https://waynewu.info Wayne Wu Tue, 10 Jun 2025 19:54:06 +0000 https://waynewu.info en https://waynewu.info/working Tue, 10 Jun 2025 19:54:06 +0000 Wayne Wu https://waynewu.info/working Selection of Work, c.2011—2024. product studies&nbsp; colophon Vessel Design Office VSCO PLAZA Studies — Generative Interfaces, Yes/No, 2,12,24,36, Exhibitions YouTube Music VSCO Exhibitions Level&nbsp; MOSAIC Good Company Table Topos One Mount Far—Near VSCO Originals Venue https://waynewu.info/PLAZA-Pavilions Sat, 26 Apr 2025 20:56:44 +0000 Wayne Wu https://waynewu.info/PLAZA-Pavilions Project PLAZA Pavilions Explorations in Spacemaking2023 Insight (Abstract) While there are a lot of end-game tools designed to create a final artifact — a film edit, a color grade, a designed image, or a director’s treatment — there are far fewer tools or spaces that facilitate idea generation and the inception stages of creative work. Of those that do exist, they are often task specific like creating moodboards or document sharing, which still operate in the realm of production and labor versus ideation. In a way, modern ideation tools often lack permission for the creator to daydream and wander. Provocation What might a new space for zero-to-one creative work — specifically idea generation and its inherent pluralistic (convergent and divergent) contexts — look like? Behavioral Contexts One of the difficulties of modeling early stage creative work are the variety of surfaces and contexts in which ideas are generated. Sometimes it is the result of a conversation, a walk outside, a song or image remembered or captured, or the actual process of making. It involves the senses, memory, intuition, reflection, and interaction — all operating both synchronously and asynchronously, privately and publicly.&nbsp; When clustered, qualitative UXR data collected from five global workshops (London, New York, Shanghai, San Francisco, Moscow) yielded eight groupings that, though not exhaustive, allowed for broad coverage of a majority of behaviors, contexts, and conditions where idea generation occurred. More importantly, the insights informed that most of these contexts were intersectional. &nbsp; &nbsp;<img width="2400" height="1400" width_o="2400" height_o="1400" data-src="https://freight.cargo.site/t/original/i/6400ea78d1babf3a23662c0587f5a5c25dc225cbabc098d7270786d5a3bdc4f4/Pavilion-12x.png" data-mid="231647107" border="0" src="https://freight.cargo.site/w/1000/i/6400ea78d1babf3a23662c0587f5a5c25dc225cbabc098d7270786d5a3bdc4f4/Pavilion-12x.png" /> &nbsp;&nbsp; &nbsp; Structures Pavilions, Workspaces and Warehouses Of the eight behavioral contexts, a prevailing theme emerged: temporary and liminal spaces often served as ground zero for ideation. From an art historical view, this immediately brought up Gertrude Stein’s salon, Donald Judd’s warehouse spaces in Marfa, the exhibition pavilions of Documenta and the Venice Biennele, the 300 sq. in. gallery-in-pocket of Hans Ulrich Obrist, and many more. But creative work is not limited to institutional art - the same model is valid in the outdoor work shed, the nomadic yurt, taking a walk, or Rousseau’s idea of reverie when gazing into the sky. In other words, creative work often begins as a basic human activity - whether it is, as Hannah Arendt would suggest, contemplative or active. With the behavioral contexts in mind, possible territories were suggested and mapped against an axis of contemplation and activation: <img width="3022" height="2702" width_o="3022" height_o="2702" data-src="https://freight.cargo.site/t/original/i/54665bdf2b92f17328849ed3ef69ab03b1faed8c9425382bbc8a0dc87d8132d1/Screen-Shot-2022-02-23-at-11.03.30-PM.png" data-mid="231696361" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/54665bdf2b92f17328849ed3ef69ab03b1faed8c9425382bbc8a0dc87d8132d1/Screen-Shot-2022-02-23-at-11.03.30-PM.png" />These territories offered insight into the structures that might be useful towards activating the behavioral contexts and intersections that give rise to ideation. In other words, can creative work be conatined within a simple set of easily understandable spaces? We suggested three possible structures: &nbsp;(3)&nbsp; Like any architecture, there are features that form an overall vernacular. For example, all rooms have an entrance and exit, or all rooms should have a window, and so forth. In the case of Pavilions, Workspaces and Warehouses, common features that were proposed was the (1) the possiblity to control access to the space in question - or private vs. public, and (2) the presence of an on demand, willing and knowledgable collaborator. While the first is commonplace, it required a more nuanced evolution. Specifically, how might we make the private and public not so binary (open or closed), but more garden-like? Ancient residential architecture often blurred the lines between public and private and invited people, and created spaces that allowed for a gradation of intimacy.&nbsp; For the latter, the emergence of LLMs opens the door to new expressions of what an ever-present and available docent, librarian, curator and collaborator could look like. Concept and Prototypes Spacemaking &nbsp; Cut-and-Paste Spaces are designed around cut-and-paste as a default action, allowing for rapid, frictionless addition of objects from a variety of sources, online and offline. Objects added to the space are rendered natively and allow for concurrent playback: &nbsp;&nbsp; Conversational Input A secondary input adopts an AI conversation-based pattern : Metadata Fetch Objects added to the space will have their meta-data automatically “fetched.” Shared Space Visualizers MVP Pre-AI MVP https://waynewu.info/PLAZA-Generative-Interfaces Thu, 15 May 2025 01:12:55 +0000 Wayne Wu https://waynewu.info/PLAZA-Generative-Interfaces Project PLAZA Generative Interfaces AI as Interface Maker2024 Insight (Abstract) Creative software is a surprisingly stagnant space. Despite the rapid evolution of technology, user experience patterns, workflows and features are resistant to evolution, much less revolution. In part, this is a result of monopolistic control by industry-standard platforms that rely on disincentivizing risk and maintaining a comfort zone for incumbents and an aging user base. Additionally, professional creative work often prefers repeatable standards and patterns due to needs for efficiency and utility. Further complicating the issue arises from legacy patterns that were originally designed in an era of desktop computing that have propagated decades later. This means traditional creative tools are built around rigid interfaces, layer hierarchies, and menu-driven commands—that assume a linear, mechanical approach to creativity: precise, technical, and often disconnected from the intuitive, messy, and fluid ways in which humans actually make art. In contrast, real-world creativity is often nonlinear. Artists sketch loosely before refining, experiment without knowing the outcome, and make decisions based on emotion, impulse, and improvisation. Film and photo editors, musicians, and so forth may sit in room with their colorists and producers and riff on possible directions. They discuss and sketch. They use their hands, bodies, and senses to shape ideas in real time—scraping, smudging, layering, or even destroying parts of their work to discover something new. Creativity in the physical world is dynamic and iterative, not bound by grids or dropdowns. The gap between this organic process and the constraints of legacy software is glaring. While the tools demand precision and forethought, the act of creation is often about exploration and play. This mismatch creates friction, especially for emerging creators who think visually and emotionally, not procedurally. Provocation What might new patterns look like that feel more like extensions of the human hand and mind—fluid, adaptive, and rooted in how we actually create — look like? Concept The prevailing development of generative AI is centered on getting to as usable, accurate, high-fidelity a final output as possible. But there is criticism of AI dehumanization — from unnatural, albeit at times interesting and new output, to the potential replacement of human workers. If we are to reimagine creative tooling that feels more human, it might seem that AI might be an unwelcome guest. However, it might simply be about repositioning the context in which AI appears. It is clear that AI offers potential and opportunity for new patterns to emerge. Instead of simply focusing on output, what if generative AI became akin to the colorist in the edit studio? What if AI became a conversational partner and improviser? In other words, can AI generate interfaces in addition to final output? Can AI be the maker of tools and complex machinery? &nbsp;&nbsp; &nbsp; Explorations As Editor Custom tools are automatically generated based on phrases (or prompts). For example, in today’s software there is no specfic tool to “make an image bluer.” To achieve this, it would require using a combination of arbitrary tools like HSL, Curves and Color Balance. Instead, let’s use AI to generate a custom “make it bluer” interface element, custom tailored to the specific ask. In this model, the human creative input is realized in a deeper, richer experience, and the input is no longer limited or constrained within the dimensions of the aforementioned predetermined tools.&nbsp; Perhaps the creator has an affinity for the look of Wim Wender’s films, or the tonality and emotion of a Max Richter score, or might have an image by photographer Gabriel Moses in mind that they want to achieve the same tonality - each prompt generates a specfic interface, or “tool” to achieve the specfic request. Lastly, a series of phrases can be used collectively as a “preset” - a composite color machine. In the above example, phrases are stacked as nodes. The first phrase is “Can we make it a little bluer,” and the last phrase is “I’m thinking about Wim Wender’s Paris Texas vibes.” Unique tool interfaces are generative based on the phrase. The system is given agency to devise any sort of UI surface to convey the interpretation of the phrase. Here, a spherical diagram is provided if the user decides to fine tune. The generated tools and phrase stack can be “baked” into a look (preset). Here, the “look” is composed of five unique phrases that have generated five unique tools. As Research Assistant (or, “Unfolding”) As with any creative work with a partner, subjective feedback and insights are part and parcel of any workflow. We can ask for an edit to be unfolded - offering a variety of insights, comments, and even new interfaces based on the edit thus far. For example, unfolding an image might surface a song that the image reminds the AI of, or suggest a new tool that allows for “relighting” the image based on positions of studio lights:&nbsp; <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e8af0e2f9042b47fcff3edd511df3787227d760a37dd8b400c98a2c072201a9a/GenUI-C1.png" data-mid="233265170" border="0" alt="Any object can be unfolded for generative inspiration, analysis or modification. In this example, the system is asked to unfold an image, &ldquo;loosely,&rdquo; to which the system offers up a variety of responses based on the image at hand, including some image references, a David Lynch book, or a generated soundtrack entitled &ldquo;Ethereal Reverie,&rdquo; and a &ldquo;relighting&rdquo; tool that shows the most likely &ldquo;lighting&rdquo; setup of this studio shot" data-caption="Any object can be unfolded for generative inspiration, analysis or modification. In this example, the system is asked to unfold an image, “loosely,” to which the system offers up a variety of responses based on the image at hand, including some image references, a David Lynch book, or a generated soundtrack entitled “Ethereal Reverie,” and a “relighting” tool that shows the most likely “lighting” setup of this studio shot" src="https://freight.cargo.site/w/1000/i/e8af0e2f9042b47fcff3edd511df3787227d760a37dd8b400c98a2c072201a9a/GenUI-C1.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/aa72fb7f4b30e4b3a96e60b8038379a7cd60b888f60f756cc3117a6c8eef13b9/GenUI-C2.png" data-mid="233265171" border="0" alt="New tools may emerge based on unfolding. In this example, the relighting tool is tapped on, and shows the current lighting setup. Lights can be added, removed, moved, changed in color and intensity and the image will be generatively redrawn to reflect the changes." data-caption="New tools may emerge based on unfolding. In this example, the relighting tool is tapped on, and shows the current lighting setup. Lights can be added, removed, moved, changed in color and intensity and the image will be generatively redrawn to reflect the changes." src="https://freight.cargo.site/w/1000/i/aa72fb7f4b30e4b3a96e60b8038379a7cd60b888f60f756cc3117a6c8eef13b9/GenUI-C2.png" /> As Improvisor A more expected use-case would be to have new iterative generations based on a current image, taking an existing media and placing it into new contexts. Perhaps it is to convert an image into an animation, or to abstract it into another objects (a dress into a cloud or flower, for example), or to see it in complex composites, like a magazine layout or in the context of an e-comm experience.&nbsp; <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/67fa87352968214a19edea449fc61921b1ea20c3aa16f5fce3a4007bd01a5612/B1.png" data-mid="233265183" border="0" src="https://freight.cargo.site/w/1000/i/67fa87352968214a19edea449fc61921b1ea20c3aa16f5fce3a4007bd01a5612/B1.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/55c57d802e066edbead1902e330479db2b7ac193cf92bf9368d975d6ab97690f/B2.png" data-mid="233265184" border="0" src="https://freight.cargo.site/w/1000/i/55c57d802e066edbead1902e330479db2b7ac193cf92bf9368d975d6ab97690f/B2.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a8550276cabafd6b6919f7ea1f3ef0b60e391ab07b35ceb0d356c183afaf5d8f/B3.png" data-mid="233265185" border="0" src="https://freight.cargo.site/w/1000/i/a8550276cabafd6b6919f7ea1f3ef0b60e391ab07b35ceb0d356c183afaf5d8f/B3.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/99d0326a49f4077cb61e2a09eb70a4d241612aed172f6711112c6a2e75b329b8/B4.png" data-mid="233265186" border="0" src="https://freight.cargo.site/w/1000/i/99d0326a49f4077cb61e2a09eb70a4d241612aed172f6711112c6a2e75b329b8/B4.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e0f8a2ed4fc40088d3be33782515944b71692acd19795254c24285cd376a531c/B5.png" data-mid="233265187" border="0" src="https://freight.cargo.site/w/1000/i/e0f8a2ed4fc40088d3be33782515944b71692acd19795254c24285cd376a531c/B5.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d76e81b58a4cb734d5558915b61da3cde0c51c051995507690ad2de8850c7ded/B6.png" data-mid="233265188" border="0" src="https://freight.cargo.site/w/1000/i/d76e81b58a4cb734d5558915b61da3cde0c51c051995507690ad2de8850c7ded/B6.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/b290ca62788662b27c00b9a3e34de832c6a57451f6b27679f40aa7623452b051/B7.png" data-mid="233265189" border="0" src="https://freight.cargo.site/w/1000/i/b290ca62788662b27c00b9a3e34de832c6a57451f6b27679f40aa7623452b051/B7.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a558ae5df481e4a931fa68664e0d67fa12556e5d4727113df96b505d05808720/B9.png" data-mid="233265191" border="0" src="https://freight.cargo.site/w/1000/i/a558ae5df481e4a931fa68664e0d67fa12556e5d4727113df96b505d05808720/B9.png" /> As Perpetual Conversationalist Film directors often return to the same team of creators for obvious reasons. Cinematographers, colorists, composers and so on have a mutual understanding and relationship built up over years of partnering together. Likewise, there is opportunity to allow for perpetual conversation both for AI personalization and sources of inspiration: &nbsp; <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1fad492d67d8657781ad3a260cf595209e450f2205cb95022cd8a4f942747355/D1.png" data-mid="233265350" border="0" alt="The AI is always training and listening to itself, and defaults to a conversational state. The AI (left) speaks and responds to the person (right) In this example, the person has added various entries, or questions, or notes, including media edits, et al. (Study A&rsquo;s new look is noted here.) In response to some of the recent work, the AI offers up some notes it was taking along the way based on one of the variant images from a prior improvisation session." data-caption="The AI is always training and listening to itself, and defaults to a conversational state. The AI (left) speaks and responds to the person (right) In this example, the person has added various entries, or questions, or notes, including media edits, et al. (Study A’s new look is noted here.) In response to some of the recent work, the AI offers up some notes it was taking along the way based on one of the variant images from a prior improvisation session." src="https://freight.cargo.site/w/1000/i/1fad492d67d8657781ad3a260cf595209e450f2205cb95022cd8a4f942747355/D1.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/5fd80ce431c4da1a28bf56f6e94195974b217dffea937d7033cfe3dd810df51a/D2.png" data-mid="233265351" border="0" alt="Opening responses unfolds (like Study B) into a variety of AI collected objects and generated pieces. In this example, the cloud image reminds the AI of a particular film from 1994, as well as the person&rsquo;s prior trip to Brazil (which was journaled in the system). Inclusive of these notes are some newly generated objects - including a suggested travel guide, a musical playlist, and some visual inspiration." data-caption="Opening responses unfolds (like Study B) into a variety of AI collected objects and generated pieces. In this example, the cloud image reminds the AI of a particular film from 1994, as well as the person’s prior trip to Brazil (which was journaled in the system). Inclusive of these notes are some newly generated objects - including a suggested travel guide, a musical playlist, and some visual inspiration." src="https://freight.cargo.site/w/1000/i/5fd80ce431c4da1a28bf56f6e94195974b217dffea937d7033cfe3dd810df51a/D2.png" /> <img width="1928" height="1208" width_o="1928" height_o="1208" data-src="https://freight.cargo.site/t/original/i/f1402501e68ac8003fee756634370114883d22805ae68b1b11af18bc47274212/D3.png" data-mid="233265352" border="0" alt="Generated notes could include complex structures, like a travel guide. In this example, the variant reminded the system of a prior trip to Brazil, and has suggested a return, inclusive of a day-by-day walking map, sites and interesting events to consider. " data-caption="Generated notes could include complex structures, like a travel guide. In this example, the variant reminded the system of a prior trip to Brazil, and has suggested a return, inclusive of a day-by-day walking map, sites and interesting events to consider. " src="https://freight.cargo.site/w/1000/i/f1402501e68ac8003fee756634370114883d22805ae68b1b11af18bc47274212/D3.png" /> Everybody Gets an AI New models can be spun off and packaged based on the collective history of the person or group: <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/181e4fc42521b04d7e095e3a8b968d34a231f5faf33e0f68991e250dee1287bb/E1.png" data-mid="233265718" border="0" src="https://freight.cargo.site/w/1000/i/181e4fc42521b04d7e095e3a8b968d34a231f5faf33e0f68991e250dee1287bb/E1.png" /> <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d473904c913e525aba12e2494c634507ce6339c053227975cf46d7f0bb62872d/E2.png" data-mid="233265719" border="0" src="https://freight.cargo.site/w/1000/i/d473904c913e525aba12e2494c634507ce6339c053227975cf46d7f0bb62872d/E2.png" /> https://waynewu.info/PLAZA-Yes-No Tue, 29 Apr 2025 19:52:35 +0000 Wayne Wu https://waynewu.info/PLAZA-Yes-No Project PLAZA Yes/No Seeding Creativity2021 Insight (Abstract) People early in their creative endeavors often have difficulty getting “started,” feeling intimidated by blank canvases and lack of technical proficiency. On the other hand, growing and seasoned creators alike require new methods of stimulation, whether it is to overcome creative blocks, to hone their craft, or to place themselves in spaces to discover something new.&nbsp; Lastly, “creativity” in the public digital stage further complicates curiosity by equating any publicly displayed work as indicative of personal identity. &nbsp; Provocation What kind of prompts can be presented to people that are easy to start, understand, and engage with, all while providing scalable technical challenge and “just enough” creative flexibility (or constraints)? Source Material <img width="2000" height="1610" width_o="2000" height_o="1610" data-src="https://freight.cargo.site/t/original/i/deafd5c2cce05bfad3658575144ab3baf44ab5d3762cdbe39ea3aad81854d363/Derive.jpg" data-mid="233112118" border="0" alt="&quot;The Naked City&quot; Guy Debord. 1957." data-caption="&quot;The Naked City&quot; Guy Debord. 1957." src="https://freight.cargo.site/w/1000/i/deafd5c2cce05bfad3658575144ab3baf44ab5d3762cdbe39ea3aad81854d363/Derive.jpg" /> <img width="2000" height="1610" width_o="2000" height_o="1610" data-src="https://freight.cargo.site/t/original/i/69cb1c03b739dc83c6cb3b4d9b7f95542c33342734d276b69ddc48e0303ad0ec/Walking.jpg" data-mid="233112103" border="0" alt="&quot;Walking as Research Practice&quot; Soapbox Journal. 2022." data-caption="&quot;Walking as Research Practice&quot; Soapbox Journal. 2022." src="https://freight.cargo.site/w/1000/i/69cb1c03b739dc83c6cb3b4d9b7f95542c33342734d276b69ddc48e0303ad0ec/Walking.jpg" /> “Walking as a research practice is about consciously deciding how to put that instrument [the body] into motion within an environment, and which types of data to sense, sift, and as similate. It is about the visceral exchanges between a sensing body in motion and the bodies of knowledge sequestered in the phenomena that make up a site of research. Whether the engagement is with pixels and memes, rocks, insects, birds, instruments, mud, other researchers, memories, clouds, microbes, shop signs, roasting coffee particles, emergency vehicle sirens, pages, or rat – walking allows a researcher to surface new layers of understanding about a physical, digital, or social environment, and sometimes about themselves.” 1 1 Gommes, Lynn, ed. Walking as Research Practice. WARP conference. Roma Publications. Amsterdam. September 2022. &nbsp; Guy Debord’s 1956 “Theory of the Dérive” publicy proposed an idea already in practice by members of the Letterist (Situationist) International - the idea passing through and interactiing with urban terrains as a study of emotion and behavior, or psychogeography. The practice involved, for example, walking as a kind of praxis for “fighting” against the boredom and oppression of capital structures. Related to this notion of creative work, however, theis idea of dérive offers a methodology where personal identity and performative stress are deemphasized, and curiosity and an openness to the “new” becomes available.&nbsp; By recentering the person on their own human experience - their emotion, thoughts, and inclinations - through subjecting oneself to a specific set of activities and constraints (eg. walking), there is a possibility for the person to be reset, emptied of preconceived stressors and placed into a posture of curiosity and creativity. Concept Debord and WARP’s theories both hinge on a common precept — finding the easiest, most accessible port of entry: walking.&nbsp; In other words, the key dimension here is prompting the person to engage without the kind of commitment that leads to decision fatigue and therefore stress. Given this, what if the port of entry question to ask was merely, “how are you?” Because there is no wrong mood at a given mood, all moods are therefore great and acceptable. The playing field is now leveled - being stuck is equally valuable to feeling super productive.&nbsp; Based on a mood, the subsequent path can be a series of simple binary (yes-no) prompts. For example, if a person feels pensive, their are zoned into a “meditative” territory, in which they will be asked a series of potential “walking” activities that relate to meditation and reflection. Each activity is further constrained into short, predictable time periods (5 minutes or less).&nbsp; While such a decision tree may not be comprehensive of the human experience, it allows for just enough space for an individual to retain a sense of agency and spark curiosity without it ascribing too much significance to the activity itself. B-Tree <img width="2400" height="1401" width_o="2400" height_o="1401" data-src="https://freight.cargo.site/t/original/i/87e5cae0c7959c957690219ac76a33a16e1c05c72422e66af83db38ee1d2c1b3/Sessions.png" data-mid="233112153" border="0" src="https://freight.cargo.site/w/1000/i/87e5cae0c7959c957690219ac76a33a16e1c05c72422e66af83db38ee1d2c1b3/Sessions.png" />Single and Multiplayer One can dérive alone, but all indications are that the most fruitful numerical arrangement consists of several small groups of two or three people who have reached the same level of awareness, since cross-checking these different groups' impressions makes it possible to arrive at more objective conclusions. It is preferable for the composition of these groups to change from one dérive to another. With more than four or five participants, the specifically dérive character rapidly diminishes, and in any case it is impossible for there to be more than ten or twelve people without the dérive fragmenting into several simultaneous dérives. The practice of such subdivision is in fact of great interest, but the difficulties it entails have so far prevented it from being organized on a sufficient scale. Guy Debord, Theory of Dérive, 1959 Just as a walking activity can be experienced singularly or communally, the proposed activities can also be single or multiplayer. In both cases, participation may be active or passive in nature. In other words, participatory activites may be a anonymous and detached in nature (eg. curating a series of images together, anonymously and asynchronously) or dynamically involved (eg. intentionally creating something together). Further, single and multiplayer instances may be asynchronous or synchronous. Group sizing is another area of exploration - what are optimal sizes of groups to encourage low stress, but fruitful, exploration? Community Created Even within a limited set of categories, a rule set can be deployed that offers an infinite number of possible low-stress activities: Rule / Option Example Parameter(s) Prompt with Yes-No "See anything red?" Avoid personal preference. Instead of "Do you like bananas," phrase as "Have a banana?" Offer a Context "You Cold (38°F)""Listening to Frank Ocean?" "Near the pandas (@zoo)?""Is it 7:30p?" Many contextual options are available: Location, Time, Weather, Music, et al. Use a Creative Tool "Lean or rotate camera to match line""Capture with A6" Leverage device or app features: Gyroscope, VSCO Presets, et al. Offer an Activity Tap left/right to next image Swipe up to CollectTake a photoSite back and watch (on autoplay) Collect, Capture, Browse, Listen, Watch Set Size limit Only 100 items or entries at a time Suggest “full” conditions: LIFO, Expiration, et al. Further, there is opportunity for agency to be given to the community to self-generate activities for public or private participation. The door is open for use of AI as well to facilitate in activity creation, or auto-generate in of itself. In otherwords, the creation of activities is not unsimilar to prompt engineering; and the communal nature is analagous to the filter vernacular of platforms like TikTok. &nbsp; Journey <img width="2000" height="2428" width_o="2000" height_o="2428" data-src="https://freight.cargo.site/t/original/i/c5bcc17079dd0c9b6131de5b0eddf04e4088fb2da2b4629210f327bfac23c731/Flow.jpg" data-mid="233222566" border="0" src="https://freight.cargo.site/w/1000/i/c5bcc17079dd0c9b6131de5b0eddf04e4088fb2da2b4629210f327bfac23c731/Flow.jpg" /> &nbsp; Sketches Mood Selection Browsing Activities A Collecting Activity https://waynewu.info/PLAZA-2-12-24-36 Mon, 19 May 2025 19:45:25 +0000 Wayne Wu https://waynewu.info/PLAZA-2-12-24-36 Project PLAZA 2, 12, 24, 36,&nbsp;∞ Communal Gardens&nbsp;2021—2022 Insight (Abstract) There are few examples of low-risk communal creativity in the digital space, and those that exist are often more social than creative. It’s possible that Western art history has emphasized individual expression, as well as the pressing need for individual brilliance both economically and professionally. Gaming platforms like Minecraft and Animal Crossing, however, are territories where communal creation has shown surprising promise due to its decoupling from “serious” art.&nbsp; This is unfortunate, as ancient and indigenous art traditions were often natively communal, from medieval guilds, to the muralist movements in early 20th century Mexico to the Gee Bend Quiltmakers of Alabama. VSCO’s insights have shown that there is an appetite for real communcal creative activation. For over a decade, VSCO has engaged the community with in-real-life activities like photowalks, lectures and workshops all around the world, and qualitative and subsequent quantitative data has given signal for such an appetite.&nbsp; Provocation What might traditional human communal activations look within a digital space that de-risks the challenges of vanity metrics, social pressure,&nbsp; individualism? Source Material Learning Gardens <img width="1200" height="720" width_o="1200" height_o="720" data-src="https://freight.cargo.site/t/original/i/ed77193561101b1d4dcb407417d0680f3766b6ecbc3beed64ab3dd1a126e75cd/parcguell.jpg" data-mid="233438769" border="0" alt="Parc G&uuml;ell, Barcelona" data-caption="Parc Güell, Barcelona" src="https://freight.cargo.site/w/1000/i/ed77193561101b1d4dcb407417d0680f3766b6ecbc3beed64ab3dd1a126e75cd/parcguell.jpg" /> Two early power users of the associative research platform Are.na had theorized a concept of learning gardens - a grassroots effort to build on top of Ar.na a space of “inclusion, learning, and experimentation.” Their usage of the term “garden” appropriately invites the question of the function and role of the garden, from antiquity to modernity. Gardens are contested spaces - man vs. nature, public vs. private, royal vs. common, and so on. They are designed Parc Güell in Barcelona to micro gardens in a private residence. What kinds of gardens can exist in digital space? r/place In 2017, Reddit offered an idea as an April Fool’s Day joke called r/place- a single blank canvas that was open to the public, with no central authority governing creation and any user could place a colored pixel every 5-20 minutes. The project quickly became a viral sensation, with subcommunities forming to “occupy” slabs of real estate on the canvas. Over the 72 hours of the project, it became a digital palimpsest, full of cooperation, territorial battles, artistic expression and, of course, vandalism - all overwriting each other a la Walter Benjamin’s notion of the destructive character. Ultimately, it was like a garden gone wild but if offered insights into online cooperation, coordination and conflict resolution. The experiment demonstrated how decentralized communities could create coherent, meaningful work — a digital parallel to community gardens in physical space. Concepts and Sketches No. 2 — Penpals For the series I Got Up (1968–79), Kawara sent two postcards every day to friends, family members, collectors, and colleagues. On each postcard, he stamped the date, his name, his current address, the name and address of the recipient, and the phrase I GOT UP AT (always in English and capital letters) followed by the time he rose from bed. Tourist picture postcards were always used, and the text was aligned in a similar way each time. Only the language and format of the date, the address, and the postage stamp changed, according to where he was at the time. https://www.guggenheim.org/teaching-materials/on-kawara-silence/postcards-i-got-up Prior to instant messaging services, and even with the ubiquity of voice phone calls, meaningful correspondences were often sent via postcard or letters. A particular phenomena emerged in the mid 20th century among students of writing such correspondences to a pen friend, or pen pal. An intrinsic feature of the medium was time: the speed of writing, sending, and waiting for receipt was on the scale of days and weeks, not microseconds. This allowed for more considered composition as well as greater anticipation. Writing your pen pal was a decidedly asynchronous task. While instant messaging is likewise asynchronous, the transmission speed is such that it functions more like a phone call in most use cases.Penpals is a 1-to-1 (or 2 person) correspondence conducted solely with image, audio or video. Two people agree to become pen friends and can send one media at a time, before waiting for a response. It is a serial communication channel, akin to sending a postcard, and waiting for one back. The person must wait until they can send another. Once the session is over, the two can elect to save a transcript or discard it. This decision must be unanimous. In the example below, one person shares their breakfast beverage of choice, and in response, the other shares an image of how they feel when they drink said beverage. &nbsp; &nbsp; <img width="1201" height="1601" width_o="1201" height_o="1601" data-src="https://freight.cargo.site/t/original/i/a6a880dbf0eddfe1cdaa1a9d07d7f92eaa888bdbb7fb61665e5c42086fa2568d/Session1.png" data-mid="233440132" border="0" src="https://freight.cargo.site/w/1000/i/a6a880dbf0eddfe1cdaa1a9d07d7f92eaa888bdbb7fb61665e5c42086fa2568d/Session1.png" /> <img width="1201" height="1601" width_o="1201" height_o="1601" data-src="https://freight.cargo.site/t/original/i/3d64f9cd67317def9bc5f1686c7f18df37468c5ff4788bff109c38fb0ef10ee5/Session2.png" data-mid="233440133" border="0" src="https://freight.cargo.site/w/1000/i/3d64f9cd67317def9bc5f1686c7f18df37468c5ff4788bff109c38fb0ef10ee5/Session2.png" /> Nos. 12, 24, 36 — Film Sessions Analog photographic film is typically offered in 24 and 36 exposures for 35mm film stock, and normally 12 or 16 exposures for 120 medium format film depending on the frame size. Larger format films are typically shot per sheet. Prior to the digital cameras, not only were exposures limited, but they was the inherent time delay of waiting for film development and printing. Additionally, photos were taken without any way of previewing them in-camera, which has made the image much more disposable in the present age. Even “disposable” cameras of yesteryear still followed the same constraints.&nbsp; Film sessions are time and exposure limited group sessions that ask a small group to contribute to an idea. Anyone can start a session and determine if it is to be a 12, 24, or 36 exposure roll. Exposures can be any kind of media the device is capable of capturing - a recording, video, photo, etc.. Once the number of exposures are reached, the session is over.&nbsp; Upon completion, in the spirit of photo printing, the group is given the option to choose the format of the final artifact, offering an infinite number of formats - from a zine, to a map, to a stitched together film. <img width="1200" height="1601" width_o="1200" height_o="1601" data-src="https://freight.cargo.site/t/original/i/d944e5426492ab864709e2097f307ed5af18a8a8620bc11e67b59a57e0869662/Session5.png" data-mid="233439805" border="0" src="https://freight.cargo.site/w/1000/i/d944e5426492ab864709e2097f307ed5af18a8a8620bc11e67b59a57e0869662/Session5.png" /> <img width="1201" height="1601" width_o="1201" height_o="1601" data-src="https://freight.cargo.site/t/original/i/4c9bdbe19b0b26d0820c3dcf12ed9196b5efd8eabf14966ef27dc8bdda93ba7b/Session4.png" data-mid="233439804" border="0" src="https://freight.cargo.site/w/1000/i/4c9bdbe19b0b26d0820c3dcf12ed9196b5efd8eabf14966ef27dc8bdda93ba7b/Session4.png" /> <img width="1200" height="1601" width_o="1200" height_o="1601" data-src="https://freight.cargo.site/t/original/i/ee914fd66ae63e725863dfd718941d8ed0d2d044369a897f778da02c7623dddf/Session3.png" data-mid="233439803" border="0" src="https://freight.cargo.site/w/1000/i/ee914fd66ae63e725863dfd718941d8ed0d2d044369a897f778da02c7623dddf/Session3.png" /> <img width="1201" height="1601" width_o="1201" height_o="1601" data-src="https://freight.cargo.site/t/original/i/e24765d6911985acaaf1a2bf73a71f42cb414ab07219d01cc3668f918c835a70/Session6.png" data-mid="233439806" border="0" src="https://freight.cargo.site/w/1000/i/e24765d6911985acaaf1a2bf73a71f42cb414ab07219d01cc3668f918c835a70/Session6.png" /> ∞ — Worlding, or Chain Lettering‘Today, collaborative making processes are increasingly facilitated by technological platforms. Inspired by Cadavre Exquis, we conducted a small experiment online. The goal is to reproduce a famous quote by Yoda, a fictional character from the Star Wars movies, among 160 members belonging to the same private social media group. The original passage reads, “Fear leads to anger. Anger leads to hate. Hate leads to suffering.” The instruction I posted in the social media group is: Each new writer would contribute a sentence with the structure “____leads to ____.” The first blank is the last word from the previous writer. The second blank is a new word contributed by the new writer. This experiment extended for three days, transforming the original Yoda quote into a wildly expanded version:“Fear leads to Anger. Anger leads to Sandwich. Sandwich leads to Truth. Truth leads to Boredom. Boredom leads to Impotence. Impotence leads to Wealth. Wealth leads to Separation. Separation leads to reproduction. Reproduction leads to Hotpot. Hotpot leads to Diarrhea. Diarrhea leads to Petting Cats. Petting Cats leads to Moving In. Moving In leads to Earth Quake. Earth Quake leads to Economic Crisis. Economic Crisis leads to Withdrawing from School. Withdrawing from School leads to Soda. Soda leads to Urbanization. Urbanization leads to Low Morality. Low Morality leads to Stock Market Shorting. Stock Market Shorting leads to Inflation. Inflation leads to Stupidity, and Stupidity leads to World Peace…”’Zhenzhen Qi &amp; Yang Wang (ZZYW) “Architecting Emergence.” Rhizome. February 2021. https://rhizome.org/editorial/2021/feb/17/architecting-emergence/ Chain letters are absurd streams of consciousness that any number of friends and strangers can participate in. Joining a chain letter means you will be invited to different chains to add your take on the thread. When it’s your turn, it’s your turn, make it fun! In the example below, the chain originator begins the thread with a picture of oranges:&nbsp; <img width="1201" height="1601" width_o="1201" height_o="1601" data-src="https://freight.cargo.site/t/original/i/0e10c7ff6dde315c6a267dd890b312870ad012f822f5ec87fbbdb34f18911064/Session7.png" data-mid="233439814" border="0" src="https://freight.cargo.site/w/1000/i/0e10c7ff6dde315c6a267dd890b312870ad012f822f5ec87fbbdb34f18911064/Session7.png" /> <img width="1201" height="1601" width_o="1201" height_o="1601" data-src="https://freight.cargo.site/t/original/i/7d48f6e19d77310ff68d63a6a51bfa26df0beb9fcf12e3012a1c5d856ac33ca8/Session8.png" data-mid="233439815" border="0" src="https://freight.cargo.site/w/1000/i/7d48f6e19d77310ff68d63a6a51bfa26df0beb9fcf12e3012a1c5d856ac33ca8/Session8.png" /> &nbsp; https://waynewu.info/OneID Wed, 21 May 2025 02:34:39 +0000 Wayne Wu https://waynewu.info/OneID Project OneID Rebuilding the Superapp&nbsp;2020—2021 Brief VinID was initially built as a loyalty program to get users closer to the VinGroup ecosystem, take care of them and track their transactions and activity at VinGroup conglomerate business. In transitioning from VinGroup and VinID to the now rebranded One Mount Group, the opportunity arose open the VinID userbase to any merchant, giving them opportunities to cross-sell to VinID users in the ecosystem, all while One Mount builds a deeper loyalty program as well as dramatically increase their customer acquisition. The current state of VinID follows the standard superapp model germane to APAC markets. It is important to maintain the convenience and familiarity of the superapp model, while sharpening around an understanding of end-consumer behaviors, as well as focused offerings that can anchor usage. In short, the brief consisted of a single question: How do we build anchored usage while keeping everything connected together? Key asks include a modular architecture to allow the internal product teams to better respond to future features, as well as mechanisms for customer retention. Business GoalsOneID as tip of the spear for One Mount - an expressed desire for the app to be a defining platform that communicates to the shareholder, business, and consumer what One Mount is doing for its customer(s).Build a platform that can attract top-tier brand partners, understanding that the B2B component is the direct revenue source, and a primary source of consumer (C) acquisition.Grow and retain consumer (C) market shareBuild a consumer (C) experience that elevates VN lifestyle with great stickiness, personalization and generates strong brand love. Organizational Goal A secondary goal was to establish a working methodology for One Mount’s nascent product group. One Mount, and the Vietnamese market overall, is experiencing rapid growth in its technology sector and has aggressively built organizations often with Western strategies vis-a-vis blue chip consulting firms. This, however, creates challenges as most strategies that were presented are complex and at times too theoretical, still leaving internal product teams at One Mount with insufficient frameworks to ideate and release product. As much as there is a need to reinvent product, there was equal demand to establish an easily executable process towards developing new product. &nbsp; Definitions It’s About Value After a multi-week discovery sprint involving internal and in-the-market interviews and workshops, definitions for OneID were proposed to guide future product development. These definitions, which encompassed the audience, audience intentions, primary activity and user experience formed the core product principles: <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/998bfb6bc8a3fc8058964a79f57f62b86f841c94fab6e19bd639ff7f344ff60c/4.png" data-mid="233519477" border="0" src="https://freight.cargo.site/w/1000/i/998bfb6bc8a3fc8058964a79f57f62b86f841c94fab6e19bd639ff7f344ff60c/4.png" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/ab6d18ece9fb8c0a3de83b474ddb0e9391b0af191993ef228c3fb01fab5f3d3b/5.png" data-mid="233519478" border="0" src="https://freight.cargo.site/w/1000/i/ab6d18ece9fb8c0a3de83b474ddb0e9391b0af191993ef228c3fb01fab5f3d3b/5.png" /> Design Sprints Workshops and Sketches Feature Roadmapping <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/3b4c2efb9566d7c19380994a8afe76060c3559e587fd0061318443e2a3af38a5/9.png" data-mid="233519555" border="0" src="https://freight.cargo.site/w/1000/i/3b4c2efb9566d7c19380994a8afe76060c3559e587fd0061318443e2a3af38a5/9.png" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/d389df1dc867a1e36f6e9d0fe28c4f82fa9b254c5b430af4b2e085883147da02/12.png" data-mid="233519556" border="0" src="https://freight.cargo.site/w/1000/i/d389df1dc867a1e36f6e9d0fe28c4f82fa9b254c5b430af4b2e085883147da02/12.png" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/49bdbdd62bdcbf95c10db30bd0736c88a1c915a1238a09934ce9df312982aca9/13.png" data-mid="233519557" border="0" src="https://freight.cargo.site/w/1000/i/49bdbdd62bdcbf95c10db30bd0736c88a1c915a1238a09934ce9df312982aca9/13.png" /> Promo Feature Home Screen Refresh <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/80ebb77fa368a6c8cd12754747811734e26f7a2188e3ecd58550eb76945c8c59/16.png" data-mid="233519798" border="0" src="https://freight.cargo.site/w/1000/i/80ebb77fa368a6c8cd12754747811734e26f7a2188e3ecd58550eb76945c8c59/16.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9fc121903755164923e0f124bb1163cd6ac80a26926354a438035aa3f52abaf0/17.png" data-mid="233519799" border="0" src="https://freight.cargo.site/w/1000/i/9fc121903755164923e0f124bb1163cd6ac80a26926354a438035aa3f52abaf0/17.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/53cb81f94efbb0c2892b4dadeadc2f89af2a9d8ca9a6a38b13cd7cccd50b2ddf/18.png" data-mid="233519800" border="0" src="https://freight.cargo.site/w/1000/i/53cb81f94efbb0c2892b4dadeadc2f89af2a9d8ca9a6a38b13cd7cccd50b2ddf/18.png" /> &nbsp; &nbsp; https://waynewu.info/PLAZA-Exhibitions Sat, 17 May 2025 05:06:37 +0000 Wayne Wu https://waynewu.info/PLAZA-Exhibitions Project PLAZA Exhibitions Exploring Creator Economies 2021 &nbsp; Insight (Abstract) The promise of the NFT era was a narrative built on how blockchain would usher in a mechanism for true digital ownership, the democratization of the collector market, and enforcable provenance. Record breaking sales, speculation and cultural hype fueled a fever pitch race to deliver on the promise. At the same time, web 2.0 platforms had built a system that devalued creative labor by marketing it as free. As a platform for creators that already boasted over a billion original photos published by creators all over the world, data and qualitative research had already indicated an appetite for VSCO to bring to table options for creators to monetize their work in meaningful ways.&nbsp; &nbsp;&nbsp; Provocation Could an ethical approach to NFTs provide economic opportunity to VSCO’s largely photographic community? Can it redefine a value system that prioritizes creativity while creating market-value for creators and audiences? Source Material The Gallery Ecosystem Today's gallery model operates at the intersection of three powerful forces, each vying for primacy in determining artistic value and meaning. <img width="1011" height="694" width_o="1011" height_o="694" data-src="https://freight.cargo.site/t/original/i/21b7c9a6b4b2b743792ecc288364990c8235ebe97f309de474e790a80a143bbe/4750.png" data-mid="233348025" border="0" alt="Obrist, Hans Ulrich (ed.). A Brief History of Curating (Documents, 3) JRP Ringer. October 2008" data-caption="Obrist, Hans Ulrich (ed.). A Brief History of Curating (Documents, 3) JRP Ringer. October 2008" src="https://freight.cargo.site/w/1000/i/21b7c9a6b4b2b743792ecc288364990c8235ebe97f309de474e790a80a143bbe/4750.png" /> Curators have evolved from behind-the-scenes facilitators to cultural arbiters whose conceptual frameworks and exhibitions actively shape artistic narratives. As "creators" in Bruce Altshuler's formulation, their contribution to work stand on shared ground with the artworks they present. This emergence of the curator has profoundly influenced gallery economics and structure - from curatorial concepts as exhibition driver (versus individual artists) to influential celebrity curators, to artists themselves becoming curators in their own right. Meanwhile, a globalized collector market drives economic realities through hierarchical buying patterns. High-net-worth collectors and institutions validate artists through acquisition, while speculative collection drives market volatility. This ecosystem increasingly determines artist visibility. On the other hnad, artists now navigate a complex terrain by developing strategic positions within and against these structures. Some embrace gallery representation and institutional validation, while others create alternative spaces and distribution models that challenge traditional gatekeeping mechanisms. This creates a dynamic where artistic meaning becomes contested territory—simultaneously determined by curatorial framing, market validation, and artistic intention. The contemporary gallery thrives in this productive contradiction, functioning as both cultural laboratory and commercial enterprise.Artists, Curators and Collectors on VSCO A core VSCO feature that existed since its inception was a human curation team that, in its early days, looked at every single image published on the platform. Over the years, the practice grew both in scale and also in its philosophical approach. Internal tooling was developed to support the practice, and a curatorial point-of-view was adopted by deep ongoing study of contemporary curatorial texts. In many ways, curation was one of the “secret sauces” of the VSCO community: real human curation, informed by instituional curatorial practice and art critique, augmented by technology. As the observational aspects of the curation team grew, so too were pilot initiatives to engage with the community directly - from formal programs like like the mentorship and grant programs like VSCO Voices and Artist Initiative, to periodic invitations to the community to participate in photographic challenges - a precursor to more formal digital exhibitions. Concept Exhibitions by VSCO Leaning on learnings from VSCO’s curatorial practice,&nbsp; initiatives like VSCO Voices and Artist Initiative, along with source material from contemporary art practices, Exhibitions by VSCO was launched focusing on the co-creative relationship between Artist and Curator through time-limited shows. New creative work is now catalyzed through dialogue between curatorial vision and the artist community, and it is incentivized by introducing for the first time on the VSCO platform a means for monetization. Curators are both co-creator and gallerist, and artist is co-creator and seller.The audience, so far as merely spectator, now becomes a collector, forming a trio of beneficiaries.&nbsp;For each exhibition, curators now participate in the sale of each work (minted as an NFT), taking a pre-negotiated, per-exhibition percetage, built directly into the blockchain contract. On climate... An ongoing critique of NFTs and blockchain overall is its outsized impact on the climate. The minting and transfer of tokens, collectively called a “gas” fee is notoriously energy hungry due to the required computation. This is particular true of proof-of-work networks like Ethereum and Bitcoin. However, at the time, there were new crop of technologies that were emerging that followed a proof-of-stake method instead, which required a fraction of the computation requirement. One particular token, Algorand, stood out as both a proof-of-stake open source model, but operated a charitable foundation concurrently. Of the available partners, Algorand felt like a strong fit for the VSCO brand. Design “Windows”In the post WWII contemporary art space, the white cube became the standard formal architecture for the display and sale of art. The intention of course was to neutralize the site from the art, to varying degress of success, and not without its own critique. Having said that, how does a physical exhibition transition into the digital space? What gets carried over and what gets left behind? <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8fc5924d098ce3ca8aeb6468b4006df374c314d9dba8ebb41affed151c4835fc/VSCO-Horizon-3-Strategy_Phase-01.jpg" data-mid="233374676" border="0" src="https://freight.cargo.site/w/1000/i/8fc5924d098ce3ca8aeb6468b4006df374c314d9dba8ebb41affed151c4835fc/VSCO-Horizon-3-Strategy_Phase-01.jpg" /> The particular direction chosen for the initial launch of VSCO Exhibition was based on the idea of a window, and its role in the history of gallery spaces and the broader history of architecture as a space that connects the interior of a building and its surrounding landscape - a bridge between the private and the public: <img width="1301" height="900" width_o="1301" height_o="900" data-src="https://freight.cargo.site/t/original/i/917ed4176dfcd91017c2c34b8e305b1c6ed1ddb14ac2c3f96a5852fa790fc7ba/Brand2.png" data-mid="233374689" border="0" src="https://freight.cargo.site/w/1000/i/917ed4176dfcd91017c2c34b8e305b1c6ed1ddb14ac2c3f96a5852fa790fc7ba/Brand2.png" /> <img width="1300" height="900" width_o="1300" height_o="900" data-src="https://freight.cargo.site/t/original/i/0bfe9872dd6f4fa87f7ac3f48edc14af06bc5d4a6c849841ba448711f3fe1af6/VSCO-Exhibitions-7.png" data-mid="233348048" border="0" src="https://freight.cargo.site/w/1000/i/0bfe9872dd6f4fa87f7ac3f48edc14af06bc5d4a6c849841ba448711f3fe1af6/VSCO-Exhibitions-7.png" /> The Platform Go-to-Market Learnings The Exhibitions platform stayed live through Q1 of 2022. A second “show” was not renewed. Here are some learnings — The barrier of entry to crypto is exceptionally high for the average person from a user experience perspective. For non blockchain nativists, the process of creating and funding a crypto wallet, much less learning what it is and why they need it was a non-starter. Over 97% of visitors who were actually interested in collecting an item dropped off when faced with the wallet requirement.Choosing an alt-coin, albeit with good intention re: climate considerations, was a poor choice in a nascent community. A more known and available token like Ethereum or Bitcoin might have yielded a higher conversion.Digital ownership outside an insular community that had a rapidly deteriorating cultural reputation was not generally desirable. The real promise of blockchain technology was unfortunately being devalued by rampant speculation and capitalist trolling left the technology feeling more ponzi scheme and less groundbreaking innovation for good. &nbsp; &nbsp; https://waynewu.info/product Mon, 24 Mar 2025 21:14:30 +0000 Wayne Wu https://waynewu.info/product Product Studies 2025— Topos Genomic Mapping and AI 2024— Plaza (VSCO) Generative Interfaces 2021—2023 Plaza (VSCO) Pavilions 2022 Plaza (VSCO) Yes / No 2021 Plaza (VSCO) Exhibitions 2021—2022 Plaza (VSCO) 2,12,24,36,∞ 2021 Plaza (VSCO) Profile as _______ 2020 One Mount OneID 2015—2017 VSCO Design System 2012— VSCO VSCO Cam https://waynewu.info/Recon-Video Wed, 29 Jan 2025 20:18:02 +0000 Wayne Wu https://waynewu.info/Recon-Video https://waynewu.info/Recon Tue, 01 Mar 2022 18:16:35 +0000 Wayne Wu https://waynewu.info/Recon <img width="2500" height="1406" width_o="2500" height_o="1406" 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