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New American Outline 1
"These days, the mirrors we most often use to check our makeup or see if there’s gunk in our teeth are found on our phones — “smart” devices that coordinate an array of sensors and cutting-edge “image display” and “image capture” technologies to render reality within the boundaries of a powered physical display.

What’s interesting about smart-devices-as-mirrors is that the eventual representation of the “image of the world” is explicitly and wholly a “model” of the world — a “model” meaning a “ human-constructed representation (abstraction) of something that exists in reality”. Physical mirrors are interesting because they have the ability to render reality and even warp it, but what they depict is “a physical reality” in the truest sense; The physical qualities of a mirror can be seen as akin to seeing the world through air, or seeing the world through water. While a human being can physically manipulate a physical mirror to alter the final reflection, the reflection in and of itself is a product of the physical world and unalterable in totality.

To a degree, film photography was an extension of this physical realization (rendering) of reality. At a certain point, what else is the capture of light on paper but a wholly physical process? While people intervened in the path of light’s travel with lenses and apertures and specifically-designed crystal-studded paper, what emerges as a process is less a constructed model of reality and more a continually warped representation of what actually exists in the world. Film and paper photography was a deeply labor-intensive art, full of cutting and cropping and poisoning and brushwork, all serving the act of rendering what was once a beam of light into an image-rendering of a particular summer day. Impressionism lives on in this sense.

It wasn’t until recently that most photographs became literal abstractions or literal models of thought with the advent of digital photographic capture. While the earliest digital photographs presented terrible image quality/resolution, they were possibly the most honest representations of what they actually were: a product of humans manipulating bits through clever mathematic compression to render blocks of color accordingly.

“How can mirrors be real if our eyes aren’t real?”

What we “see” in our screens is wholly a model of reality, wholly an abstraction of the natural world, wholly determined and manufactured by people sitting in an office in California somewhere, typing away at an IDE. When we strip away the image rendered on a screen, when we deconstruct an algorithm, what’s left?

What does it mean when most models (abstractions) of our digital representations are constructed in California, or completely in America for that matter?

When I look at myself on my phone camera, why do I get the haunting feeling I’m not situated in New York anymore? When I scroll through all the photos of friends and strangers on Facebook or Twitter, why does it all feel so flat? When I tap through my friend’s stories on Instagram and get interrupted by an ad for shoes, why does the shoe ad feel more real than the stories it’s sandwiched between?"

"New American Interfaces

When we talk about “New American Interfaces”, it’s important to expand upon the meaning of each word for a complete sense of the conceptual picture we’re trying to paint.

We should imagine “New American Interfaces” to be less a definition, more an expansion. Less an encircling and more an arrangement collage [ ] of existing realities.

“New”ness is a direct reference to developments in human technology that span the last 10 years or so. “New” American technology does not refer to technology that was developed in the 1970s. “New” American Technology is not a reference to networking protocols or personal computers proliferating in the 90s. “Newness” refers to mobile phones finding themselves in billions of people’s hands and pockets. “Newness” refers to the viability of video streaming over wireless networks. “New” implies cameras directly imbued with the capability to re-model reality and assign social value through “the arrangement of certain interfaces” only found in the most cutting-edge devices. “New”ness implies the forgetting of the massive stacks of technology that exist to show us images of our friends and their lives in chronological order.

“America” speaks to the “Americanness” of the current world. Totalizing global governance, military might, far-reaching memetic saturation the rest of the world cannot escape from. “America” means pop culture, “America” means world police. “America” retains the ability to wobble the economy of the world when executives shitpost on Twitter. When we talk about “America”, we mean the hegemonic cultural-economic infrastructure the rest of the world rests upon whether they like it or not.

“Interfaces” speak to not any button, slider, or like button physical or digital or otherwise. “Interfaces” in the sense of “New American” interfaces refer to what Kevin Systrom meant when he called Snapchat a “format”. A replicable stack(s) of technology is an “interface”. An “interface” under this definition means every chat application is fundamentally the same and completely interchangeable. Linear conversation will always be linear conversation, and the pattern of linear conversation is what we call a messaging app, and we call this an “interface”. Every search interface is the same, every index is the same, every captive portal is the same. To take our example to the physical world, imagine this scene:

You see two chairs side by side with one another. From afar, they are completely the same. You inspect them close and they are the same, you notice they both are built from the same beautiful ash wood, every single detail is perfectly mirrored in both chairs.

One of these chairs was wholly made by human hands and the other was cut to shape by a machine, assembled by people on a factory line, and produced in the millions.

One of these chairs is an interface —"
édouardurcades  mirrors  interfaces  ui  ux  cameras  stories  instagram  storytelling  reality  2019  snapchat  multimedia  media  kevinsystrom  format  form  newness  technology  smartphones  mobile  phones  images  imagery  buttons  jadensmith  lukaswinklerprins 
yesterday by robertogreco
Meg Whitman: ‘Businesses need to think, who’s coming to kill me?’
January 18, 2019 | Financial Times | by Rana Foroohar 7 HOURS AGO.

Whitman has just launched Quibi, a $1bn start-up of which she is chief executive (entertainment mogul Jeffrey Katzenberg, her co-founder, is chairman). The venture, backed by a host of entertainment, tech and finance groups including 21st Century Fox, Viacom, Alibaba, Goldman Sachs and JPMorgan, has the lofty aim of becoming the Netflix of the mobile generation, offering high-quality, bite-sized video content for millennials (and the rest of us) hooked on smartphones......Whitman's experience has left her with plenty of advice for chief executives struggling with nearly every kind of disruption — technological, cultural and geopolitical. “I think every big business needs to be thinking, ‘Who’s coming to kill me?’ Where are the big markets that for regulatory reasons, or just because things are being done the way they always have been, disruption is likely? I’d say healthcare is one,” ...... a “Quibi”, is the new company’s “snackable” videos, designed to be consumed in increments of a few minutes....“You have all these in-between moments, and that’s what inspired the length of the content,” she says. “Very few people are watching long-form content on this device,” she says, holding up her iPhone. “They’re spending four to five hours a day on their phones, but they’re playing games, watching YouTube videos, checking social media, and surfing the internet. And although [people] pick up their phones hundreds of times a day, the average session length is 6.5 minutes.”.......Whitman’s hope is that just as people now binge on hour-long episodes of The Crown or House of Cards at home, they’ll do the same on their smartphone while in the doctor’s office, or commuting, or waiting for a meeting to start. As Whitman puts it, “every day you walk around with a little television in your pocket.” She and Katzenberg are betting that by the end of this year, we’ll spend some of our “in-between moments” watching micro-instalments of mobile movies produced by Oscar winning film-makers or stars ... interviewing other stars. ....The wind was at her back at eBay, where she became president and chief executive in 1998, presiding over a decade in which the company’s annual revenues grew from $4m to $8bn. “It’s hard to change consumer behaviour. We did that at eBay. We taught people how to buy in any auction format on the internet, how to send money 3,000 miles across the country and hope that you got the product.”

Quibi, she believes, doesn’t require that shift. “People are already watching a lot of videos on their phones. You just need to create a different experience.” She lays out how the company will optimise video for phones in ways that (she claims) will utterly change the viewing experience, and will leverage Katzenberg’s 40 years in the business.

CEOs  disruption  Meg_Whitman  Rana_Foroohar  start_ups  women  bite-sized  Hollywood  Jeffrey_Katzenberg  mobile  subscriptions  web_video  high-quality  Quibi  smartphones  advice  large_companies  large_markets  interstitial 
28 days ago by jerryking

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