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How Conceptual Metaphors are Stunting Web Innovation

 

How Conceptual Metaphors are Stunting Web Innovation

Posted: 13 Jan 2010 01:49 PM PST

Folders
Venkatesh Rao is a researcher in the Xerox Innovation Group, and the project manager for Trailmeme, a research beta technology that allows users to blaze and follow trails through web content and the Trailmeme for WordPress plugin. He blogs at ribbonfarm.com.

As much as we focus on developing new technologies, it is also essential that we break free of certain metaphors that bind and restrict our thinking about what these technologies can ultimately achieve. The familiar “document” metaphor, among others, has cast a long shadow on how we think about the web, and is standing in the way of some innovation.


The Conceptual Metaphor


Rearview
In his classic study of media theory, Understanding Media, Marshall McLuhan wrote, “We look at the present through a rear-view mirror. We march backwards into the future.”

Consider these terms: page, scroll, file, folder, trash can, bookmark, inbox, email, desktop, library, archive and index. They are all part of the document metaphor, a superset of the “desktop” metaphor. Some elements, such as scroll, desktop and library pre-date the printing press, but all are based on some sort of “marks on paper-like material” reference.

It is important to understand that the document metaphor is more than a UI metaphor. It is in fact a fundamental way of understanding one domain in terms of another. For better or worse, we continue to understand the web in relation to how we understand documents. Unlike figurative metaphors, such as “he was a lion in battle,” which are simple rhetorical statements, conceptual metaphors like document-ness are pre-linguistic, and quietly ubiquitous. They infiltrate how we think about things on a much more basic level.

Did it ever occur to you that the phrase “the stock market is up” is actually a particular spatial metaphor for what is really just a number? As a result, we think of the stock market as a geography, which has non-trivial ramifications for how we make decisions about it.

This is often a good thing — conceptual metaphors can be helpful. In dealing with novel phenomena, we often have no choice but to understand the new in terms of the old, the complex in terms of the primal, the abstract in terms of the tangible (companies often pitch themselves according to this logic, i.e. “we’re like FriendFeed for dating”). Accordingly we often conceive of new features, new business lines, and new market opportunities in the same way.


The Tyranny of the Document Metaphor


Documents

Conceptual metaphors aren’t always a good thing, though, helpful as they may be. A conceptual metaphor enriches your thinking in some directions and impoverishes it in others. It can become a crutch, and a burden.

Consider the terms open and close for digital documents. Serviceable though they were in the early eighties, they make little sense for the live, constantly evolving web “page.” For a rapidly changing page, the pause, play and rewind metaphor borrowed from music player UIs is more appropriate, something the Google Wave team has recognized, for example.

As a technology evolves, the metaphor struggles to keep up. It becomes increasingly strained. McLuhan’s “medium is the message” phenomenon starts to really kick in, as users encounter the limits and biases of the medium.

In the early days of computing, we needed only a few terms, such as click and double-click, to mitigate the deficiencies of the document metaphor. Today, we make new demands of the metaphor every day, and it fails us regularly. Consider the irony of your Twitter home “page” that can “scroll” much faster than you can “read.”

The solution? Look for new conceptual metaphors.


Liberating the web, Conceptually


Stream

Let’s continue with the Twitter example.

The conceptual metaphor of a party, with many overlapping public conversations, works much better than the document metaphor. Sophisticated users keep Twitter in their peripheral vision, where it behaves more like an oral medium that you “listen” to in the background, rather than “seeing” it in the foreground, which the “document” metaphor encourages. Note the deficiencies of the conversation metaphor though: it does not cover the Twitter link economy, or asymmetric following. These are better understood through a “marketplace” metaphor, which, however, downplays the conversational aspects.

Likewise, the metaphor that we currently seem to be embracing for the web is “the stream.”

The emergence of the real-time web has finally precipitated the need for a more dynamic framing, and while the stream is accessible and understandable, it is not without its limitations. The flow of information and our “jumping in and out of the stream” may actually point us in a dangerously passive direction. We may dam a stream, redirect it or harness its power for other uses, but the stream remains a metaphor that emphasizes precisely our inability to control or effectively influence or filter it.

Such are the trade-offs in engineering new metaphors. Google Wave is based on a flux metaphor. YouTube borrows a “channel” metaphor from television. The research project I manage, Xerox Trails, is based on the tricky “trail” (as in hiking) metaphor first proposed by Vannevar Bush in 1945.


Conclusion


Central to all these programs of metaphor re-engineering is a recognition that the hyperlink is the basic building block of the web. Our conceptualization of the web still does not truly reflect its non-sequential, branching texture, created by hyperlinks.

We still haven’t truly understood that click and link are as fundamental today as read and write.

All in all, throwing off that burden is an immensely difficult task. It is much easier to create technology that conforms to dominant metaphors. What we need to do as we enter the third decade of the web, however, is consider what we want the web to be rather than awkwardly fitting that vision into older descriptive paradigms.

We need to finally begin articulating the metaphors that will move us beyond the book, and the document. Understanding the rhetoric of the hyperlink may be the most essential challenge we must meet before we are able to move our thinking forward and accommodate our digital ambitions.

Images courtesy of IconArchive and iStockphotoscherbetkickers and shulz

KNOW YOUR MEMES

Know Your Memes

Written by Rikun

I know its been awhile since we did this, but with all the titles being released and craziness of Crunchyroll going on, we've become a bit distracted! So, by popular demand, we promise to continue on with the Best Meme's list until we hit that #1 Meme! So, jumping back on track, we’ve hit the midpoint of the countdown now, so it’s time that we take a look at what’s considered one of the older internet memes in anime.

Though it may not be as popular nowadays as it once was, it has left a significant impact on the fandom.
At #3, it’s Loituma Girl (aka the Leekspin):

* * * * *

ImageCircle back to April 2006, when YouTube was still a fairly young site and there were other ways of showing off videos on the net. One person thought to create a simple flash animation where they take a couple of frames from the Bleach anime of Orihime spinning a welsh onion (though most English speakers mistook it for a leek) and superimpose it with a stanza of an old Finnish polka sung by a quartet known as Loituma.

The result became a sensation. The reasons for its popularity are vast and varied, but the repetitive nature of the clip combined with an almost never-ending song caught the attention of thousands of fans who could simply leave the flash running for hours on end. As for what the lyrics of this stanza of the Ievan Polka actually meant, it turns out it was merely scatting with nonsense words that had never appeared in the original folk version. The simple nature of this meme also made it subject to many fanmade parodies that would replace Orihime with another anime character that would be spinning something else similar to the leek. Not surprisingly, the quartet Loituma actually got a resurgence in interest due to the popularity of the song. Another music video called the Holly Dolly Song featured a remix of the Ievan Polka with a cameo from the “Loituma Girl”, slightly altered due to copyright reasons.

ImageHowever, the most significant of all contributions that Loituma Girl has left on the anime fandom can be found within the popular cast of the Vocaloid software. Before their mascot Hatsune Miku was released in September 2007, the Yamaha company decided to release a demo track to show what she was capable of. Because it was such a popular meme at the time, they decided to use the song clip from the Loituma craze and created a chibified image of Hatsune Miku holding a welsh onion to compliment the demo. Unwittingly, this image had permanently associated welsh onions as Miku’s signature item as well as turned into an independent character all in herself, Hachune Miku. It looks like Miku has Orihime to thank for this facet of her character!

Although this meme has faded into obscurity due to its relative age, its overall impact in the fan community cannot be ignored. What would have happened if this particular meme didn’t catch on? Perhaps Miku would be wielding something else aside from a green onion, or maybe it would be another character doing another repetitive thing that would catch the attention of millions. Regardless of why it was popular or what it could have been, the Leekspin has cemented its place as one of the most memorable anime internet memes to date.

Tune in next time, where we see viral marketing at its best. Oh Kyoto Animation…apollo@speakeasy.org