While at reboot8, I finally learned in detail of Ulla-Maaria Mutanen’s Thinglink. It’s an object-identification system that empowers craft makers with the ability to give unique labels to their creations. Thinglink’s open database then allows people to connect based on the story of the process and purpose of their creations.

Thinglink represents an alternative to classical economic theory. Ulla calls it Crafter Econonomics. In it, relationships are the currency, and participation is the principal use-value.

To understand the significance of Thinglink, it’s helpful to imagine a creation as the voice of the maker. Alone, a creation may evoke a feeling. But if the maker is not present, then the creation is deprived of the intimate voice that brought it into existence.

All around my house, I have creations that emerged from pieces of wood, masses of stone, and piles of straw. I know someone made these, and I’d like to know who it was and how they did it. Thinglink resolves this issue of anonymous origin by being a chronicle of the creation’s life. Objects then carry their human history.

I envision thinglink as the perfect complement to the fair trade movement. I was recently in a fair-trade store in Amsterdam and was amazed at the absence of information about the products on offer. At best, the objects had country of origin labels. The only indication that the store was in fact dealing in fair trade was a banner hanging behind the check-out counter.

I observed people seeking more information about products. Considering that supporters of fair trade want to ensure humane production, I believe that rich evidence of the humanity of their purchases would encourage more fair trade and bring makers and buyers together. Thinglink can make this happen.

These worldwide amateur communities have created episodes that are of particular interest to them, and have even explored taboo and niche topics that were untouched in the official show.

Not only is this evidence of the lasting impact that Star Trek has had on multifarious groups of people, but demonstrates the intersection of two influential ideas in the world of consumer culture. First, these Star Trek fans are co-creating the legacy of the franchise. Second, as groups pursue plotlines that are of local interest, they are creating a true “mini-series” that sits comfortably in the midsection of the long-tail.

www.newvoyages.com (30 million downloads!)
www.ussintrepid.org.uk (Scottish production)
www.hiddenfrontier.com (explored gay themes)

Directed by Wim Michels, the Hallo Academie is an intensive one-year collaborative creative program for brilliant misfits. Last year I directed a short course on the rebranding of the U.S.A., and I’m honored that Wim continues to invite me to Hallo events.

Exposed 06 was an opportunity to be inspired and challenged by this year’s stellar graduates. I met good people who are unwilling to compromise their creative visions, and I saw communication and product ideas ready for application.

One idea that I feel could be explored to great success is from Hans Knappen who developed custom-designed clothing for his World of Warcraft guild community (EU Black Citadel). Only after he earned the highest honor of level 60 was he able to build up trust in his guild to develop the apparel. Using insights from the interaction with others in the virtual game space, he realized that fellow guild members wanted to purchase fashionable clothing, but were repelled by the blatant branding and overt superficial flourishes. As a result, Hans designed an entire line that is detailed only on the inside, and inspired by the virtual world.

Hans has shown that dedication to an online community can bring offline trust, and demonstrates again the increasingly blurry relationship between offline and online worlds.

Many thanks to Wim and all the Hallo students who shared their time and final projects.