPER_DIR='/Library/Developer/CommandLineTools'
:debug:build LIBRARY_PATH='/opt/local/lib'
:debug:build MACOSX_DEPLOYMENT_TARGET='10.14'
:debug:build SDKROOT='/Library/Developer/CommandLineTools/SDKs/MacOSX10.14.sdk'
:info:build Executing: cd "/opt/local/var/macports/build/_Users_miles_opencbm/opencbm/work/code" && cd opencbm && make -f LINUX/Makefile PREFIX=/opt/local MANDIR=/opt/local/share/man/man$
:debug:build system: cd "/opt/local/var/macports/build/_Users_miles_opencbm/opencbm/work/code" && cd opencbm && make -f LINUX/Makefile PREFIX=/opt/local MANDIR=/opt/local/share/man/man1 $
:info:build make: LINUX/Makefile: No such file or directory
:info:build make: *** No rule to make target `LINUX/Makefile'. Stop.
:info:build Command failed: cd "/opt/local/var/macports/build/_Users_miles_opencbm/opencbm/work/code" && cd opencbm && make -f LINUX/Makefile PREFIX=/opt/local MANDIR=/opt/local/share/ma$
:info:build Exit code: 2
:error:build Failed to build opencbm: command execution failed
:debug:build Error code: CHILDSTATUS 25255 2
:debug:build Backtrace: command execution failed
:debug:build while executing
:debug:build "system {*}$notty {*}$callback {*}$nice $fullcmdstring"
:debug:build invoked from within
:debug:build "command_exec -callback portprogress::target_progress_callback build"
:debug:build (procedure "portbuild::build_main" line 8)
:debug:build invoked from within
:debug:build "$procedure $targetname"
:error:build See /opt/local/var/macports/logs/_Users_miles_opencbm/opencbm/main.log for details.

When I try and install the bleeding edge version of the code I get the following errors:

Miless-Air:opencbm miles$ sudo port install
---> Computing dependencies for opencbm
---> Fetching distfiles for opencbm
---> Verifying checksums for opencbm
---> Extracting opencbm
---> Configuring opencbm
---> Building opencbm
Error: Failed to build opencbm: command execution failed
Error: See /opt/local/var/macports/logs/_Users_miles_opencbm/opencbm/main.log for details.
Error: Follow if you believe there is a bug.
Error: Processing of port opencbm failed

The main log error code reads almost identical to the one got for version 2, so the same issue seems to be happening.

All that said, I can get version 1 of the code that Christian provided up and running, but whenIi try and detect the xum1541 drive (or the Zoomfloppy) I get a no xum1541 device found

Miless-Air:opencbm miles$ cbmctrl detect
error: no xum1541 device found

I’m running this on an old Macbook Air running Mac OS Mojave, and it rarely sees the light of the day, but I figured to try an older machine with an outdated OS and still running Intel chip to reproduce the situation I had when the Zoomfloopy driers actually worked.

Anyway, I’m not sure anyone out there is running into similar issues, but if so and you have any ideas and/or just want to commiserate, feel free in the comments. That said, solutions are always most welcome 🙂

Posted in Commodore 128 | Tagged , , , , | Leave a comment Space is the Place

Yesterday was a big moment for this blog: the finally moved into a physical storefront of its own: (click that link ans subscribe now!) 🙂

bava storefront

I’m not sure what exactly is, or will be, but I do know it’s a direct, physical outgrowth of everything I’ve done on this blog for almost two decades. I can try to wax poetic about virtual versus physical space, or even theorize shifting notions of community as traditional brick and mortar commercial enterprises give way to virtual businesses, that are beginning to change our understanding of online communities (Facebook, Instagram, anyone?).*

With the rise of vacant storefronts in Trento after the pandemic was in full swing, I started thinking about finding a space given how much fun and generative that was in Fredericksburg, and the resulting Reclaim Arcade. But I also knew this time I wanted to do what Lloyd Dobbler would do (WWLDD?) and not “sell anything bought or processed, or buy anything sold or processed, or process anything sold, bought, or processed…”

In other words, how to create a space not focused on buying and selling, but building a sense of community around media elements of our past, present, and future. In Italy you can create something akin to a cultural organization, which is what I am currently looking into, so more details to follow on that point.

Empty bava studio (view from front of office)

But as of now we do have a space, and as of yesterday it went from entirely empty to half-full:

Getting settled

Which was really exciting, and as a few people have already commented, the floor is absolutely amazing: it really ties the room together. In fact, I brought over the eight cabinets that were in my foyer, and while that cleaned out my house, it filled up half the space pretty quickly!

Morning's Work to Move

Empty Foyer

The first game in was Donkey Kong Jr., which made it seem like there would be plenty of room:

Donkey Kong Jr. First In

But once we got the remaining 7 cabinets in, as well as a work table, about one-third to half the space was already accounted for.

Settling in view from back of spaceI still have more space to play with, and today I’m going to see how many games I can get in comfortably, leaving room for moving things around and workshopping the exhibit window (more on the proscenium shortly), but given this is not necessarily going to be an arcade, I won’t need to worry about making room for all of them anyway.

Back of bava studio

As you can see from the image above, the front part of the space is somewhat cordoned off by the games, and I have the work table with the Windows 98 machine up against one wall. I am thinking the Windows 98 setup might be one of the next months exhibits as I play around with it during a hopefully slower end of December.

Make shift Windows 98 Working Desk

The front part of the studio has a corner of five games, two on the right wall, Joust and Defender, and three cutting across the center of the space: Dig Dug, Super Cobra, and Elevator Action.

Front room cordoned off by games

Finally, I have Pac-man, Donkey Kong Jr., and Galaxian as the first proto-exhibit in front of the proscenium window. This is kind of a happy marriage between bavacade and, and the thing that was convenient is putting three mint, authentic late 70s, early 80s arcade cabinets in front of the store window is enough of a display all by itself.

Window Exhibition Line-up

Exhibition Window #001: Pac-man, Dinkey Kong Jr, and Galaxian

In fact, yesterday had its first visitor, Giulia, who saw the space and couldn’t resist entering—which is a good sign. Giulia asked me a very difficult question yesterday, namely, “What is this space?” To which I retorted, “Well, it’s kind of a website, but physical….think of it as a laboratory, a studio, a creative space, a community space, blah blah blah.” Fact is, I’m not entirely sure yet, and I want to see it come into its own somewhat organically.

First Quest: Guilia

I had Guilia pose looking at the games in the window to get a sense of the scale of the proscenium, and it will work pretty well, I just need to create a kind of fake wall that stands behind it that I can decorate, and re-decorate depending on what’s “showing.”

Guilia in the Exhibit Window

The rough idea is to try and change out the window every month or so with a different peek inside some piece of bavatuesdays’s cultural media brain. So, in the end, I guess we’ll see what comes of it, but so far it feels pretty right—I guess I just needed some space!


* The conflation of social networks and commerce has been happening for a long while, but it seems to have gotten to a tipping point wherein online social spaces are far more commercial than communal, leaving the social evermore dictated by buying and selling—-so like cities, fewer community centers and far more chain storefronts.

Posted in bavacade, bavarcade, bavastudio | Tagged , | 14 Comments