Eric Scott

Salvador Dalek :: Birth [Day 035]

CD | Download

Salvador Dalek “Birth.” Day 035 by Salvador Dalek

“Birth” (Day 035) is the nascent studio outing of ambient and progressive cinematica artists Salvador Dalek. Not to be confused with its wiser, elder sibling Julie Android, Salvador Dalek operates in a sampladelic and definitionless universe.

Born June 2001 as a live remix identity of Eric Scott and Peter Moraites, this moniker is the one they have used since their first association, through the collaborative projects they have created following Tomato Workshops NYC, where they first chose recording and remixing as an outlet away from other professional activities in the fields of multimedia.

Day For Night Sitework

Launch of the new homepage for the Day For Night imprint and label. This portal for the eBay Day For Night One-Stop-Shop, also features a live Day For NightNetRadio stream, and featuring additional samples from newest MP3 singles from our own NIGHTblog and full-length releases.

Visit The Label Homepage

Bio-Logic Aqua “Nature’s Tears”

Original Soundtrack

Biologic Aqua “Nature’s Tears” (2006, TV Commercial).

For Bio-Logic Aqua Technologies, Day For Night scored this 0:10 commercial for Nature’s Tears Eye Mist.

Eric Scott & The Everyday :: What If [Day 026]

CD | Download

Salvador Dalek “Spelling Test Video Party"

DVD Launch Event

The evening of Saturday, May 20, 2006 marked the date for the Peter Moraites “Spelling Test” video album Launch Party, at Ocean Front Gallery, along the legendary henna-tatooed, roller-blading boardwalk in Venice, CA. Many thanks are due all-around to the friends who so kindly attended and contributed to the evening’s success.

After sundown, the courtyard space at 801 Ocean Front Walk rapidly became a buzzing outdoor lounge, complete with wine and appetizers, and illuminated by a pair of projection walls (one outdoor, the other inside the gallery) – and featuring a continual and mesmerising litany of classic music videos and intoxicating visuals throughout the night.

Inside the main gallery space, a hushed audience was treated to a soulful, pop acoustic set by Canadian artist Marianne Baker, after which came the anticipated, and warmly received screening of the video album/DVD “Spelling Test,” which comprises nine original Pete Moraites music/art videos, with soundtracks by Moraites (“Simpletongue”, “Twitterpation”, “Smokercraft”) and Salvador Dalek (Day For Night’s Eric Scott, remixing and collaborating with Moraites). The presentation was transformed by Moraites’ own closing speech; a poignant thanks to his closest collaborators – an inspirational hommage to the value of encouragement and the creative workshop process.

Eleven o’clock heralded the premiere live performance of Salvador Dalek (Eric Scott on laptop and mixing desk, with Pete Moraites providing visuals and live VJ-accompaniment throughout the set) – unleashing a storming set of progressive house, trance, and drum’n’bass remixes from the Day For Night back catalogue, spanning a breakneck-56-song live remix (in under an hour’s time) and highlighted by a glowing flute performance from soloist Kelly Wilson, during “Twitterpation” – another key highlight of the evening. Our ears are still ringing, and all in a good way.

The Salvador Dalek remix CD “Beat The Time (Day 055)” will be released soon, featuring highlights from this live set, plus a fully-remixed podcast of the set to also follow soon… Check back at this link for details very soon:

01. Clank 2
02. Love March Intro
03. All Mine (Found Mix)
04. Keep Strumming Those Basses
05. Dream Awake
06. Clubsexy
07. Movin’ You Ahead
08. Kel Bass
09. Twitterpation
10. Pearl (Wisdom Mix)
11. The Acid Room
12. Learning Curve (Exp3 mix)
13. Wetlands
14. Demoded
15. Jarresuite
16. Polyanalacolyte
17. Predecom / Mighty Forces I
18. Polyanalacolyte
19. Hakimazula Remix
20. First In Three Adventuremix
21. Ich-01
22. Clank2 (Reprise)
23. Kel
24. NewBeat
25. Gitarzyolie
26. Simpletongue
27. Twelvety
28. I Am Source / Hornzo
29. Zuk / Beachbuggy
30. Deep Dog
31. Tzuke / Tha Groove
32. Swagger / Monky
33. Pinky / Insect Laser Wars
34. AESM
35. Saxomophone Remix
36. Gamma
37. Saddlekey/Tunnel
38. Rise / Staccato-Flow
39. Skein / Strumbaddy
40. Filmy
41. Quillocet
42. Mousse
43. Jaywalker
44. Kickoff
45. Openchannel (Program Yourself Mix)
46. Three
47. After The King
48. Voco / Frantic
49. Charitable Girl (Jean Cocteau)
50. LWaysXways
51. RagnarokNRoll
52. Contract
53. Concutaile
54. Deltair5
55. Masterplan
56. Pwweg_Ankleduster (M8 mix)
57. Once-A-Time
58. Come Beat!
59. Crashanthrum

Peter Moraites “Linetwine” [Day 077]

Salvador Dalek Music Video

Peter Moraites “Linetwine” Music Video (Day 077.dvd) from Day For Night.

(2:20 / QuickTime / 2005)
Animator : Peter Moraites & Alyson Boote
Sequence Editor: Eric Scott

Music : Polyanalacolyte (Dalek Expansion Mix)
Salvador Dalek (Eric Scott / Peter Moraites)
from the Day For Night CD “Birth (Day 035)

Peter Moraites :: Official Site

Custom Sitework

Pete – Designed by Peter Moraites – Site development, programming and brand strategy by Eric Scott (Day For Night)
Pete – Designed by Peter Moraites
Site development, programming and brand strategy by Eric Scott (Day For Night)

It’s finally here – the official website for renaissance man and VJ, illustrator, writer, director, graphic artist, motion graphics editor and composer Peter Moraites.

Forming a virtual gallery of the artist’s own videos, music, writings and notes from the pages of his many sketchbooks, this site offers yet another window into the creative mind that brought to the world the imaginative videos “Program Yourself,” “Twitterpation,” “Linetwine,” “Simpletongue” and “Learning Curve,” among many others. The full motion graphics work by this young director can also be seen on his DVD “Spelling Test.”

Peter Moraites “Adventure! [Day 077]

Salvador Dalek Music Video

Peter Moraites “Adventure” Music Video (Day 077.dvd) from Day For Night.

(2:00 / QuickTime / 2005)
Director : Peter Moraites
Music : “First In Three (Adventuremix)” (from Day 035)
Artist : Salvador Dalek (Eric Scott / Peter Moraites)
Animations : Peter Moraites with Alyson Boote

Download MP3 Commentary by Peter Moraites and Eric Scott (Salvador Dalek)

“The Creative Process” Eric Scott

Design, Interview & Editorial

The Creative Process_Eric Scott_01

This interview with Eric Scott, conducted by Prof. Aaron Prevots of Southwestern University for his series “The Creative Process” and covering topics ranging from the beginnings of Day For Night, the power of influence, and artistic and business strategy.

Read this interview:
The Creative Process: Eric Scott Interview Part 1
The Creative Process: Eric Scott Interview Part 2
The Creative Process: Eric Scott Interview Part 3

Eric Scott “Oh! Carolina”

Photographic Essay

Visual essay by Eric Scott photographed over the course of one week in Autumn 2005, Claremont, NC.

“Oh! Carolina” Photographic Essay (in 27 seconds) from Day For Night.

Changing of the Colors 01Patchwerk 01Patchwerk 02Patchwerk 03Patchwerk 04Patchwerk 05
Patchwerk 06Patchwerk 07Patchwerk 08Patchwerk 09Patchwerk 10Patchwerk 11
View from Tweetsy 01View from Tweetsy 02Changing of the Colors 02Changing of the Colors 03And the Whispering of the Leaves 01View from Moses Cone 01
View from Moses Cone 02View from Moses Cone 03View from Moses Cone 04View from Moses Cone 04View from Moses Cone 05View from Moses Cone 06

Oh! Carolina, a set on Flickr.

One Media “Sometimes Why”

Original Soundtrack and Sound Design


ONE Media provides Interactive Television (iTV) content solutions for advertisers through their agencies. Their primary focus is to help advertising agencies evolve the changing world of television.

In early October 2005, Eric Scott composed and produced the musical underscore and custom audio design for their 2005 interactive DVD presentation to investor partners. The finished track, “Sometimes Why,” evinces an intriguing, and occasionally unsettling vowel movement; an orchestration of crowd walla and digitally-processed spoken voice samples.

Full selections from the soundtrack can be heard on “Music For Targeted Television Advertising” (Day 051).

INVIDI “Smart Tags” Original Soundtrack


Invidi Technologies Corporation is the world’s leading targeted media solutions company. Their vision and expertise in building smart advertising systems has created substantial monetary value for the cable, satellite and advertising industries.

Full selections from the soundtrack can be heard on “Music For Targeted Television Advertising” (Day 052).

Andy Lakey “Silhouettes & Shadows”

Original Soundtrack / DVD Design

Andy Lakey “Silhouettes & Shadows” Short Film from Day For Night.

“Out of the blue
As a clear sky reflects vast oceans
Secrets unravel in silhouettes and shadows
From profile to paper improbable portraits emerge

The full exposition was delivered to the art world as a 14-minute video on DVD packaged in a handsome metal tin.

"Lakey :: Silhouettes & Shadows" DVD Tin - Design, DVD Interactivity and Art Direction by Eric Scott (Day For Night) with Doug Brown

Lakey DVD Tin_4822
“Lakey :: Silhouettes & Shadows” DVD Tin – Design, DVD Interactivity and Art Direction
by Eric Scott (Day For Night) with Doug Brown

Eric Scott of Day For Night composed and produced the musical underscore and custom audio design, as well as to create the DVD menu interface design.

The full-length selection from the soundtrack can be heard on the Rhythm Factory release “Music For Targeted Television Advertising” (Day 052).

Day For Night :: Emotion [Day 029]

DVD | Download

For “Emotion” (Day 029) Eric Scott presents a history of both personal and professional work, through interviews, motion and sequential graphics design for broadcast and web, enriching them with original music and audio design. These samples of client work exist to inspire, amuse, inform, and rouse the intellect and emotions.

This promotional work shall be collected online before being made available on all-region DVD.

Two Chefs / Bakkavor

Art Direction, Custom Site Development and Copywriting

Two Chefs/Bakkavor (aka Two Chefs On A Roll) official site for the savory and sweet product lines they create with innovation and a truly passionate love for creativity - Art Direction, design and programming by Eric Scott (Day For Night)

Two Chefs/Bakkavor (aka Two Chefs On A Roll) official site for the savory and sweet product lines they create with innovation and a truly passionate love for creativity – Art Direction, design and programming by Eric Scott (Day For Night)

Since 1985, Two Chefs/Bakkavor (Two Chefs On A Roll) has risen from a small, wholesale dessert company to a full range manufacturer of custom and private label savory and bakery products. Taking great pride in developing true partners, Two Chefs work to design and manufacture culinary products that deliver and satisfy individual customer needs. Each and every activity within the company contributes and provides “peace-of-mind” for the true partners, resulting in the finest customer experiences.

The digital strategy was initiated through meetings with original founders Lori Daniel and Eliot Swartz, who wanted most to convey the uniqueness of the creative and work-experience at their company, which routinely pioneered in the kitchen as well as in the boardroom.

INVIDI “Advatar” DVD

Original Soundtrack / DVD Menu Design


Invidi Technologies Corporation is the world’s leading targeted media solutions company. Their vision and expertise in building smart advertising systems has created substantial monetary value for the cable, satellite and advertising industries.

INVIDI Act 1 “INVIDI” from Day For Night on Vimeo.

INVIDI Act 2 “INVIDI” from Day For Night on Vimeo.

INVIDI Act 3 “Audience Classifiers” from Day For Night on Vimeo.

INVIDI Act 4 “Target Calculator” from Day For Night on Vimeo.

More about the INVIDI DVD Soundtrack Series

Peter Moraites “Hypnorama” [Day 077]

Salvador Dalek Music Video

Peter Moraites “Hypnorama” Music Video (Day 077.dvd) from Day For Night.

“Hypnorama” (3:10 / QuickTime / 2004)
Director : Peter Moraites
Music : “Thingstuff (Hypnorama Stuffthing Mix)” (from Day 035)
Remix : Salvador Dalek (Eric Scott / Peter Moraites)
Made with Kellee Edwards Lawler (vocalist) and Marc Cobrin (engineer)

The film, “This Action-Adventure Hypnorama Experience is Hijacking Your Mind” was produced during the 48-Hour Film Festival, 2004.
Animations & Film Crew: Pete Moraites with Alyson Boote, Billy Martin, Matthew Lohse (Blue_9.a) and Tyson Patterson (Down-e-Fresh), Weston Higgins, Ari Raz, Lakie & Diante (Dee) Singley, Jon Powell, Shai, Deb Collins.

Download MP3 Commentary by Peter Moraites and Eric Scott (Salvador Dalek)

H O SPITAL Waiting Room [Day 070]

Before admitting oneself to most hospitals, a seat in the waiting room is obligatory. But something unusual prevails here.

Hospital (Day 070) is presented as a grand tour through an experimental lab site where diagnosing urban malaise is a daily concern.

You study the notice board as you wait for your number to be called, reacting to the slew of lo-fi HTML pleasantries and experiments – waiting room pastimes?

A hidden camera with a roving wiretap on local cellular phone bands. An RX paypoint outside the front lobby dispenses mental-health prescriptions to those suffering from urban malaise. A display of terminals appears to be generating phonetic wordplay – or is it random nonsense?

Got happiness?


14-2003-0829-rollerneckIf you want what you cannot have (and therefore don’t want what you can have), then create want, by first creating a belief that you cannot have what you already do have.

Mark my words.


14-nightlinkrail-timetableThe next big thing will be unfriendly, but catchy.

Creation #4.


Eric Scott Day For Night selfie
Feel this deliberately:

“I am going to feel truly
pissed off now.

For 10 minutes.”

“How does that feel?”



14-2003-0511-eric-scott-day-for-night-floor-06The phone ringing throws me into a brief panic.

In a work day, there’s simply too many sales calls incoming to risk the gamble of ending up on the phone talking to a wasteful stranger, and not to have it be a one-sided call you’d otherwise prefer to hang up on.

“It’s someone who wants something from me. They already have their spiel worked out. And they’re banking upon having the advantage of preparation, hoping I won’t be quick enough to say no.”

“I hate to disappoint people. That’s always discouraging; to know you produced a deliberate “non”-result. It’s two-fold.”

“This person probably knows this intuitively, about the nature of all people, and knows already how hard this will be for me. That is part of their hidden advantage — it’s the guilt.”

“If I don’t answer it, and they don’t leave a message, then that is all the confirmation I need, and my theory must have been correct.”

Is my panic of answering the telephone, simply a resistance to discouragement?


Navigation idea.


13-day-002-rhythm-factory-technotool-modRepresented as an object or tool, like a remote control, or a pair of binoculars, that you keep with you throughout the experience; when pulled out, can take you to a new information level.

Process #5.


13-2003-1001-day-for-night-studios-santa-monica-guitar-1Videotape of the Day 024 rehearsal:
An audioVisual record of the Day 024 rehearsal:
Gtr + Pod –> Mixpad |
Room mic –> Mixpad | –> Camera L&R
CD (drums)–> Mixpad |
Picture is: eric playing the guitar to a prerecorded CD track of drum groove…
Music stand with parts… these are “fed” by a “producer” working with charts, organized by section…—> they are to be arranged in complementary keys. Charts are introduced by the producer, 16 bars ahead of start time, to allow the performer as brief a period of disorientation as possible. Producer selects the parts from an available repertory.

13-2003-1001-day-for-night-studios-santa-monica-bass-1PLAYS 16 bars: Chart A1
PLAYS 16 bars: Chart B1
PLAYS 16 bars: Chart A1
PLAYS 16 bars: Chart B1
PLAYS 16 bars: Chart A2
PLAYS 16 bars: Chart B1
PLAYS 16 bars: Chart A2
PLAYS 16 bars: Chart B2
PLAYS 16 bars: Chart A2
PLAYS 16 bars: Chart B2
PLAYS 16 bars: Chart A3
PLAYS 16 bars: Chart B2
PLAYS 16 bars: Chart A3
PLAYS 16 bars: Chart B3…etc

Music track:
Guitar parts –> DAT via POD & MixPAD
Dump in, Cut into “SHC FULL MIX”

What is this new road?


A road to a more enlightened age, pulling away from the downward spiral that cultural illiteracy or post-literacy seems to be indicating. Accelerated technology and planned obsolescence should not be the focus.
A decreased emphasis on MULTImedia as a road for channel surfing, net surfing, browsing. Attention spans need to grow longer, not shorter. Technology not for distraction, but for learning.
How can we restore balance in our lives? How can we restore focus on being an intelligent culture?
Maybe learning tools come at us from all entertainment venues? Concerts, etc.
All broadcasts have an on-screen pop up menu, containing the necessary links to the Internet, WWW, or whichever all-encompassing source of info takes us…
Sketch out the full business plan… Full subsidization by 2000?
Creates jobs for the unemployed, offers research potential to all of us
Eventually CD Rom version, upgradeable each month?
Slow transition towards all books getting keyed in.
All post 1988 works donated to lib. on disk
All pre 1988 books to be keyed in
All images to be scanned at lo-res for internet download.
Fee system. Browsing and reading online is free. Download charges for book texts is fixed. maybe some nominal charge like $5.00. Perhaps this counters lost royalties to publishers. Net charges you for downloading, passes on royalty to publishers.

To continually avoid a conventional pop definition
The problem with singles is that they have a life of only about 4-1/2 minutes; albums establish longevity.
Low interactivity: refers to software that assumes its users are empty vessels to be filled with other people’s wisdom.
High interactivity: encourages users to actively ask the kinds of questions and make the kinds of choices that require considerable mental agility. The kinds that the best human dialogues provoke.
Where will electronica go? Into a conceptual realm, I believe. People will act out the means to a conceptual end, with every project, every release. There will be an experimental edge to all new artists on Day for Night and each project/recorded release will feel like a little movie. Ref. to SOMA/Wire 136, MAIN/The Wire 137: “Monochromatic Artists: we ought not to become so biased by this genre,” incited by a letter in The Wire 138.

To keep looking for a broader definition towards progress and progressivisim To continue indentifying a winning series of musical endeavors from a variety of composers, musical designers and sound innovators.

To continue exploring that uncharted musical territory…

The past no longer exists.


13-cf2gsThe future of the web relies upon:
1. The quickest route to finding the content that interests you…
2. Finding better ways (and more of them) to use the Internet to make money, either by utilizing content, or by providing it.

Remember…you decide; you draw your own conclusions…

The only punishable question
is the one I dare not ask;

and while I think it’s best not to go there
It’s okay to drift there.

Day For Night :: Legacy Site

Flash Sitework


The Day For v. 2.0 Flash site, an encyclopedic monograph of our independent projects and original content.



13-refresh-gallery-innerA walk-in or walk-thru magazine…a living periodical. Every month, the gallery changes. It is advertised, at newsstands, on television, and in other periodicals, with a repro cover image and masthead, but exists only in person…Readers may subscribe to it, and receive a discount…It is closed two days at month’s ending for set-up and reinstallation. Meanwhile, it changes and evolves throughout that period.

Perhaps its focus is artistic or cultural, and you might hear and/or preview music and artwork (curated by the gallery’s editor). There might be a few interactive workstations set up off of the foyer; a place to preview developmental software and new games… There would be a leave-behind for subscribers and patrons each month. 13-day-020-map03A gallery flyer or brochure (maybe a 24 page booklet, or an odd-size folder with scraps and found elements. Finally, a gallery shop which could simplify the ordering and purchasing process for the magazine’s patrons.



13-circlesquareHow can the word “dynamic” apply to meaning?

Perhaps we can create a context where we pre-visualize a setting – a site where the “interactive reading is to take place — and basing the rest upon a pre-history — namely, the user’s own back-story – he or she can assimilate new fiction as an ongoing narrative thread, as related to stops on the website terrain.

Think about it: we have the ability to create a setting for interactive storytelling, which can be entirely visualised, while preserving the author’s traditional role of imposing organizational flow upon the reader or user.

13-trianglecircleInteractivity, according to new media author Andrew Bonime, is “the property of any medium to respond dynamically to user control,” or any other form of input. The key word is dynamic, which will be defined here as “producing, or involving change or action.” Therefore, the category of writing known as interactive fiction could be described as a form of “unfinished” writing, where a series of prompts to the user (formerly known as a “reader”) must read and then initiate using a cursor or mouse movement, a change — whereby the written work will react to and produce a change — (whether desirable or not can be assessed at a later date) — in either the medium, the user, or preferably both.

There is a reasoning behind this, an effort to collect the writings of Eric Scott and to make them available for both visual and literal “quotation” in the Flash introduction of the site.

13-squaretriangleFirst, there is the desire to create as much impact as possible with the short attention span of the user, who might never visit any deeper into the site, and could therefore leave with an otherwise incomplete vision…after all, what exactly is Day For Night?

Second, the experiential nature of surfing — traveling down deserted alleyways, taking the subway alone, entering an abandoned building converted into an upstairs gallery from somehwere along a dockfront — all of these lone events might be reduced, for the sake of simplicity, to a narrative which follows a series of mouse events…

13-gap-toothed-blind-glass-toothed-birdAnd which might ultimately produce results, similar to the ones described in Chaos theory; known as the Butterfly Effect, where the user surfs, and a series of sideline events are also triggered in a text box above the screen: “Leo is a parasite”…”Emma calls in sick…”The driver loses control of his vehicle and hits a garbage can…” What the user initiates, or triggers, is an interactive storyline — sometimes with amusing, or tragic, consequences — by a series of transparent surfing maneuvers.

For anyone else, this list could be seen as a bibliography. In my particular case, it’s the master notebook from which I have regularly pulled texts, words, ideas, and stories before quoting or illustrating. This forms part of the Day For Night catalogue, which is not a legacy, but which is an unfolding process of quotation, where the source is as much a part of the design as the presentation itself.

13-day-086-soundblankcheck2A collection of works like these might be seen in parallel to the working methods of ToMaTo…ie Karl Hyde’s non-linear writing style, which stems from a series of notebooks accompanying him wherever he goes. In Hyde’s case, the writings invariably take the form of direct quotation, where he claims NOT to transform the writings any further, claiming they are neither stream-of-consciousness, nor “automatic.” One further note of importance is that the Tomato writings are set in the form of directives: personal anecdote, samplings from print media, overheard sentence fragments, television…whereas Day For Night texts are about representation and juxtaposition. Ideas, when loosely joined by a narrative, form greater ideas…the objective is to create a generative sitework, where the results from user-to-user are not only compelling and consistent, but also renewed and refreshed upon each visit.

13-found-sound-bagThe objective is to recognize themes from within the textworks, whether or not they were created as a series or as individual pieces — also, to unify them by a format which can fully exploit the nature of interactive fiction — namely, to demonstrate that all interactive writing is incomplete — and never to be considered wholly in isolation — rather, as subject to completion only by the experience of the end-user, who will witness the texts in a (partially) interactive context.


Eric Scott :: Obsessions [Day 040]

Blog (Eric Scott: Words) | Podcast


An evolving online work, “Obsessions” incorporates Eric Scott‘s essays and Situationist rants of the hour.
“…Filtered through me, everything – values, music, inspiration, comedy, art, sound, nature, archival strategies, typography, the Spectacle – eventually becomes Day For Night.”


Rule 9. The over-arcing theme.


12-alias-web-puzzle-west-berlinSometimes, the theme of one’s work becomes apparent over the course of experimentation, or improvisation.

Balance that, against:
Can this somehow represent something which is greater as a whole, than as the sum of its parts?

Rule 8. Make it beautiful, but more importantly, make it plausible.


12-alias-web-puzzle-postcard-printCan we make it look as beautiful as possible, without making it too beautiful?

Rule 7. Never underestimate the players.


12-alias-web-puzzle-berlin-eVisit the links to the content, backwards and forwards.

Is security important?
How easily can they find you, and what would this do to the effect of the story you’re trying to tell?

Rule 6. Create a world around that.


12-alias-web-puzzle-sao-pauloWith a fictitious character, there are so many questions surrounding that character and their world. What did they just do?

Rule 5. Revisit the backstory (and do it often).


12-alias-web-puzzle-item7741c1-eloise-kurtzIf you were to provide an account of what happened later, and try to account for their motives, what would these be?

For the overarcing theme of a film to resonate as the end credits roll, the director’s vision should appear to illustrate a principle beyond the simple summary of its parts. If a mystery were truly about the item the players are trying to recover from thieves, the story would fall flat and would appear devoid of humanity.

The problems inherent in an interactive game are that the players expectations change over time, as they learn (or influence) new pieces of information in the game, and ultimately push the games objectives themselves.

In a one-on-one game between the Player and the game’s Maker, the idea of community does not influence the outcome nearly the same way as when the players are all allowed to communicate and share what they are learning from the play… Not to mention that, within communities, there are natural leaders and often, many more followers.

It is therefore deeply crucial to check in with the backstory and to revisit often, to ensure that a Game that is leading, and not being led.

New sights are set as the momentum of the play moves in directions that are based upon user interaction and shared information.

Rule 4. How do players learn the rules?


12-alias-web-puzzle-00441aSometimes there is a rule book. And sometimes there isn’t.

In the latter case, the creators and the players will still need to agree upon some fundamentals. It is important that everyone first agree that they are playing a game. Sometimes, int he case of a reality based game, the rule book is part of the hidden content.

It is therefore crucial that those leading the game are truly consistent in their actions.

For example, if the nature of the rewards is not consistent, players will not appreciate the effect of their actions, nor will they be able to judge if they are playing correctly.

With the ALIAS information hunt, we have made a point of adding new content on Fridays.

Rule 3. Devise the backstory.


12-alias-web-puzzle-postcard-printAny creative property has a backstory; namely, the part that is interesting to the audience because it suggests the overarcing theme and humanity of the story. It is the history, and it also suggests that there will be a future after the entertainment is supposedly over. It enriches the story line and invites the audience to investigate other areas of interest as a result. Essentially, it informs real life, and determines the relevance of the story.

Anything that appears to contain an entire world of information unto itself is suitable for the creative backdrop.

When you consider what a logo or brand is, it is often an object in motion, frozen in time. It is imperative that this idea of motion be represented, not just in the context of fluid media, but in the choice of snapshot.

Since backstory is crucial, it must be incorporated into all elements of game playing, design and interactive media.12-alias-web-puzzle-item7741c-eloise-kurtz

• Does it resemble fiction?
• Does it assimilate cinematic direction?
• Can it influences emotions and gives the end player a reason to come back?




Rule 2. Create a plausible reality basis.


12-alias-web-puzzle-maroc-187273847999Namely, where there exists fact, there also exists “red herrings”…
On television and in film, much of what we take for granted is removed for reasons of engaging the viewer’s focus, and helping to present the director’s vision in a single arc with minimal distraction.

With an on-demand, or interactive basis for a web puzzle, the over-arcing principle is that there must be a balance with one’s expectations; namely, that it must blend in with reality in every imaginable way (to the untrained eye) but contain a relevance only to the initiated.

• What is entertaining and relevant?
• What is merely, entertainment?


Peter Moraites “Learning Curve” [Day 077]

Salvador Dalek Music Video

Peter Moraites “Learning Curve” Music Video (Day 077.dvd) from Day For Night.

“Learning Curve”
(3:10 / QuickTime / 2003)
Director: Peter Moraites
Music: Salvador Dalek (Eric Scott Peter Moraites)

Take a journey with suspended expectations and definitions.

Vistas, both new and familiar, take on magical properties. Cosmic forces play their game of balance on a black and white game grid. A magician’s music reveals older worlds within the walls of the labyrinth. Giant roadside faith magnet shatters, releasing dynamic expressions of energetic creation.

This is how we see the world in a new light.

Rule 1. Observe how people play.


12-alias-web-puzzle-00441bAs we unroll new pieces, we observe how others are playing, and ask:
• How did they play last week?
• What are they saying?
• What do they expect?
• How do we best stay out of their way?
• What story are we telling?
• What’s the bigger, over-arcing picture…a cohesive, or underlying theme defining how we present ourselves?

First things first… Where's my reward?


12-alias-web-puzzle-cia-dropbag2On ALIAS, Jack Bristow is SD-6’s principal Game Theorist. He consults in the hour of need when a strategy is possibly at risk of being undermined by hasty evaluation of the odds, or when a chief decision maker is potentially likely to underestimate the movements of the players.

The science of game theory is as much about mathematics as it is strategy, economy and negotiation. It’s a tool for understanding how decisions affect each other.

12-alias-web-puzzle-memo-cyan-mcculloughWhen we set up the websites for Felicity, there was an intentional imbalance in the audience’s understanding of reality. Namely they expected there to be a website about the show at The website would contain all sorts of acknowledgment of the show, its characters, storylines, and creators.

Of course, the way to establish that fiction is a pseudo reality, is to first deliver everybody’s expectation of reality so they can get comfortable with it.

12-alias-web-puzzle-credit-dauphine-02For ALIAS, I began by creating a brief that SD-6 was real, and actually based in the underground section of a bank in downtown LA, called Credit Dauphine. Since the bank was allegedly in full cooperation with SD-6, they would have a website, and that would look exactly like a bank’s website. It would be a boring, whitepaper read.

The bank would also have a banner ad at the bottom, for a popular new search engine, called This link would be the beginning of the mouse hunt for information, as it would lead away from the bank’s site, and take people to a website about Rambaldi, run by the official fellowship, “the followers of”.

12-alias-web-puzzle-rambaldi-backIf people were to tamper with the urls, or attempt to hack their way deeper into other parts of the site, it would produce what i called the “hexstatic” effect, which was to disorient visitors by leading them to believe that they were being redirected to another web server, where an attendant named Alisha would check in with you, and ask you what you thought you were doing.

12-alias-web-puzzle-chester-conlan-6a12-alias-web-puzzle-alishaIf people prompted Alisha long enough, or asked the right questions, she would spill information about next week’s show in a way so that the visitor felt like they were in the know. And that was the reward.


The Revolution has been preempted by tonight's re-run of "The Bachelorette"


11-2003-0719-06-skyLet’s never assume we don’t yet know our audience, or that if we demand less from them, you can f*** it up too.

Another angle is the influence of “impartial” thought in televised rhetoric. Apparently, most people are confused, lost, and increasingly wary of expressing a solid opinion, especially if it might make them look uninformed or shallow. But hey, who has time to read through and digest all this new media?

The spectacle flaunts the unattainable, first and foremost — whatever you want most, it’s always going to be the thing you cannot have – and it results in the hyped up marketing campaigns around any manufactured pop commodity. When was the last time Britney Spears made sense to you? Yes, she’s wearing a pretty hot thong in that video. Does anyone actually believe that she’s still a virgin? The tabloid press obviously sees the contradiction, since they’ve been trying to deflower and expose her personal life since she admitted such a thing publicly.

11-2003-0719-17-skyEveryone has an opinion on that one. Personally, I just think she was lying about her sexual history as part of an early, thinly thought-out response to the press making attacks upon her influencing young girls to go out and have sex. Trapped by the obvious, her “brain trust” began to help her position a lie, building a myth, and offering something more savory to print than the simple yes we all expected.

11-2003-0719-18-sky-telegraphHence, the contradictions of her public persona and her words (and private actions) are the subject of the spectacle, working at its most obvious level…offering no answers,only confusion in response to an audience hungry for empty calories.


Functional art.


11-2002-1229-06-leaf-patternBeyond aesthetics, there’s that ‘correct’ definition for anything that suggests that all other appropriations are kind of missing the point. Like Eno with Ambient music – not just a music that you can do other things in time to, but music that serves only its function, to be ambient.

With aesthetics, we also have commerce placing demands. Sometimes we swap the two; and we end up creating something that looks nice. We call it art, because it makes us feel nice about ourselves, it even makes us feel less empty, in light of The Spectacle which has commissioned it.

11-2002-1229-07-leaf-patternIn the early nineties, post-modernism was still a topic of discussion, especially in light of typography coming out of the design colleges of the American Midwest…


Spontaneous laughter.


11-2003-0330-49-golden-gate-park-flowers_radialIt’s more important to get people to be light. It works on so many more levels. Forget everything else I’ve said. It’s really all about laughing, and about lightness.

And probably, even more so, about deliberately distinguishing actual laughter, from the kind of moment when people say things like “Too funny!!” but also forgets to laugh.

The importance of lightness in art.
Nay, lightness, without being slight.
Wegman, Emin, The Chapmans, Gilbert & George…There’s a friendly intelligence in Wegman’s work that precedes any assumptions one might make about his audience…8 or 80 years old, you still like dogs wearing clothes and with human body parts.


Please – don't say that about me.


11-2003-0223-77-scenic9-catalinaWhat’s the difference between censorship and editing, really?

I guess it starts with intention, like everything else – when it’s someone wanting to control someone else’s behavior, it’s that “c” word. Whereas self-editing is always acceptable; it forms a grey area for some as an element of the artistic process; some artists just can’t handle the idea that any level of editing is necessary when the purity of the creative spirit should be experienced to the fullest.

11-2003-0223-76-scenic8-catalinaI’m of the mind that we are looking at everything though a series of interesting filters; we are always in a position to judge that we are also editing; that makes it less of a hot object when talking about intent — when getting through is the point, we surrender that judgment against art-attack, and say it’s ok to edit, that way we can make our point and get the hell out of there.




11-2003-0222-31-wrigley-cactus-catalinaBritney, the walking mass of contradiction that she is, would be a fine emblem of unattainable sexuality, placed onto record site posters and bus benches in lieu of musicality or, really experienced sexuality. Teens and 65 year old men lust after her, and scoff at her claims of “image control” and being a role model. The claim that she is a virgin is meant to be clever; it rings hollow since no one believes it, except for a couple people whose chastity-belt pounding evangelism is served by such feeble pleas.

11-2003-0222-26-wrigley-cacti-catalinaSo in the end, everyone wants to get into her jeans, and no one actually believes that she might be telling the truth about her aims to represent sexual ambiguity, and no one can really connect it to music. It’s just a poor execution of The Spectacle, even by pop culture mythology standards.




I remember raising this question, in a meeting with new clients – “How will we factor in the natural tendency of visitors to this new website, to not read what we’ve written for them?”

Stunned, uncomfortable silence, for about five seconds.

Given that there are tendencies for people to treat screen-based reading differently, this was naturally, a question to be asked. I mean, instead of chewing and digesting the pages of books, we know that readers get antsy sitting in front of a monitor, and don’t want the added inconvenience of blurry or small type. So, mine was not a popular move to make, but it had to be said anyway.

Now, in my defense, I should probably also mention that the audience in that room were not the typical corporate audience; they were a organization dedicated to the funding of educational programs in public schools. So there’s always a chance that they misheard the intention behind my comment as either uninformed, or perhaps even, deeply cynical.

I can assess that view, now, especially, after I saw they went with a different firm. Still, I have no regrets for having voiced this. I am not cynical. I truly want you to read what I have to share. And I wouldn’t expect you to do the same thing in front of your computer screen that you would do, curled up in bed with a book. You don’t have to like me. You can always click away to something else. It’s my objective, to keep you here, reading.

So how do we deal with the objections presented back to us, from the end-users of our creations? Do we cast them aside all but the views which are popular with us? Is it nobody’s fault that a perfectly good essay on visual literacy examination test scores, might get left ignored and unread, when the browser window turned into a very long scroll on that page?

We’ve been looking more closely at the likelihood that something will get attention, when there’s something on elsewhere, always a bit shorter, and a bit louder. The question is…




OK. Let’s just start with that, let’s not get ahead of ourselves yet. How is whelm – to cover with water or to submerge; an abstract measurement of new-information overload –useful to us?

Is whelm practical or effective for anything, or does it just describe an obstruction to learning?

I believe it to be a bit of both.


Notes from sleep (upon awakening).


I wake up, and now suddenly, this is what’s on my mind. Why? Who knows.

First of all, it feels important that we not get preoccupied with, or confused over, which medium (or even multi-medium) that we create or use. It’s too easy to blame the messenger, and in this case, you can’t blame television or the internet for creating a seductive alternative to reality. Instead, you need to recognize the potential it has, and you need to deliberately create and live an alternative to that, one that supports a higher goal of the self, and best off that it be one that supports a benevolent environmental, or communal view.

So why wonder about, or even discuss it? Is it a potential threat to anyone? Somehow, it feels like it might be at the root of something. For example, people are fascinated by technology when it is new. (And then again, when it is old, too.) It is a distraction to think about the medium. The best analogy I can think of is when you’re telling somebody a story that is really iimpotnt to you — it just feels so significant to you that you’re bursting to get it out of you, and the words can’t seem to come out fast enough, and y ou’re just riding on that energy — and then you discover that the person you’ve been talking to is wandering, they’re no longer exercising that option to give you their full attention. They’ve instead divided their focus between you, and something minute — like the pattern of your speech, or they’ve interrupted you to discuss a technical aspect of what you’ve been saying, instead of staying locked onto the main point with you.

They’re replacing the experience of being in the same place with you, with a fear of committing to the listening process.

Why? Are we, culturally speaking, fearful of newness, or new thoughts, ideas, that we must latch onto distraction? Do we really love to obsess over technology, or is it just a distraction that works as a barrier to intimacy the way eye contact (or avoiding it) does for so many people?

Sometimes life seems like our attention is there, when in fact, it’s not; and it’s not technology that’s taking that away from us; it’s us, not acting or living deliberately enough to create focus.

We shall discuss this at length. But we shall begin to do so, by expressing very short ideas: namely that we are becoming a culture of overwhelm.


A. H. Wilson.


“I’ll just say one word: ‘Icarus’. If you get it, great. If you don’t, that’s fine too. But you should probably read more,” chides the fictionally-embellished Tony Wilson (played by Steve Coogan, in Michael Winterbottom’s film 24 Hour Party People). It’s a sort of haughty moment of soliloquy; a response directly to the viewer. The statement feels like it’s directed at some kind of media addict; I often think this is an excellent thing to say, especially in address to the kind of ignorance which passively perpetuates the modern-day spectacle; whereby people question less and accept more of what they see around them.

Of course, there’s always the fear that if we throw things out that only make our bodies fat and slow, we will crumble and become physically debilitated as a society, like cavities in a mouth full of once-healthy choppers.