PUBLIC MARKS with search pattern

The term “2D Barcode” is the name given to the next generation of the barcodes we are used to on everyday packaging and products. Before digging into 2D barcodes, we need to explain the history of 1D barcodes and how we arrived at this point. 1D barcodes are the traditional barcodes we see everyday, they are called one-dimensional because their pattern of thick and thin vertical bars is read in only one direction, from left to right.

Our software is as brittle as 15-20 years ago. Reusable objects and framework superstructures have failed. UML has failed. Even design pattern have failed as they turned out to be more idiomatic than universal. What’s left are lightweight programming languages which let us glue things together. Some are user friendly and don’t suck badly. That’s still the best we have.

Lua, are you there?

Maps, especially old hand-drawn ones, are beautiful and intricate visual objects. They are also documents where information has been selected, organized, and often manipulated to fit different purposes. Through history mapmakers have put their parons interests at the centre, and chosen map-projections that stretches or reduces continents the way they saw most beneficent. Today this is well known, and my map project follow the same pattern, - being subjective and egocentric to the extreme. They are also documentation of various personal investigations, - explorations that creates narratives related to the short stories of Borges and Calvino.

For the moment I´m not working with maps, but I´m still mapping.

karlcow said...

Fascinating and very interesting. I may add another law to your experiment, though it would have to be repeated again to see if it's working.

Law 3: A fractal pattern encourages participation.

A fractal pattern is simple enough that the gratification is direct. One can draw a small shape which already makes sense to the person. (I have participated!). But because of the self-structure of fractal pattern, one is participating to a bigger scheme. Sense of collective achievement with grand goals.

Once the structure is big enough, it becomes visible, organized and then it is an object of power, which in return is its weakness. (Colonial states versus Guerrilla/Terrorism). Wikipedia becomes so big that it fights for copyright or have editors censoring content.

Though I kind of disagree with the conclusion of blogs versus wikis. Blogs are indeed easier to maintain but would it be because wikis are not really object of the commons, aka, there is still someone owning the object, it is a property of someone in the end.

I wonder also if there is a density rule in action. A tribe in a large forest with free will to move as they please versus a piece of land with a lot of people. There is very little destruction when the space is infinite. Take the drawing above and imagine a space which is infinite (possible in digital space), would participant try to destroy the work of others or just go further away to do their own drawing?

May 20, 2009 1:50 PM

Would you know if a dear, but seldom seen, friend happened to be on the same train as you? The proximeter is both an agent that tracks the past and future proximity of one’s social cloud, and an instrument that charts this in an ambient display. By reading existing calendar and social network feeds of others, and abstracting these into a glanceable pattern of paths, we hope to nuture within users a social proprioception and nudge them toward more face-to-face interactions when opportunities arise.

Sun Tattoo is a soft stencil which can be used for making the tattoo pattern on the skin by sunshine. It's better to use it with sunless tanning cream.

Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind.

One of the challenges for the Western mind is to acknowledge the relationship between the Shipibo designs and music. For the Shipibo can “listen” to a song or chant by looking at the designs, and inversely paint a pattern by listening to a song or music. As an astonishing demonstration of this I witnessed two Shipiba paint a large ceremonial ceramic pot known as a Mahuetá. The pot was nearly five feet high and had a diameter of about three feet, each of the Shipiba couldn’t see what the other was painting, yet both were whistling the same song, and when they had finished both sides of the complex geometric pattern were identical and matched each side perfectly.