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Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
Openness Workshop at Luiss i-Lab
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Openness Workshop at Luiss i-Lab

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a workshop about Near Future Design …

a workshop about Near Future Design
http://www.artisopensource.net/2013/11/14/openness-and-near-future-design-at-i-lab-at-luiss-university/

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  • 1. OPENNESS Art is Open Source! www.artisopensource.net
  • 2. INTRODUCTION What is the Internet
  • 3. your computer (or smartphone, or tablet, or…) 1001001001110… bits transmitted physically a wire (or a satellite, or some magnetic waves…)
  • 4. your computer (or smartphone, or tablet, or…) 1001001001110… bits interpreted from signals 1001001001110… bits transmitted physically network your network card, the USB stick through which you connect… a wire (or a satellite, or some magnetic waves…)
  • 5. your computer (or smartphone, or tablet, or…) packets of digital information 1001001001110… bits interpreted from signals 1001001001110… bits transmitted physically TCP software on your PC or on your provider network your network card, the USB stick through which you connect… a wire (or a satellite, or some magnetic waves…)
  • 6. your computer (or smartphone, or tablet, or…) decides routing: this packet is for me, this packet is not.. packets of digital information 1001001001110… bits interpreted from signals 1001001001110… bits transmitted physically IP software on your PC or on your provider TCP software on your PC or on your provider network your network card, the USB stick through which you connect… a wire (or a satellite, or some magnetic waves…)
  • 7. your computer (or smartphone, or tablet, or…) the web: defines documents. assembles text, images, videos and more from all the data you receive over the Internet (web pages, social networks…) decides routing: this packet is for me, this packet is not.. packets of digital information 1001001001110… bits interpreted from signals 1001001001110… bits transmitted physically http your browser IP software on your PC or on your provider TCP software on your PC or on your provider network your network card, the USB stick through which you connect… a wire (or a satellite, or some magnetic waves…)
  • 8. http Each layer is service on the one below IP TCP network
  • 9. http Each layer is a form of power IP TCP network
  • 10. Example: CISCO http produces large part of the network devices all over the planet. ! What happens if there is a backdoor on all its devices? ! The Internet stops. IP TCP network
  • 11. Example: How can we avoid catastrophe? http solution: openness! ! if source code in the devices is Open Sources, Cisco is not able to hide backdoors. IP TCP network
  • 12. Example: Telecom Italia http is the main provider of connectivity in Italy. ! What happens if they do not adopt Net Neutrality? http://en.wikipedia.org/wiki/Net_neutrality ! anything from censorship to authoritarian regimes IP TCP network
  • 13. Example: How can we avoid catastrophe? solution: openness! http IP ! transparency on rules open, transparent protocols neutral, transparent infrastructure TCP network
  • 14. Example: This is true even at physical level Julian Oliver (artist): images of where internet cables arrive on the beach, among machine guns and tanks ! http IP TCP or: http://www.theatlantic.com/international/archive/2013/07/the-creepy-long-standing-practice-of-undersea-cable-tapping/277855/ network
  • 15. each of these layers corresponds to ! INCREDIBLE POLITICAL POWER ! and/or to ! AMAZING BUSINESS OPPORTUNITIES http IP TCP network
  • 16. not “free” as in “free beer”, but ! “FREE” as in “FREEDOM”
  • 17. http IP TCP netwo
  • 18. INTERNET does not exist ! ! PEOPLE exist http IP TCP netwo
  • 19. for this INTERNET does not exist ! ! PEOPLE exist http as a tool for expression IP TCP netwo all of this
  • 20. HUMAN BEINGS
  • 21. HUMAN BEINGS daily lives
  • 22. HUMAN BEINGS daily lives recurring/emerging behaviors
  • 23. HUMAN BEINGS daily lives RITUALS
  • 24. UNDERSTAND EMERGING RITUALS
  • 25. EXAMPLE:
  • 26. http://www.artisopensource.net/projects/incautious-porn.html
  • 27. EXAMPLE:
  • 28. http://artisopensource.net/projects/enlarge-your-consciousness.html
  • 29. HUMAN BEINGS
  • 30. Paul Du Gay “Doing Cultural Studies: the story of the Sony Walkman” http://books.google.it/books?id=Gop0dQGKm5sC&dq=paul+du+gay+walkman&hl=it&source=gbs_navlinks_s
  • 31. the most influential anthropological study of modern times the iPhone is “empty” ! it is ready to be “filled” (with apps) this is its value: it is a platform for human expression
  • 32. NEAR FUTURE DESIGN
  • 33. FUTURE does not exist it’s a performance
  • 34. HUMAN BEINGS daily lives RITUALS IDEA SIMULACRUM
  • 35. SIMULACRUM “Organize a fake holdup.Verify that your weapons are harmless, and take the most trustworthy hostage, so that no human life will be in danger (or one lapses into the criminal.) Demand a ransom, and make it so that the operation creates as much commotion as possible — in short, remain close to the “truth,” in order to test the reaction of the apparatus to a perfect simulacrum.You won’t be able to do it: the network of artificial signs will become inextricably mixed up with real elements (a policeman really will fire on sight; a client of the bank will faint and die of a heart attack; one will actually pay you the phony ransom).” [p. 20] ! (from Jean Beaudrillard’s “The Preecession’s of Simulacra”)
  • 36. According to Bruce Sterling, Design Fiction is: ! “It’s the deliberate use of diegetic prototypes to suspend disbelief about change.That’s the best definition we’ve come up with. The important word there is diegetic. It means you’re thinking very seriously about potential objects and services and trying to get people to concentrate on those rather than entire worlds or political trends or geopolitical strategies. It’s not a kind of fiction. It’s a kind of design. It tells worlds rather than stories.”
  • 37. According to Kook Agency: ! “to produce Design Fiction means to design a campaign that is seriously possible. An object or a service that captures and focuses attention on a transformation without having to deal with global trends or geopolitical scenarios. A scenography which is able to catalyze attention and outline a possible world“. And “Design Fiction is not a type of fiction, but rather the design of our interface with reality.The culture of the project applied to the implementation of possible worlds which can only get built through stories.”
  • 38. http://www.artisopensource.net/2013/08/02/design-fiction-and-near-future-design-at-frontiers-of-interaction-2013/
  • 39. http://www.artisopensource.net/2013/05/26/transmedia-narratives-simulacra-simulation-fake-and-design-fiction/
  • 40. In William Gibson’s “Neuromancer”, a terrorist sect called The Panther Moderns takes advantage of the fuzzy boundary between the simulacra and the real to create chaos at the Sense/Net Corporation: ! Nine Moderns, scattered along two hundred miles of the Sprawl, had simultaneously dialed MAX EMERG from pay phones.Nine different police departments and public security agencies were absorbing the information that an obscure subsect of militant Christian fundamentalists had just taken credit for having introduced clinical levels of an outlawed psychoactive agent known as Blue Nine into the ventilation system of the Sense/Net Pyramid. Blue Nine had been shown to produce acute paranoia and homicidal psychosis in eightfive percent of experimental subjects.
  • 41. In the narrative, the Panther Moderns combine multiple media and modalities to stimulate as many perceptive modalities as possible to make the people in the Sense/Net building believe that a fundamentalists have infected the building with a powerful hallucinogenic drug, thus causing violence and horror.
  • 42. Transmedia Narratives ! a transmedia story represents the integration of entertainment experiences across a range of different media platforms ! Henry Jenkins, 2007
  • 43. Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding of the story.
  • 44. SIMULACRUM WORLD-BUILDING
  • 45. SIMULACRUM WORLD-BUILDING create a trans-media narrative, to suspend disbelief and to create a believable reality, to form an immersive experience
  • 46. people WORLD-BUILDING reactions expression of the “preferred future”
  • 47. people WORLD-BUILDING reactions expression of the “preferred future” } } Shifts the perception of what is “possible” transforms the future into a collaborative performance
  • 48. The Future becomes a performance
  • 49. The Future becomes a performance in which people describe their preferred futures
  • 50. the Workshop
  • 51. workshop schema
  • 52. partially composed narrative describes the setup Research: elements which are useful for the story, and background information (society, technology, actors, context...) identify story functions + create story resolution
  • 53. 1) create the map of the present • • • • state of the arts and technologies market trends emerging rituals …
  • 54. 2) use them to infer a concept • • setup the story imagine world building elements (start)
  • 55. 3) create the story functions • • • • • the story functions are the building blocks of a story try to make a strong, reliable, consistent story structure try to use classical story structures es.: 3 acts (setup, conflict, resolution) you can use the story cards (attached to slides)
  • 56. use story functions as kernel events. map satellite events. balance story logic.
  • 57. 4) • • • • create the event map the event map is the diagram of the story each circle is a section each identified story function has a section, of which it is the kernel event additional sections can be added, to balance the story
  • 58. crafting a well structured narrative. These can be expressed as a text, a storyboard or an enactment. 1 Far left: a schematic diagram 2 used in structural narrative theory (Chatman, 1980:54*). Left: the approach adapted for design is a paper-based Event Map. a) Kernel event b) Narrative “block” c) Satellite event d) Anticipatory event e) Possible but unfollowed path f) Retrospective event 3
  • 59. represent story in sketch form. increase granularity. make more concrete.
  • 60. 5) • • • • create sketches sketch the story as if they were the scenes of a movie sketch also satellite events, parallel events, flashbacks, flash forwards… give consistency, make it tangible: if it isn’t, go back to previous steps group sketches in sets, to be implemented as the components of the transmedia narrative
  • 61. represent in different media. validate. find best representation. communicate (transmedia).
  • 62. 6) create representations • • • • implement the transmedia narratives create the design fictions (diegetic prototypes) disseminate start the performance
  • 63. on freedom:
  • 64. Comprendere il mutamento è essenziale anche e soprattutto per dirigerlo, per fare fronte alle emergenze e ai rischi effettivi di catastrofe (ambientale, nucleare, economica) che «il corso delle cose», da solo, non ci garantisce certo di evitare. Il lavoro di studio e di previsione sul futuro sembra essenziale per affrontare in maniera adeguata tutti questi problemi. A condizione che questo lavoro (come in ogni altro campo della scienza) non generi una nuova casta di super-tecnici che si arroghino il diritto di decidere – soli o in combutta con le burocrazie che governano – il destino di tutti. Su questo destino, non ci deve essere dubbio, la parola spetta agli interessati. Antonio Caronia
  • 65. let’s start!
  • 66. PHASE I Duration: 5+5 minutes Story Setup Form groups Work in couples Each group sets up a scenario Present it using a single sentence Pass it on to your left, elaborate it
  • 67. PHASE 2 Duration: 15 minutes Q&A Each group presents scenario: 2 minutes Other groups pose questions: 5 minutes
  • 68. PHASE 3 Duration: 25 minutes Story Functions Pick three random story cards (functions) One card from each set (Setup, Conflict, Resolution) Create a story using the functions
  • 69. PHASE 4 Duration: 10 minutes Event Map Create Event Map for the story. Using story functions as kernel events.
  • 70. PHASE 5 Duration: 16 minutes Q&A Each group presents the Event Map: 3 minutes Other groups pose questions: 5 minutes
  • 71. PHASE 6 Duration: 20 minutes Represent Create Sketches for story Think as if you are creating the storyboard for a movie Create sketches for side stories, too
  • 72. PHASE 7 Duration: 20 minutes Show Each group can present their sketches in 10 minutes
  • 73. www.artisopensource.net ! salvatore.iaconesi@artisopensource.net oriana.persico@artisopensource.net

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