"Frankenstein, by Dave Morris, is a new kind of interactive novel, that places you right there, in Frankenstein's lab, by his side as he turns the winch and brings the spark of life to bear on his creation... Following and adapting Mary Shelley's original text, Frankenstein is a new reading experience designed from the ground up for mobile devices.
Yes. I succeeded in discovering the cause of generation and life. More than that: I am myself capable of bestowing animation upon lifeless matter. Here are my lodgings... Come up, and I will show you.
This unique literary app places you in conversation with Frankenstein himself as his story unfolds. He will be your guide, and you his advisor (sic). Console, counsel or condemn him: the choice is yours.
Written by best-selling author Dave Morris, designed and developed for iOS by inkle and published by award-winning publisher, Profile Books, Frankenstein is a whole new way of experiencing Mary Shelley's classic tale of terror, tragedy and revenge."
"Kickstarter is the world's largest funding platform for creative projects. Every week, tens of thousands of amazing people pledge millions of dollars to projects from the worlds of music, film, art, technology, design, food, publishing and other creative fields.
A new form of commerce and patronage. This is not about investment or lending. Project creators keep 100% ownership and control over their work. Instead, they offer products and experiences that are unique to each project.
All or nothing funding.On Kickstarter, a project must reach its funding goal before time runs out or no money changes hands. Why? It protects everyone involved. Creators aren’t expected to develop their project without necessary funds, and it allows anyone to test concepts without risk.
Each and every project is the independent creation of someone like you.Projects are big and small, serious and whimsical, traditional and experimental. They’re inspiring, entertaining and unbelievably diverse. We hope you agree... Welcome to Kickstarter!"
"Creation, whether in art, research, teaching, or entrepreneurship, requires craft. Sociologist Richard Sennett (2008) suggests that, to be at its best, the craftsperson’s deft use of tools and materials, combined with an intuition developed from years of practice, create reciprocity that animates the form. Sennett argues that the craftsperson, engaged in a continual dialogue with materials, does not suffer the divide of understanding and doing. The craftsperson must be patient, avoiding quick fixes. Good work of this sort emphasizes the lessons of experience through a dialogue between tacit knowledge and explicit critique (Sennett, 2008)."
(Liora Bresler, 2009, p.17)
Bresler, L. (2009). "University Faculty as Intellectual Entrepreneurs: Vision, Experiential Learning, and Animation." Visual Arts Research 35(1 Summer 2009).
"several theoretical views support the position that in life one has strong economic and non-economic claims for control over one’s intangible creations. Yet, the paper finds that historical and literary theory in conjunction with recent economic arguments of Professors Brett Frischmann and Mark Lemley regarding positive externalities generated by access to ideas and information, militate in favor of limits on heirs’ control over these creations. Furthermore, insofar as society provides the building blocks from which these creations arise, all the theories show that creations must at some point become part of the commons to enable others to generate new creations. Thus the paper argues against the growth of trademark or trademark-like author’s rights which have no temporal limit and offer heirs extreme control over access to and use of an author’s work and seeks to balance the interests of creators with society’s interest in fostering later expression and creation of new works."
Desai, Deven R., Property, Persona, and Publicity (August 21, 2007). TJSL Legal Studies Research Paper No. 1008541. Available at SSRN: http://ssrn.com/abstract=1008541
Chris Lomaka's Bodymouse concept drawing is an design experiment that plays with biomorphic form. It does this in a manner that seems to suggest a point in time where devices like computer mice may be able to be grown or raised like livestock. The design could be seen to be a comment on our reliance on biomedical science and its inevitable redefinition of boundaries between technology and the body. [view PDF portfolio]