PROTO - PORTFOLIO PART 1 & 2

PROTO-

THE FUTURE LABORATORY

HUMANISING TECHNOLOGY

PROTOPORTFOLIO

LAURA OLIVER 2014 / 2015

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PROTO-

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STAGE ONE

STAGE TWO

Brand Identity

Visual Inspiration

Methodology

The Mantra

Macro Trends

3 - 5 6 - 7 8 - 10 11 12 - 21

The Sector

Cartogram

The Consumer

The Tribe

The Focus

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Methodology

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Critical Path

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Macro Research

AP 2

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References

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Exhibition Research

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Bibliography

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Consumer Research

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Industry Research

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Ethics AP 5

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Appendix

Case Studies

The Future

List of Illustrations

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ISABEL NASCIMENTO 1146

CAMILLA LEWIS 1061

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Before looking at the next, we felt the need to understand the now – who are we, where are we, when are we? As a team, and after discussing our individual skills and values, we found ourselves captivated by Mikhail Epstein’s writing on proto(1998), which situates humanity at the very end of modern age and foresees sweeping changes in technology heralding the onset of a new, undefined era (Droitcour, 2014). Epstein writes: “The period we are entering is no longer a period after something: postcommunist, postmodernist, ‘postthis,’ or ‘postthat.’ The present era is ‘proto,’ but a preface to what, we do not know. Whilst postpresupposes finitude, closure and retrospection, proto- points to multiplicity and possibility.”

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The Ethos

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The present era is Proto, but a prefix to what, we do not know.

Proto- has given us our own tone of voice, it underlined both our mission and ambition. The prefix’s ethos is embedded in our visual identity – simple and sleek, white against black, our branding forms a baseline to which we analyze our images and text against, in order to consistently maintain our brand narrative.

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TYPEFACE : Montserrat

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AaBbCc123 PANTONE COLOUR SCHEME :

Snow White 11- 0602 TPX

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Visual Inspiration

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Geometric shapes resemble a cutand-paste aesthetic that adds depth and breadth to flat, two dimensional design. The Protovisual sensibility has been inspired by this celebration of sameness and dominance of linearity and colour blocking in both fashion and design.

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THE METHOD

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To discern clarity from chaos, we began our research methodology by doing cross-sector analysis through websites and books. To best maximise the skills of a team of three, we created a document full of websites that ranged from social and environmental news to political, technological and cultural.

To process the information we each discovered separately, we used Google Docs, allowing us to share the research with each other, whilst being apart.

Having such a varied array of sources resulted in us having a strong understanding of today’s cultural climate which in turn allowed us to find, select and gather key insights.

To digest the research we created an online space that acted as an ideas board to filter our key findings whilst adding to our brand identity.

On a weekly basis we grouped together to depict whether the articles we gathered are micro or macro trends. We created our own system to analyse our collated information. ZEITGEIST which means spirit of the age or time works hand in hand with the manifesto of Proto-. We broke the word and created two categories: Zeit and Geist. Geists are the small trends, they are sparks which may develop further but at this stage they are just interesting, stand alone stories, images and messaged, The Geists culminate to make the Zeits, which are our big stories – our macro trends.

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Our Process

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Life in the digital age is something we’ve learnt to embrace, even relish.

We appreciate the variety, the depth and breadth - a kaleidoscope of information all in one place; the Internet. However it is this very notion, the over-complexity of our always on, connected self, that is driving a dis-satisfaction with the real, physical world. With answers and opportunities available at the click of a button, businesses and individuals alike are better informed, better educated and receptive to change.

Yet, this digital world, despite its hyper-connected ubiquity, increasingly feels confined.

Consumers are bored of physical life and seek extra-terrestrial experiences; as a result they are willing to go to extreme lengths for adventure. We aspire to move easily, we don’t expect to compromise on balancing on and offline life and so, today, human life isn’t enough.

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The complexity of our always on, connected self, is driving a dis-satisfaction with the real, physical world. We aspire to move easily, we don’t expect to compromise on balancing on and offline life and so, today, human life isn’t enough.

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The Mantra

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MACRO TRENDS

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We believe our humanity is fragmented and that in our rawest form we are physical, emotional and social beings. In our quest to push boundaries and live life at the extreme what makes us human is becoming increasingly blurred.

Whilst every human has different DNA, we believe that to create successful strategies for brands and to predict trends all three attributes need to interlink. The coming pages outline the three macro trends; physical, emotional and social, these individually and cohesively reflect the core concept; life isn’t enough.

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MACRO TRENDS

ISOMETRIC SPACE

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PHYSCIAL : ISOMETRIC SPACE Our f irst macro trend, Isometric Space, sees

our mantra reflected

in physical human attributes. In the digital era we are living in, screens are our primar y source of consuming information, entertainment , socializing – life has become flat (Google 2012). Our screen-based omnipresence leaves physical space, both literal and laterally, left to explore.

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PHYSCIAL : ISOMETRIC SPACE

This trend is driven by our constant connectivity to digital devices which, once combined with the huge leaps forward in science and innovation, results in the universe – and the unknown – being brought closer to us. Isometric Space sees the urge to have extraterrestrial, adventurous experiences turned into a possibility, even from the comfort of our own home.

Going to outer space without moving has never been made easier – your name can now be sent on NASA’s #journeytomars (2014), or one acre parcel of land on the moon can be yours for £16 (Moonestates, 2014). Simultaneously, Germany’s Max Planck Institute for Astronomy are granting us with an unpreceded view of the cosmos with the first 3D map of the universe (Freeman, 2014).

NASA’s 3D tour of the International Space Station underline the

first and create a bridge for the second component of this trend (2014). The development of third dimensional experiences through 2D formats feeds from the same, previously mentioned, demand for more tangible experiences.

In continuation to lateral space exploration, and so as to overcome flatness, this transition sees “virtual” becoming closer to “physical” fusing into an “augmented” reality instead, where 1 + 1 = 3(D).

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On the creative side of things, this trend is illustrated by Vivienne Westwood’s photoshoot, which used laser scanners instead of a camera to digitize both the models and location, resulting in a 360º realistic view of the production (Dezeen, 2014). On the other hand, 3D photos are being printed to help trigger blind people’s memories (Lynch, 2014) whilst 3D soundscapes are helping them navigate their way around cities (Thimmesch, 2014).

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MACRO TRENDS

BIONIC BLOOD

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EMOTIONAL : BIONIC BLOOD The second macro trend ‘Bionic Blood’ explores

the polarity of

today ’s human emotion. As the line between man and machine becomes increasingly diff icult to draw, human and artif icial intelligence cannot be separated. Algorithm or animal, you decide.

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EMOTIONAL : BIONIC BLOOD

This trend analyses how our bodies have become a canvas for exploration. As we modify our bodies in a bid to compete and better ourselves, robots are developing emotion and human tendencies.

With technology seamlessly integrated into our lives, minds and now bodies, invasive, yet symbiotic relationships arise between parts. Bionic Blood examines where the line between man and machine could be drawn, in a gradually blurred future.

The second strand to this trend relates to tech ubiquity, not in our human body, but life as a whole.

Whilst we adapt our bodies, machines are working with other machines enabling developments such as the Internet of Things.

According to its creators: Cisco, by 2020 37 billion new things will be connected to the Internet (Cisco 2014). Here lies a fully immersive connected future where technology is set to continue infiltrating daily routine.

The drivers of this trend lie in the developers of innovative wearable technology. For example, New Deal Design have created Project Under Skin, an invisible digital tattoo system implanted into the users arm, that can unlock doors, trade data through a handshake and even calculate low blood sugar (New Deal Design 2014).

Trend drivers include objects and systems that are putting the Internet of Things concept into practice, to better connect, engage and ease the consumer’s life. Flic, for example, is an automation tool that is integrated within users homes. With one click, the software can change lighting, raise or lower the room temperature, pick appropriate music, and more.

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MACRO TRENDS

SECOND NETWORK

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SOCIAL : SECOND NETWORK As life becomes increasingly connected and

concerns over privacy

grow, we are exploring new forms of social interaction via alternative browsers and the deep web. The f inal trend ‘Second Network ’ represent s the prominence of our digital footprint , as important when we are dead, as when we are alive.

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SOCIAL : SECOND NETWORK

The online self is faceless, transmutable – anonymous.

Although its digital footprints are unavoidable and ubiquitous, they are also mundanely hard to track, which sets the internet to be identity’s idyllic playground.

The dark net is concealed and anonymous, it is responsible for 96% of the internet as a whole, the other 4% is the Internet you and I use (Slate, 2014). As awareness grows over our privacy, or lack there of, for our online activity, users are obscuring the public view by opting for the dark net, a place of anonymity and security.

The way we see this trend moving forward is with The Alternet. The Alternet emerges as something between the darknet and the Internet, this autonomous network protects your data and lets you own it. A blend of the qualities of the Internet and the Dark Web,

putting users in control of their digital profile (Alternet, 2014).

The other aspect of this trend is the fact that we are experiencing time when our presence of the web outlives our real, human life. My Wonderful Life is a key trend driver of ‘Second Network’. An online platform that helps you plan and prepare your own funeral, so that it reflects the way you lived (My Wonderful Life, 2014).

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As more are born as digital natives, will our Facebook and Instagrams become online museums of our memories? Our digital footprint reflects our living life. We are all curators of our online presence, editing what we leave behind, we want to be in control. To what extent are you a brand advocate once you are gone?

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THE SECTOR

CARTOGRAM

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THE DECISION

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Isometric Space, Bionic Blood and Second Network all share one thing in common; human life isn’t enough. The Proto- way of thinking brings conceptual flare to the forefront. We are lateral not literal, we seek the why, not the what.

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The Decision

The travel sector is currently undergoing rapid evolution and it is here that Proto- will direct its focus.

By developing the aforementioned macro trends and considering what they mean to society and companies alike, Proto- aims to inject creativity and conceptual thinking to a traditional corporate, commercial sector.

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THE SECTOR : TRAVEL

The word ‘travel’ was once suggestive of all inclusive package holidays, a chance to escape the mundane and re-charge at faraway destinations. Today the world of travel isn’t as simple. With Millennials and Generation Z in toe, the very expectations of travel are not only changing but being completely disrupted (Ohrstedt 2014).

Growing up in a time of economic uncertainty, youth today have changed their life priorities (Laughlin 2014), perhaps less committed, less loyal to companies and brands, youth today want experience, and travel offers that sense of adventure. However this surge in ‘seeing the world’ isn’t a result of poor career prospects or lacking ambition, as “beyond the fun they can have on a trip they consider travel as a formational experience that helps them develop into what they want to become,” (Saez-Gil 2014). As such, these young consumers seek authentic

experiences true to culture and removed of tourism, they desire a genuine place to stay, which has developed the likes of home rental service Air B’n’B. Whilst the literal experience of travel is being pushed and challenged by Millennials and Generation Z, lateral travel experiences are too being pioneered as a result of these digital natives technological accustom.

Ironically, technology is often blamed for distancing individuals from reality, yet it is in fact aiding the modern travel experience. With the adoption of virtual reality headsets and augmented reality mobile apps, we are on the verge of being able to explore the world without leaving the house. ‘As we scan and rasterize more of the real world, and develop new, powerful technology for representing it, the gap between the digital and physical is getting smaller’ (Cheshire 2014). A sector on the verge of evolution will propel the Proto– investigation, what happens when online becomes the destination itself?

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“As we scan and rasterize more of the real world, and develop new, powerful technology for representing it, the gap between the digital and physical is getting smaller” TOM CHESHIRE 2014

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THE SECTOR ; TRAVEL

The travel industry is ripe for disruption as it involves the movement of people across borders, the exchange / cross-pollination of ideas, temporary consumption and a heavy amount of research and transactions performed online.

Peter Jordan, 2015.

See Appendix 4.4

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The Filter

TEAM CARTOGRAM

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On completion of stage one and to visualise our earlier described macro trends further, we created a cartogram to identity the strongest and most appropriate pillar physical, emotional and social - to the world of travel. Summarising our key insights surrounding the humanisation of technology was a process which enabled us to make the transition from stage one to stage two. After completing this task, we were able to depict that Isometric Space - our physical pillar - would the the perfect tool in developing Generation Z’s affinity to digital experience and travelling from the comfort of their own home.

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THE TRIBE

THE FOCUS

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THE CONSUMER

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“SOCIAL MEDIA ELIMINATES AWK WARDNESS AND CAN HELP BRIDGE NEW FRIENDSHIPS” with 65 particpants, boys Survey and girls aged 12 - 17. (See Appendix 4.2) How do Generation Z maintain and/or make friendships?

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SAMPLE 65 RESPONDENTS

IN PERSON

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O C

SO IA L IA ED

M WHILE GAMING

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WHAT DO YOU WISH YOU COULD DO MORE OFTEN? SAMPLE 65 RESPONDENTS

Originally we conducted an online survey with 95 Gen Z participants to investigate their shopping habits

and general behaviours both on and offline. Facts and figures from this survey took us to a dead end and as such we re-formulated our questions, to more broadly find out what their wants and needs. We did this by visiting two schools, gaining insight from 65 Gen Z particpants. Our key finding from the second phase of research was that 59% expressed a desire to see the world, clearly stating this was the path to follow.

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With retail continually threatened by the rise of the internet - Gen Z’s playground - it seemed to us like the ideal opportunity to evolve a kinship between this online generation and the offline high street. However, research showed otherwise.

70% TRAVEL

32% SOCIALIZE

9% LEARN

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Generation Z represent the future future creatives, future consumers, future leaders. Born from mid 1990’s to 2010’s (Entrepreneur, 2014: online), they are the generation to carry us to the next. Having travelled to an average of 11 countries by the time they are 16, they are the most travelled generation in history (Happen, 2014), whilst also being the richest to date. This generation have applied their digital sixth sense to the physical world, blurring the two, naming them the Internet generation.

We have identified our tribe as Digital Nomads. With their constant connection, they share information and experiences with their friends and strangers. Those with common interests have the availability to virtually connect and meet those who they associate themselves with, allowing them to share with those they relate to. An integral part of enjoying their free time is the ability to experience it with others,

allowing them to capture, curate and collect their most treasured moments (Happen, 2014).

With the ability to now share and report every experience online, the popularity of review sites are increasing as people can ensure they know exactly what they are paying for, allowing for their leisure and holiday time guaranteed to be well spent. The range of possible experiences now feels infinite with cheaper and easier ways to travel being opened to the world. As previously stated, Generation Z are the most travelled of all generations (Happen, 2014), the desire to travel and explore will heavily increase as the availability to wander opens, with the security of knowing what they pay for. Sharing these adventures worldwide appeal to the Digital Nomads as they virtually connect with others around the globe, experiencing different cultures.

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The Tribe

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diGiTal - nOMads ThEy liVE ThEiR liVEs OnlinE

ThEy Can TRaVEl anyWhERE

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USES 4 APPS PRIOR TO UPLOAD ON INSTAGRAM. HAS VIRTUAL FRIENDS ACROSS THE GLOBE WHO BOTH MEET AND MAINTAIN RELATIONSHIP ON SOCIAL MEDIA. KEEPS A PINTEREST BOARD WITH DREAM DESTINATIONS. SUFFERS FROM FOMO. “If you haven’t got a photograph, it never happened.”

“Feels weird not using emojis at the end of a text”

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HARRIET OLIVER, 15 DURHAM

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WELL EDUCATED AND RESEARCHES ABOUT THE WORLD. KEEPS A BUCKET LIST OF UNCONVENTIONAL DESTINATIONS. HAS BEEN TO MORE THAN SIX DIFFERENT COUNTRIES. LOOKS AT PHOTOS WHEN HE HAS NEW YORK BLUES SEEKS REAL EXPERIENCES “after school i keep in touch with my friends on the xbox ” “I’m jealous of my best friend, he just moved to Dubai”

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WILLIAM HOSIER, 16 SWINDON

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From the cartogram, and after defining our tribe, we then proceeded to merge our Isometric Space findings with the travelling sector in greater depth. This process has allowed us identify patterns within the first and gaps within the latter.

Projects such as Samsung’s Beyond 360º Camera, “the world’s first 3D omni-view camera that can relay high-resolution reconstructions of its surroundings to any Gear VR wearer” (Barnard, 2014) are paving the way to PROTO-‘s will to challenge and evolve the way we travel today.

Gen Z’s digital nomadism is both cause and product of many services’ expansion, seen, for instance, in YouTube’s recently added support for 360º videos (Ghoshal, 2015) and PlayStation 4’s Project Morpheus, which, through a VR headset, delivers an unprecedented sense

of presence for video game players (Hong, 2014).

This generation’s asset-free, pro-experience lifestyle – their “propensity to enrich their lives” – is seeing them “move around the globe”, both physically and virtually, in search of cultural capital and meaningful, instagrammable, experiences (Laughlin, 2014: 4). Their virtual literacy will revolutionize the way travel agencies communicate with their consumers. Skyscanner, today’s leading search engine for flights and destinations, sees Oculus Rift giving travellers to option to “try before they buy”, or even the creation of virtual reality holiday brochures (Chesire, 2014: 23).

Inspiration can be taken from Jaunt, they are an agency who reinvent events with the implementing virtual reality. For example turning Paul McCartney’s concert to 360’ immersive experience.

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The Focus

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THE FUTURE

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CASE STUDIES

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CASE STUDY : FLING

No longer do we want to share our moment s with our friends, but the rest of the world.

No longer do we want to share our moments with our friends, but the world. Fling is a new app that allows the user to share their life experiences through photos and videos, connecting them instantly to 50 strangers around the world (Fling, 2015). Likened to Chatroulette and Snapchat - a widely used virtual phenomenon over the years, Fling takes inspiration from the two, merging them together and sending them to the unknown. The excitement being not knowing who will receive the consumer’s content.

This app is all about the user introducing themselves to others, with the potential to spark a new acquaintance and even a possible friendship, oceans apart. This simple service provides the consumer with intrigue and the ability to catch a glimpse of different cultures, increasing their want and need to travel.

The popularity of Fling showcases the way the consumer chooses to interact in the digital realm. No longer does sending an image to their friends give enough validity to their daily actions. This highlights the idea that Generation Z are intrigued by the world that surrounds them, along with the creating an instant virtual connection with others.

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CASE STUDY : OMNIPRESENZ

A quest for better social innovation has been the catalyst for an alternate travel experience.

A quest for better social innovation has been a catalyst for an alternate travel experience that gives users an immersive reality.

Through the use of 360 panoramic stream, the construction of a global collaborative experience is possible.

Omnipresenz is a social interactive telepresence experience (Omnipresenz 2014) that allows users to travel anywhere, anytime, without moving. The service offers users the opportunity to visit places through their own human avatar, giving them a truly immersive experience. The high tech system combines audio and video streaming, to give users the sight and sound of their avatar, meaning they are able to interact with new environments as if they are really there.

Omnipresenz bring consequences to a variety of sectors. The tourism and travel sector will have both positive and negative impact, with users gaining the opportunity to see their next destination before even arriving. Society as a whole will have the opportunity to co-create and collaborate with people globally giving users the chance to learn from other cultures and experience their reality. Health care is another potential area for positive impact, what if people with disability and illness could experience places they otherwise couldn’t?

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The creation of Omnipresenz is very timely for the Proto- project.

As we investigate the possibilities of a third dimensional alternative travel experience, this case study highlights the consumers desire for extreme experiences and further evidences that life isn’t enough.

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CASE STUDY : JON RAFMAN

In a travelling future where blended spheres are a - or better still, ‘the’ - reality.

Jon Rafman is a Canadian artist and filmmaker whose work simultaneously celebrates and critiques the transformative consequences of technology’s ubiquity (Sanchez, 2014). His art sits somewhere in between man and machine, virtual and real, making him a key trend innovator for Proto-.

Rafman became worldly known for his 9-Eyes project, a website and exhibition consisting of peculiar frames taken from Google Street View (The Guardian, 2012). These photos allow spectators to roam around a very much real, very much virtual world – to not only access but reblog forgotten corners of the globe. The project encapsulates our chosen trend and sector as it explores man’s “search for connectedness and significance” through travel whilst underscoring

Google’s cameras’ indifference and oblivion (Rafman, 2009).

Other relevant works include his ongoing tours through virtual world Second Life, started in 2008, in which the artist, as “Kool-Aid Man”, simultaneously conducts, records and edits an idealized life (Frieze, 2013). Recently, in Art Basel Miami Fair, Rafman reversed the process and presented a fully, 360º digital environment only visible through a Virtual Reality headset (Mullett, 2014).

“Critical of real and virtual worlds, the artist sees both [physical and digital spaces] as limited and deterministic” (Frieze, 2013), which underlines Isometric Space’s standpoint. His work ultimately reveals how the symbiosis of the two will increasingly become commonplace, in a travelling future where blended spheres are a – or better still “the” – reality.

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WHAT NEXT?

“In the near future it’s really conceivable that we will start travelling the virtual world instead of the physical world, because it will be scanned at such high resolution. It will give us a really life-like experience of being in that place.”

Pernilla Ohrstedt 2014.

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Trend Anatomy

Heading into stage 3, we are beginning to see the world through a new set of eyes — experiences that once seemed unreachable are becoming tangible — a rethought travelling industry will makes us we feel the familiar in a new way. With our research showing that Gen Z seek authentic travel experiences, PROTO-’s mission now lies in redefining travel through the creation of something more original, more fitting, more revolutionary.

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The creation of Isometric Space trend anatomy has allowed us a critical, aerial standpoint, enabling us to funnel our findings into key sections, from its innovators to its future. This procedure has also provided an opportunity to form links and connections between its parts, showing how immersive art and tech pioneers, together with Gen Z’s worldly, double lives are redefining the where, the when and the how of travel.

Our big idea is to create a common destination for digital nomads.

TEXT ISABEL NASCIMENTO

TEAM CARTOGRAM

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REFERENCES

BIBLIOGRAPHY

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ILLUSTRATIONS

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LIST OF ILLUSTRATIONS The Ethos p. 3 OLIVER, L., 2015. Proto- Business Card. [Mock Up]

Owens Lookbook [Photograph] Available at: http://www.nottervigne.ch/f_w12_mountain_women [Accessed 7 Feb. 2015].

http://www.filepmotwary.com/ m ot wa r y/ 2 0 1 3/0 3/ b r e at h l e s s in-glenn-martens-fw-1314.html [Accessed 7 Feb. 2015].

p.4 OLIVER, L., 2015. Proto- Business Card Stack. [Mock Up]

KENNEDY, R., 2013. Nelson Mandela Poster Project [Poster] Available at: http://www.printmag.com/ political-design/nelson-mandelaimages/ [Accessed 7 Feb. 2015].

BAKKER, G., 1976.

Bib [Photograph] Available at: https:// exhibitingfashion.wordpress.com/ [Accessed 7 Feb. 2015].

FAISST, T., 2014.

Shapes of Tomorrow. [Photograph] Available at: http://www.arcademi.com/ tobias-faisst/ [Accessed 7 Feb. 2015].

VOITA, B., 1988.

Untitled.

[Photograph] Available at: h t t p s : // w w w . f l i c k r . c o m / photos/readysetinternet/ sets/72157623658858572/ [Accessed 7 Feb. 2015].

Visual Inspiration p.6 LU, A., 2014. Monoamine Hypothesis.

[Poster] Available at: http:// cargocollective.com/andrewlu/ Monoamine-Hypothesis/ [Accessed 7 Feb. 2015].

ANON, 2014. Razer Kabuto [Gaming Mouse Mat] Available at: http:// www.razerzone.com/gb-en/ gaming-mouse-mats/razer-kabuto [Accessed 7 Feb. 2015].

VAN NOTEN, D., 2012. Autumn Winter Collection [Photograph] Available at: http://www. vo g u e . co . u k /fa s h i o n /a u t u m n winter-2012/mens/dries-van-noten [Accessed 7 Feb. 2015].

SCHEPPERHEYN, V., 2014.

All this in its place for now [Photograph] Available at: http:// verenaschepperheyn.com/AW2015-editorial [Accessed 7 Feb. 2015].

NOTTE

and

VIGNE,

2012.

Rick

The Kasm of Meerak Meinohg, 2012. [Tattoo] Available at: http:// tattooartinberlin.com/item/ t h e - ka s m - of- m e e ra k- m e i n o h g [Accessed 7 Feb. 2015].

Isometric Space p. 14 FONTANA, L., 1964.

Concept Spatiale [Sculpture] Available at: http://www.tate.org.uk/art/artists/ lucio-fontana-1102 [Accessed 7 Feb. 2015].

p. 18 DISMagazine, 2014. Remember to Calibrate your Screen before you Die [Photograph] Available at: http:// dismagazine.com/dystopia/57364/ r e m e m b e r- t o - c a l i b r a t e - y o u rscreen-before-you-die/ [Accessed 7 Feb. 2015].

TIME, 2014. As Seen From Earth [Photograph] Available at: http:// time.com/11534/20-breathtakingi m a g e s - of-t h e - e a r t h - a s - s e e n from-space/ [Accessed 7 Feb. 2015].

TAJAN, S., n.d. Burning Paper [Gif] Available at: http://pamplemoussex. blogspot.co.uk/2014_03_01_ archive.html [Accessed 7 Feb. 2015]. p. 15 KAWADA, K., 1981. The Last Comology. [Silver Gelatin Print] Available at: http://www. m i c h a e l h o p p e n g a l l e r y. co m / exhibitkikuji_kawada_the_last_ cosmology.html [Accessed 7 Feb. 2015].

TILMANS, W., 2004. Venus Transit.

[Photograph] Available at: http:// tillmans.co.uk/ [Accessed 7 Feb. 2015].

NASCIMENTO, I., 2014.

Exhibit. [Photograph]

Frieze

Bionic Blood p. 17 LAJEUNIE, A., 2013. Glenn Martens FW13. [Photograph] Available at:

GIBSON, W., 1984. Neuromancer.

[Book Cover] MOLLER, S., 2008.

Gamma Cephei Candelier. [Photograph] Available at: http://www.16miles. c o m / 2 0 0 9/0 8 / c o l l e c t e d . h t m l [Accessed 7 Feb. 2015].

Second Network p. 20 HERVAS, U., 2012.

Powell.

[Photograph] Available at: h t t p : // w w w . t o x e l . c o m / inspiration/2012/04/17/shadowphotography/ [Accessed 7 Feb. 2015].

ALTERNET, 2014. [Digital Collage] Available at: http://www.alternet. cc/ [Accessed 7 Feb. 2015]. p. 21 DE JOODE, R., 2012. The Imaginary Order. [Photograph] Available at: http://www.racheldejoode.com/ [Accessed 7 Feb. 2015].

CAMENISCH, A., 2014.

Kurt.

[Photograph] Available at: http://

ANON, n.d. Plastic Dolls in Bags [Photograph] Available at: https:// www.pinterest.com/lapandorga/ perturbador/ [Accessed 7 Feb. 2015].

The Sector p. 24 RIST, P., 2010. Homo Sapiens.

[Installation] Available athttp:// www.hauserwirth.com/artists/25/ pipilotti-rist/images-clips/ [Accessed 7 Feb. 2015].

RIST, P., 2011. Solution for Man Solution for Woman [Installation] Available at: http://www. h a u s e r w i r t h . c o m /a r t i s t s / 2 5 / pipilotti-rist/images-clips/ [Accessed 7 Feb. 2015].

Cartogram p.26 PROTO-, 2014. Team Cartogram [Photograph] The Tribe p. 31 LATTA, E., 2013. AW14 [Photograph] Available at: http://eckhauslatta. com/collections/aw-2014/ [Accessed 7 Feb. 2015].

ANON, 2014. Tattoos for Nerds [Photograph] Available at: http:// thechive.com/2012/08/31/nerdtattoos-because-technology-isforever-27-photos/ [Accessed 7 Feb. 2015]. p.32 PROTO-, 2014. Digital Nomad Secondary Material [Video] p.33 OLIVER, L., [Photograph] HOSIER, W., [Photograph]

2014.

2014.

Harriet Selfie

The Focus p.35 NASCIMENTO, I., 2014.

Exhibit. [Photograph]

Frieze

SUNDSBO, S., 2000. Ultraviolet.

[Photograph] Available at: http:// www.liveinternet.ru/community/ world_of_erotic/post142599955/ [Accessed 7 Feb. 2015].

PS4, 2014.

Project Morpheus [Photograph] Available at: h t t p : // w w w . t e c h r a d a r . c o m / reviews/gaming/projectmorpheus-1235379/review [Accessed 7 Feb. 2015].

SAMSUNG, 2014. Project Beyond 360. [Photograph] Available at: http://thinktankteam.info/beyond/ [Accessed 7 Feb. 2015].

Case Studies p.37 - 39 OLIVER, L., 2015. Fling. [Screenshot] OLIVER, L., 2015. Fling. [Screenshot] OMNIPRESENZ, 2014. Omnipresenz [Photograph] Available at:http:// www.wired.com/2014/12/guyswant-build-avatar-real-life/ [Accessed 7 Feb. 2015].

RAFMAN, J., 2009.

9 Eyes [Photograph] Available at: http://9eyes.com/ [Accessed 7 Feb. 2015].

Conclusion Cartogram p. 43 PROTO-, 2014. Anatomy of a Trend [Photograph]

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LAURA OLIVER

p. 5 OLIVER, L., 2015. Proto- Business Card. [Mock Up]

Our Process p. 9 OLIVER, L., 2015. Proto- Website.

[Mock Up]

novembremagazine.com/kurtby-amanda-camenisch-uncategorized [Accessed 7 Feb. 2015].

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REFERENCES

THE ALTERNET. (2014).

The Alternet. [online]. alternet.cc.

Available at:http://www.alternet. cc/#!about/c1lzq [Accessed 10 Feb. 2015]

BARNARD, A. (2014). Samsung’s Project Beyond Camera Lets You Teleport to Locations and Events from Anywhere. [online] Hypebeast.

Available at: http://hypebeast. com/2014/11/samsungs-projectbeyond-camera-lets-you-teleportto-locations-and-events-fromanywhere [Accessed 8 Feb. 2015] CHESHIRE, T. (2014). Protein Travel Report. 1st ed. Protein, p. 21-23.

CISCO, (2014). Introduction to the Internet of Things. 1st ed. [ebook] CISCO. Available at: http:// www.cisco.com/web/solutions/ trends/iot/introduction_to_IoT_ november.pdf [Accessed 8 Feb. 2015] DEZEEN, (2014). First laser-scanned photoshoot by ScanLAB and Vivienne Westwood. [online] Dezeen Magazine. Available at: http://www. dezeen.com/2014/06/26/scanlabvivienne-westwood-first-laserscanned-photoshoot-interview/ [Accessed 8 Feb. 2015] DROITCOUR, B. (2014). Why I Hate Post-Internet Art. [online].

Culture Two. Available at:

EPSTEIN, M. (1998).

Russian Postmodernism: New Perspectives on Late Soviet and Post-Soviet Culture. Oxford: Berghahn FLIC, (2014). Flic: The Wireless Smart Button. [online] Indiegogo. Available at: https://www.indiegogo.com/ projects/flic-the-wireless-smartbutton [Accessed 8 Feb. 2015] FLING. (2015). Fling. [online.] Fling.

Available at: http://superfling.com/ [Accessed 11 Feb. 2015].

FREEMAN, D. (2014). Astronomers Create First 3D Map Of Hidden Universe [online] The Huffington Post. Available at: h t t p : // w w w . h u f f i n g t o n p o s t . com/2014/10/20/3d-maphidden-universe_n_6003184.html [Accessed 8 Feb. 2015] FRIEZE, (2013). Jon Rafman. Frieze Magazine, (157), p.156-157 GHOSHAL, A. (2015). Youtube Adding Native Support for 360-degree Video Soon. [online] The Next Web. Available at: http://thenextweb. com/insider/2015/01/06/youtubeadding-native-support-360degree-video-soon/ [Accessed 8 Feb. 2015] GOOGLE (2012).

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HAPPEN. (2015). Gen Z. [eBook].

Available at: http://www.happen. com/48-hr-book/download-the48hr-book [Accessed 11 Feb. 2015] HONG, K. (2014). Sony Unveils Its Virtual Reality Headset For The PS4. [online] The Next Web. Available at: http://thenextweb.com/ gadgets/2014/03/19/sony-unveilsvirtual-reality-device-playstation4-project-morpheus/ [Accessed 8 Feb. 2015] ILEY, J. (2014). Omnipresenz. [online] Protein. Available at: https:// www.prote.in/en/feed/2014/12/ omnipresenz [Accessed 8 Feb. 2015].

INDIEGOGO, (2014). Omnipresenz: Explore the world with a human avatar. [online] Indiegogo. Available at: https://www.indiegogo.com/ projects/omnipresenz-explorethe-world-with-a-humanavatar#home [Accessed 8 Feb. 2015].

LAUGHLIN, S. (2014).

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3, 4. Available at: http://proteinpublisher-prod.s3.amazonaws. com/protein/reports/Protein%20 Travel%20Report.pdf [Accessed 8 Feb. 2015] MULLETT, D. (2014). Jon Rafman’s digital wanderings at Art Basel Miami. [online] Dazed. Available at: http://www.dazeddigital.com/ artsandculture/article/22901/1/ jon-rafman-s-digital-wanderingsat-art-basel-miami [Accessed 8 Feb. 2015] MOONESTATES, (2014). Buy Land on the Moon [online] Moonestates.

com. Available at: http://www. moonestates.com/p1/One_acre_ parcel_of_land_on_the_Moon/ product_info.html [Accessed 8 Feb. 2015].

MY WONDERFUL LIFE. (2015). My Wonderful Life. [online]. Available at: https://www.mywonderfullife. com/ [Accessed 11 Feb. 2015].

NASA, (2014).

NASA Brings Unprecedented 3-D Views from Space to Your Computer. [online] NASA. Available at: http://www. nasa.gov/centers/marshall/news/ news/releases/2014/3d-viewsfrom-space.html#.VNqmJfmsUn0 [Accessed 8 Feb. 2015].

NASA, (2014). Send Your Name on NASA’s Journey to Mars, Starting with Orion’s First Flight. [online] Mars.nasa.gov. Available at: http:// mars.nasa.gov/news/whatsnew/ index.cfm?FuseAction=ShowNew s&NewsID=1725 [Accessed 8 Feb. 2015] NEW DEAL DESIGN, (2014).

UnderSkin a vision for whats next in wearables | NewDealDesign. [online] Newdealdesign.com. Available at: http://newdealdesign.com/news/ underskin-a-vision-for-whats-nextin-wearables [Accessed 8 Feb. 2015].

OHRSTEDT, P., 2014. Protein Travel Report. 1st ed. Protein, p. 21-23.

SAEZ-GIL, D. (2014). Protein Travel Report. 1st ed. Protein, p.4.

SANCHEZ, A. (2014). Jon Rafman discusses his show at the Contemporary Art Museum St.

Louis. [online] Art Forum. Available at: http://artforum.com/words/ id=47380 [Accessed 8Feb. 2015] SCHAWBEL,D. (2014). Why Gen Z may be more Entrepreneurial than Gen Y. [online]. Entrepreneur.

Available at: http://www. entrepreneur.com/article/231048 [Accessed 11 Feb. 2015] THE GUARDIAN, (2012). The street views Google wasn’t expecting you to see – in pictures. [online] the Guardian. Available at: http://www. theguardian.com/artanddesign/ g a l l e r y/ 2 0 1 2 / f e b / 2 0 / g o o g l e street-view-nine-eyes-in-pictures [Accessed 11 Feb. 2015] THIMMESCH, D. (2014). 3D Printing Offers Visually Impaired the Chance to Preserve Lasting Memories. [online] 3DPrint.com.

Available at: http://3dprint.com/19746/3dprinted-memories-for-blind/ [Accessed 8 Feb. 2015] PETERSON, H. (2014). Millenials are old news, here’s everything you need to know about Gen Z. [online].

Business Insider. Available at: http://www.businessinsider.com/ generation-z-spending-habits2014-6?IR=T [Accessed 11 Feb. 2015]

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AUERBACH, P. (2014). Not so deep. [online]. Slate. Available at: http://www.slate.com/articles/ t e c h n o l o g y/ b i t w i s e/ 2 0 1 4 /0 2 / house_of_cards_season_2_ what_s_up_with_all_the_deep_ web_stuff.html [Accessed 11 Feb. 2015].

h t t p s : // c u l t u r et wo .wo r d p r e s s . com/2014/03/ [Accessed 8 Feb. 2015]

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AFP, (2014). Japan firm showcases Bat-Signal of the future. [online] h t t p : // w w w . b a n g k o k p o s t . com. Available at: http://www. bangkokpost.com/tech/worldu p d a t e s /4 3 8 6 1 0/ j a p a n - f i r m s h o w c a s e s - b a t - s i g n a l - o f-t h e future [Accessed 10 Feb. 2015].

ANONYMOUS (2014). New Realities. [online]. postmatter.com. Available at: http://postmatter.com/#/ currents/new-realities [Accessed 10 Feb. 2015] ANONYMOUS (2014). The internet of things. [online]. Mashable. Available at: http://mashable.com/category/ internet-of-things/ [Accessed 10 Feb. 2015] ANONYMOUS. (2014). BFF Timeout App. [online]. intunes.apple. com. Available at: https://itunes. apple.com/ph/app/bff-timeout/ id869823516?mt=8 [Accessed 10 Feb. 2015] ANONYMOUS. (2014).

Headset creates 3D soundscape to help blind people navigate Cities. [online]. dezeen.com. Available at: http:// www.dezeen.com/2014/11/06/ future-cities-catapult-microsoftguide-dogs-3d-headsetsoundscape-to-help-blind-people/ [Accessed 10 Feb. 2015] ANONYMOUS. (2014). Mood App.

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MTA pilots digital signage shopping on Amazon in NYC subways. [online]. retailcustomerexperience. com. Available at: http://www. retailcustomerexperience.com/ news/mta-pilots-digital-signageshopping-on-amazon-in-nycsubways/ [Accessed 10 Feb. 2015] ANONYMOUS. (2014). Reimagining the retail floor as a hub for community and entertainment. [online]. psfk.com. Available at: http://www.psfk.com/2014/12/ r e i m a g i n i n g - r e t a i l - f l o o r- h u b community-entertainment-psfkfuture-retail-nyc.html [Accessed 10 Feb. 2015] ANONYMOUS. (2014).

ScanLAB and Vivienne Westwood collaborate on first laser-scanned photoset. [online]. dezeen.com.

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experience in malls. [online]. klepierre.come.

Available at: h t t p : // w w w . k l e p i e r r e . c o m / en/inspiration-corridor-apersonalized-digital-experience-inmalls/ [Accessed 10 Feb. 2015] ARCE, N. (2014). eBay want to make shopping intereactive with magic mirrors. [online]. techtimes.com.

Available at: http://www.techtimes. c o m /a r t i c l e s / 2 1 1 0 7/ 2 0 1 4 1 1 2 9/ ebay-wants-to-make-shoppinginteractive-with-magic-mirrorsheres-the-future-of-shopping.htm [Accessed 10. Feb. 2015] ARTLYST, (2014).

Art Below Showcases 40 Outstanding Artists In Tube Stations. [online] Artlyst London. Available at: http://www. artlyst.com/articles/art-belowshowcases-40-outstanding-artistsin-tube-stations [Accessed 10 Feb. 2015] ALLEN, K. (2014). ‘Playing catch up’: UK warned to invest more in innovation and technology. [online] the Guardian. Available at: http://www.theguardian. com/technology/2014/nov/05/ hermann-hauser-sciencecat a p u l t s - m o r e - i n n ovat i o n - u k [Accessed 10 Feb. 2015] AUERBACH, P. (2014). Not so deep. [online]. Slate. Available at: http://www.slate.com/articles/ t e c h n o l o g y/ b i t w i s e/ 2 0 1 4 /0 2 / house_of_cards_season_2_ what_s_up_with_all_the_deep_ web_stuff.html [Accessed 11 Feb. 2015].

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BARNARD, A. (2014).

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BENNETT, A. (2015). This 14-Year Old Wants To Sock It To His Rivals. [online] The Huffington Post UK. Available at: http://www. huffingtonpost.co.uk/2014/05/02/ gabriel-mckeown-socks-youngentrepreneur-week_n_5245762. html [Accessed 10 Feb. 2015] BILTON, N. (2014).

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Available at: http://mashable.

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ALGAR, J. (2014). This atom-thin 2D generator creates electricity from movement. [online] Tech Times.

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CANEVACCI, M. (2014). Plastique Fantastique + Marco Brotti transform color into soundwaves [online] DesignBoom | architecture & design magazine. Available at: http://www.designboom.com/ architecture/marco-barottiplastique-fantastique-sound-

of-light-urban-lights-ruhr-2014germany-10-29-2014/ [Accessed 10 Feb. 2015] CAULA, R. (2015). will.i.am collaborates with zaha hadid to design PULS smartwatch cuff [online] DesignBoom. Available at: http://www.designboom.com/ technology/will-i-am-zaha-hadidpuls-smartwatch-cuff-10-20-2014/ [Accessed 10 Feb. 2015] CAWREY, D., RIZZO, P. and HAJDARBEGOVIC, N. (2014). What Bitcoin Can Learn from Social Media’s Success. [online] CoinDesk.

Available at: http://www.coindesk. com/bitcoin-can-learn-socialmedias-success/ [Accessed 10 Feb. 2015] CHANG, K. (2014). In a Dome in Hawaii, a Mission to Mars. [online] Nytimes.com. Available at: http://www.nytimes. com/2014/10/21/science/takingminds-on-a-journey-to-mars. html?ref=science&_r=0http://well. blogs.nytimes.com/2014/10/20/ genetic-variant-may-shield-latinasfrom-breast-cancer/?ref=science [Accessed 10 Feb. 2015].

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BILTON, N. (2015).

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DIESEL, (2014). Experimental Digital Synaesthetics in Fashion, Art & Science, on the iPad & online.. [online] POSTMatter.

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KOULOPOULOS, T. and KELDSEN, D. (2014). The Gen Z effect.

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