Media Fabric — A Process-Oriented Approach to Media Creation and Exchange

This paper explores the emergence of a new paradigm we call the 'media fabric' — a semi-intelligent organism consisting of a vast and evolving collection of media artefacts, structures and programs that support our engagement in meaningful real-time dialogues, art making, and social interaction. Situated in and around modern communications networks, the media fabric beckons us into an evolving landscape of creative story potential that is synergistic with our imagination, integral to our everyday life, mindful of itself and our intentions, improvisationally shaped, and provides us with interactions and remaindered artefacts that are evocative and self-reflective.

[1]  Push Singh,et al.  Collecting commonsense experiences , 2003, K-CAP '03.

[2]  Frank H. P. Fitzek,et al.  The Medium is the Message , 2006, 2006 IEEE International Conference on Communications.

[3]  Erik T. Mueller.  A database and lexicon of scripts for ThoughtTreasure , 2000, ArXiv.

[4]  M. Mcluhan.  Understanding Media: The Extensions of Man , 1964 .

[5]  Hugo Liu,et al.  Teaching Machines about Everyday Life , 2004 .

[6]  Peter J. Bentley,et al.  Improvised music with swarms , 2002, Proceedings of the 2002 Congress on Evolutionary Computation. CEC'02 (Cat. No.02TH8600).

[7]  Xinyu Hugo Liu,et al.  Semantic understanding and commonsense reasoning in an adaptive photo agent , 2002 .

[8]  Push Singh,et al.  The Public Acquisition of Commonsense Knowledge , 2002 .

[9]  George E. Lewis.  Interacting with latter-day musical automata , 1999 .

[10]  Henry Lieberman,et al.  Aria: an agent for annotating and retrieving images , 2001, Computer.

[11]  Eduardo Reck Miranda,et al.  On the origins and evolution of music in virtual worlds , 2001 .

[12]  Glorianna Davenport,et al.  Automatist Storyteller Systems and the Shifting Sands of Story , 1997, IBM Syst. J..

[13]  Katie Salen,et al.  Rules of play: game design fundamentals , 2003 .

[14]  Erik T. Mueller,et al.  Open Mind Common Sense: Knowledge Acquisition from the General Public , 2002, OTM.

[15]  D. Bidney,et al.  La Pensee Sauvage , 1964 .

[16]  Roger C. Schank,et al.  SCRIPTS, PLANS, GOALS, AND UNDERSTANDING , 1988 .

[17]  R. Rosenblum,et al.  When the Shooting Stops...the Cutting Begins , 1980 .

[18]  Glorianna Davenport,et al.  Documenting life: videography and common sense , 2003, 2003 International Conference on Multimedia and Expo. ICME '03. Proceedings (Cat. No.03TH8698).

[19]  S. Turkle,et al.  Epistemological Pluralism and the Revaluation of the Concrete. , 1992 .

[20]  G. Davenport.  NEW ORLEANS IN TRANSITION , 1983-1986 : The Interactive Delivery of a Cinematic Case Study , .

[21]  Paul Nemirovsky,et al.  Aesthetic Forms of Expression as Information Delivery Units , 1999 .

[22]  Stephanie W. Haas.  The Creative Process: A Computer Model of Storytelling and Creativity, by Scott R. Turner , 1996, J. Am. Soc. Inf. Sci..

[23]  Barbara Barry,et al.  Beating Some Common Sense into Interactive Applications , 2003 .

[24]  E. Ackermann.  Piaget ’ s Constructivism , Papert ’ s Constructionism : What ’ s the difference ? , 2001 .

[25]  Claudio S. Pinhanez,et al.  Approximate World Models: Incorporating Qualitative and Linguistic Information into Vision Systems , 1996, AAAI/IAAI, Vol. 2.

[26]  P. Ricoeur,et al.  Time and Narrative , 1989 .

[27]  Aaron Sloman,et al.  An architecture of diversity for commonsense reasoning , 2002, IBM Syst. J..