On the fly people have no time to sort through stuff.
A great GPS design makes you do nothing. It knows what you like and notifies you when you come across it.
Scrolling becomes strolling. As you walk, GPS triggers notifications for viewing opportunities you like. No sorting, no clicking.
This is the world of walkable media.
One problem of window shopping "nearby" for content is seeing the same old stories on the shelf. This can be solved by "hyper-jumping."
You stroll, you get notified of a story you like. You look at the window and you can see other stories related to the person who was here. If Bob Dylan visited this spot, this spot now becomes a Bob Dylan museum you can explore. You can see new posts now at this window, the latest of Dylan's history.
Like Haley Joel Osmen at St Augustine's Catholic Church (243 N Lawrence St, Philadelphia) in The Sixth Sense, you can see "dead people" and where they have been, the trail that led them to this spot.
This is what William Gibson called a locative media exhibit in Spook Country (2007). You see the ghosts of history on site.
Overlaying powers virtual urban museums for locative narratives - augmenting reality. A story can connect people from the past and present who also have stories to share here. Locations are annotated with compelling stories.
You can flash fiction or non-fiction.
Geo-fiction leaves pieces of fiction, a part of a narrative on site. You have to go site to site to see the rest of the story at the sites of the plot. Places and travel become adventurous.
Locative narratives make a place multi-dimensional and can get quite elaborate.
In geo-cinema, you scavenge for scenes planted for game play. You are in the movie. The street is your movie screen.
Immersive cinema mixes with reality.
As a viewer collects culture, liking things that fit one's taste, the GPS algorithm knows more.
As a viewer collects culture, liking things that fit one's taste, the GPS algorithm knows more.
