EYE-LINK is an interface used between a person at a desktop who uses support tools to help another person who is live “in the field” using Zed-Eyes. The working relationship between the two is very like Vika and Jack in Oblivion, or like the A.I. in Sight.
In this scene, we see EYE-LINK used by a pick-up artist, Matt, who acts as a remote “wingman” for pick-up student Harry. Matt has a group video chat interface open with paying customers eager to lurk, comment, and learn from the master.
Harry wears a hidden camera and microphone. This is the only tech he seems to have on him, only hearing his wingman’s voice, and only able to communicate back to his wingman by talking generally, talking about something he’s looking at, or using pre-arranged signals.
Tap your beer twice if this is more than a little creepy.
A smaller transparent information panel for automated analysis, research, and advice.
An extra, laptop-like screen where Matt leads a group video chat with a paying audience, who are watching and snarkily commenting on the wingman scenario. It seems likely that this is not an official part of the EYE-LINK software.
In the world of “White Christmas”, everyone has a networked brain implant called Zed-Eyes that enables heads-up overlays onto vision, personalized audio, and modifications to environmental sounds. The control hardware is a thin metal circle around a metal click button, separated by a black rubber ring. People can buy the device with different color rings, as we see alternately see metal, blue, and black versions across the episode.
To control the implant, a person slides a finger (thumb is easiest) around the rim of a tiny touch device. Because it responds to sliding across its surface, let’s say the device must use a sensor similar to the one used in The Entire History of You (2011) or the IBM Trackpoint,
A thumb slide cycles through a carousel menu. Sliding can happen both clockwise and counterclockwise. It even works through gloves.
The button selects or executes the selected action. The complete list of carousel menu options we see in the episode are: Search, Camera, Music, Mail, Call, Magnify, Block, Map. The particular options change across scenes, so it is context-aware or customizable. We will look at some of the particular functions in later posts. For now, let’s discuss the “platform” that is Zed-eyes.Continue reading →
A function that is very related to the plot of the episode is the ability to block someone. To do this, the user looks at them, sees a face-detection square appear (confirming the person to be blocked), selects BLOCK from the Zed-Eyes menu, and clicks.
In one scene Matt and his wife Claire get into a spat. When Claire has enough, she decides to block Matt. Now Matt gets blurred and muted for Claire, but also the other way around: Claire is blurred and muted for Matt.
The blur is of the live image of the person within their own silhouette. (The silhouettes sometimes display a lovely warm-to-the-left and cool-to-the-right fringe effects, like subpixel antialiasing or chromatic aberration from optical lenses, I note, but it appears inconsistently.) The colors in the blur are completely desaturated to tones of gray. The human behind it is barely recognizable. His or her voice is also muffled, so only the vaguest sense of the volume and emotional tone of what they are saying is audible. Joe explains in the episode that once blocked, the blocked person can’t message or call the blocker, but the blocker can message the blocked person, and undo the block.