"Pinterest and the Crisis of Paratext".
Handout accompanying the paper given at the international conference "Media Mutations 5. Ephemeral Media. Time, Persistence and Transience in Contemporary Screen Culture." Bologna 21-22 May 2013. By Italo Marconi and Luca Rosati
http://www.mediamutations.org/about/previous-editions/2013-2/
"Pinterest and the Crisis of Paratext".
Slides accompanying the paper given at the international conference "Media Mutations 5. Ephemeral Media. Time, Persistence and Transience in Contemporary Screen Culture." Bologna 21-22 May 2013. By Italo Marconi and Luca Rosati
http://www.mediamutations.org/about/previous-editions/2013-2/
World Information Architecture Day 2015 - Architecting Happiness? Etiche e po...Italo Marconi
Presentation delivered at the World Information Architecture Day 2015 - Bologna, Italy.
Title: "Architecting happiness? Etiche e politiche dell'architettura dell'informazione". Author: Italo Marconi.
Mind map of this talk: http://bit.ly/1KS7a3i
Each technological age has been marked by a shift in how the industrial platform enables companies to rethink their business processes and create wealth. In the talk I argue that we are limiting our view of what this next industrial/digital age can offer because of how we read, measure and through that perceive the world (how we cherry pick data). Companies are locked in metrics and quantitative measures, data that can fit into a spreadsheet. And by that they see the digital transformation merely as an efficiency tool to the fossil fuel age. But we need to stretch further…
"Pinterest and the Crisis of Paratext".
Slides accompanying the paper given at the international conference "Media Mutations 5. Ephemeral Media. Time, Persistence and Transience in Contemporary Screen Culture." Bologna 21-22 May 2013. By Italo Marconi and Luca Rosati
http://www.mediamutations.org/about/previous-editions/2013-2/
World Information Architecture Day 2015 - Architecting Happiness? Etiche e po...Italo Marconi
Presentation delivered at the World Information Architecture Day 2015 - Bologna, Italy.
Title: "Architecting happiness? Etiche e politiche dell'architettura dell'informazione". Author: Italo Marconi.
Mind map of this talk: http://bit.ly/1KS7a3i
Each technological age has been marked by a shift in how the industrial platform enables companies to rethink their business processes and create wealth. In the talk I argue that we are limiting our view of what this next industrial/digital age can offer because of how we read, measure and through that perceive the world (how we cherry pick data). Companies are locked in metrics and quantitative measures, data that can fit into a spreadsheet. And by that they see the digital transformation merely as an efficiency tool to the fossil fuel age. But we need to stretch further…
Lev Manovich.
How and why study big cultural data.
Presentation at Data Mining and Visualization for the Humanities symposium, NYU, March 19, 2012.
softwarestudies.com
Notational systems and cognitive evolutionJeff Long
October 29, 2005: “Notational Systems and Cognitive Evolution”. Presented at the 2005
Annual Conference of the American Society for Cybernetics. Paper published in conference proceedings.
The New Past, and a Speculative Future, of Literature: A Brief Discussion of ...NatGustafsonSundell
This presentation consists of three sections: (1) a brief description of the work of Franco Moretti and Matthew Jockers to exemplify how past literature can be seen anew using text analysis tools, (2) a brief description of Voyant and TMT in the context of text analysis generally, (3) a science fiction extrapolation describing text creation tools as the obverse of text analysis tools. One might imagine a new future literature in which text artists build texts by combining words at a distance. One might imagine an obverse to Voyant: a “text creation system” which allows users to add numbers of words to a text and to define the proximity of those words to each other using network visualizations and other tools. The construction of such texts could be imagined to be every bit as complex as writing a novel, as artists might manipulate webs of words to differentiate and potentiate shades of meaning.
Grasping, Groping, and Grokking Heiner --nutshell-slides-gcc-sunday-24-00Heiner Benking
GROUP INTERN - slides as promised:Heiner “Grasping, Groping, and Grokking Heiner” - a collective inquiry and teaser https://docs.google.com/document/d/1kMXzJ1mm7W2wO8iWdN43vWL6P0sa0nlIPdnZ6-PGL4s/edit?usp=sharing more about the FB group GCC and the "announcement" here: https://www.facebook.com/groups/GlobalChallengesCollaboration/GlobalChallengesCollaboration/ and here the session:
Harry van der Velde
17 hrs
So tonight we hope to learn more of Heiner Benking and how his inner universe has developed over the years.
Tonight 9:45 PM CET we will check audio/video in Doug’s ZOOM chamber. He is doing the intro and moderation, Harry scribbles with/for us, Heiner is on alert/ready to jump-in..
The LAST BELL – DOORS CLOSED are at 10 PM, CET sharp !!
You are invited as a small GCC lurker gang ahoc - with the TRIO - some lurking and investigations – call it deep-dive, or hotseat. The Perf... See More: Harry van der Velde
17 hrs
So tonight we hope to learn more of Heiner Benking and how his inner universe has developed over the years.
Tonight 9:45 PM CET we will check audio/video in Doug’s ZOOM chamber. He is doing the intro and moderation, Harry scribbles with/for us, Heiner is on alert/ready to jump-in..
The LAST BELL – DOORS CLOSED are at 10 PM, CET sharp !!
You are invited as a small GCC lurker gang ahoc - with the TRIO - some lurking and investigations – call it deep-dive, or hotseat. The Perf... See More
Notational systems and the abstract built environmentJeff Long
July 25, 2008: "Notational Systems and the Abstract Built Environment". Presented at
InterSymp 2008 Conference, sponsored by the International Institute for Advanced Studies in Systems Research and Cybernetics (IIAS). Paper published in conference proceedings.
March 20, 2004: “Notational Systems and Abstractions”. Presented at the Capital Science 2005 Conference, sponsored by the Washington Academy of Sciences.
(DIGITAL) HUMANITIES REVISITED –
Challenges and Opportunities in the Digital Age; CONFERENCE SUMMARY on the Herrenhäuser Konferenz organized by the VolkswagenStiftung
Lev Manovich.
How and why study big cultural data.
Presentation at Data Mining and Visualization for the Humanities symposium, NYU, March 19, 2012.
softwarestudies.com
Notational systems and cognitive evolutionJeff Long
October 29, 2005: “Notational Systems and Cognitive Evolution”. Presented at the 2005
Annual Conference of the American Society for Cybernetics. Paper published in conference proceedings.
The New Past, and a Speculative Future, of Literature: A Brief Discussion of ...NatGustafsonSundell
This presentation consists of three sections: (1) a brief description of the work of Franco Moretti and Matthew Jockers to exemplify how past literature can be seen anew using text analysis tools, (2) a brief description of Voyant and TMT in the context of text analysis generally, (3) a science fiction extrapolation describing text creation tools as the obverse of text analysis tools. One might imagine a new future literature in which text artists build texts by combining words at a distance. One might imagine an obverse to Voyant: a “text creation system” which allows users to add numbers of words to a text and to define the proximity of those words to each other using network visualizations and other tools. The construction of such texts could be imagined to be every bit as complex as writing a novel, as artists might manipulate webs of words to differentiate and potentiate shades of meaning.
Grasping, Groping, and Grokking Heiner --nutshell-slides-gcc-sunday-24-00Heiner Benking
GROUP INTERN - slides as promised:Heiner “Grasping, Groping, and Grokking Heiner” - a collective inquiry and teaser https://docs.google.com/document/d/1kMXzJ1mm7W2wO8iWdN43vWL6P0sa0nlIPdnZ6-PGL4s/edit?usp=sharing more about the FB group GCC and the "announcement" here: https://www.facebook.com/groups/GlobalChallengesCollaboration/GlobalChallengesCollaboration/ and here the session:
Harry van der Velde
17 hrs
So tonight we hope to learn more of Heiner Benking and how his inner universe has developed over the years.
Tonight 9:45 PM CET we will check audio/video in Doug’s ZOOM chamber. He is doing the intro and moderation, Harry scribbles with/for us, Heiner is on alert/ready to jump-in..
The LAST BELL – DOORS CLOSED are at 10 PM, CET sharp !!
You are invited as a small GCC lurker gang ahoc - with the TRIO - some lurking and investigations – call it deep-dive, or hotseat. The Perf... See More: Harry van der Velde
17 hrs
So tonight we hope to learn more of Heiner Benking and how his inner universe has developed over the years.
Tonight 9:45 PM CET we will check audio/video in Doug’s ZOOM chamber. He is doing the intro and moderation, Harry scribbles with/for us, Heiner is on alert/ready to jump-in..
The LAST BELL – DOORS CLOSED are at 10 PM, CET sharp !!
You are invited as a small GCC lurker gang ahoc - with the TRIO - some lurking and investigations – call it deep-dive, or hotseat. The Perf... See More
Notational systems and the abstract built environmentJeff Long
July 25, 2008: "Notational Systems and the Abstract Built Environment". Presented at
InterSymp 2008 Conference, sponsored by the International Institute for Advanced Studies in Systems Research and Cybernetics (IIAS). Paper published in conference proceedings.
March 20, 2004: “Notational Systems and Abstractions”. Presented at the Capital Science 2005 Conference, sponsored by the Washington Academy of Sciences.
(DIGITAL) HUMANITIES REVISITED –
Challenges and Opportunities in the Digital Age; CONFERENCE SUMMARY on the Herrenhäuser Konferenz organized by the VolkswagenStiftung
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
1. Media Mutations 5 - Bologna 21-22 May 2013
Pinterest and the Crisis of Paratext
Italo Marconi, Luca Rosati
Abstract
The term paratext implies a hierarchical relationship between the various components of a system
where one or more items are central (text) while others are peripheral (paratext). Gray and other scholars
from the field of media studies maintain that remediation causes an alteration in this hierarchy: through a
process of re-appropriation, the paratext loses its subaltern role.
This paper attempts to propose a critical appraisal of the concept of paratext: the evolution of new
media forces us to reassess some of the categories of narratology (Innocenti and Pescatore 2012), as
well as to reexamine the notion of paratext. By focusing on “image boards” like Pinterest, Tumblr and
Instagram, our analysis suggests that these open lists (Eco 2009) deconstruct traditional distinctions
between text and paratext. We aim to show that image lists trigger a sublimation of their constituent
elements (the images), whose outcome is a synthesis endowed with richer meanings. In the artifact of the
board, images lose their original textual or paratextual role in order to take on new significance. In the
context of the image list, hierarchical relationships become blurred, and the list itself derives meaning from
the complex associative dynamics of its component parts.
Even if the development of the image list and its relational hermeneutics (Cometa 2012) is closely
linked to the spread of new media, its origins lie in the Renaissance Theatre of Memory and in the
wunderkammer (Bruno 2002 and 2007, Eco 2009). The creation of image lists initially involved small
circles of scholars, but it then became widely established in twentieth-century literature (Benjamin,
Calvino), art (Dadaists, Surrealists, Rauschenberg and Richter) and aesthetics (Warburg). In the history of
the image list, the software and the World Wide Web play a pivotal role: such technologies enhance the
possibilities of montage (Bruno 2007). Image lists may be considered as one of the practices of remix that
characterize contemporary culture (Manovich 2010).
The image board, the Japanese chan, Pinterest, Tumblr and Instagram are just a few examples of
dynamic databases (Manovich 2007) that, by means of the interface of the image board, have the power
to re-shape the original meaning of the single items, and break down any clear-cut distinctions between
text and paratext. In order to overtake the limits of traditional approaches, this first attempt towards a
critique of the image list suggests to look at such objects as interfaces rather than texts (Bisoni 2011,
Innocenti and Pescatore 2012). Pinterest and other similar artifacts are examples of complex digital
environments based on the image boards: they are software interfaces that allow us to reshape visual
elements coming from heterogeneous sources in a dynamic and open way within a database.
This shifts the focus from the single elements to the whole or, in other words, from a discrete object to the
interaction with a complex system which implies renegotiating the relationship between text and paratext.
Narratology and cross-media artefacts
The weaknesses of the principles of narratology become clear if one employs them for the study
of complex artefacts in the post-media age. Such phenomena are interpreted by narratology as discrete
objects that possess clear boundaries, while they are, in fact, complex systems with a rhizomatic and
unpredictable structure (Innocenti and Pescatore 2012). In this paper we use the terms “complex” and
“system” according to their meaning in complexity science.
The basic concepts of narratology can be applied to the study of cross-media artefacts as long as
these are interpreted as aggregates of discrete items rather than as a system. In other words, the
paradigms of narratology are effective if applied at a “local” level, but they clearly reveal their limits when
applied at a “global” (systemic) level . In Escher’s drawings, the rules of Euclidean geometry seem to work
when taking into account only one portion of the image, but as soon as the focus shifts to the whole they
fail.
Benefits of information architecture
1
2. In order to overcome the limitations of traditional approaches, we have decided to adopt a
different perspective of analysis. Librarianship and information science - and information architecture in
particular - can be a viable alternative: their assumptions are independent of the medium of data storage
(paper, digital etc.) or the channel. These areas are cross-disciplinary and cross-boundary.
Information architecture can be defined as the structural design of shared information spaces, whether
physical, digital or operational as in the case of information flows inside an organization or service
(Information Architecture Institute 2013). The concept of “information space” shifts the focus from the
medium, text or product to a broader and more complex concept, that of the environment as a space
where exchanges and experiences occur. For the purpose of our analysis, this represents a clear benefit.
Information architecture cannot indeed be considered as a discipline tout court: it is instead a hybrid field
of research and practice which was created at the intersection of old and new disciplines (architecture,
librarianship, linguistics; cognitive and behavioural sciences; human-computer interaction, user experience
and service design). This is why information architecture may be a precious tool for the investigation of
cross-media phenomena.
During the previous editions of Media Mutations, some first attempts were made at applying
methods and concepts from information architecture to the field of media studies – as well as to usability
and interaction design (see for instance Bisoni 2011, Innocenti and Pescatore 2012, Resmini and Rosati
2013).
Lists, pile cabinets, boards
As regards Pinterest, the adoption of the point of view of information classification allows us to
gain a deeper understanding of the phenomenon. Lists are a basic form of classification: “list-making is a
foundational activity for most other (more complex) ways of representing taxonomies. We make lists all
the time: when we are going shopping, when we are figuring out how to plan our day, when we want to
sort things out or make important decisions” (Lambe 2007, 14).
Donald Norman has coined the expression “pile cabinet” (file cabinet through piles): “a ‘pile cabinet’
consists of horizontal shelves with piles of folders and papers. Pile cabinets lack efficient organizational
aids. In the language of organizational structure, file cabinets provide deep, hierarchical representational
structures, whereas pile cabinets allow only a shallow, fIat structure with just one level of organization: the
name of each pile” (Norman 1994, 167).
Thus Pinterest is a recent (but not novel) example of pile cabinets: each board can be considered
as a pile archive – the difference being that on our desktop the piles are real piles (due to space issues),
while in Pinterest they are displayed just like boards. Also in some operating systems (Mac OS X, from
Leopard onwards) folder items or groups of items in the dock are often displayed like piles or boards.
The two sides of Pinterest 1: list and ecosystem
To a superficial eye Pinterest might appear as a rather elementary artefact, whose study can be
approached through traditional analytical tools. However, when it comes to the complex network of
relationships that the pins establish among one another and with their original sources (the websites that
originally hosted them, “repins” created by other users and so on), then the list as a model seems too
simple again.
Umberto Eco’s concept of “open-ended list” or “enumerated list” (2009) helps us build a bridge
between the notion of list itself and that of ecosystem. Even if open-ended lists share (at first sight) some
kind of familiarity with the simpler “closed” lists (the first and more basic form of classification), their openended structure reveals indeed a deep connection with both the rhizome and the ecosystem.
What open lists, rhizomes and ecosystems have in common is the unpredictability of the shape, behaviour
and evolution of such objects.
In such complex artifacts the single items lose their original meaning in favour of the whole.
1
That is to say that Pinterest (and other similar phenomena) has two sides:
List – as an artefact it appears like a list with clear boundaries
2
3. 2
Ecosystem – as a network of relationships among the items of a complex system that has no clear
boundaries and whose behaviour is unpredictable
The two sides of Pinterest 2: tableau (canvas) and table (plate)
While Pinterest is in many ways similar to pile cabinets, the overall user experience is based on
the metaphor of the board. Pinterest boards are multimedia objects composed of text, images, audio and
video. Pinterest is like an atlas with an indefinite number of boards. This list of images is not however the
sum of the collected objects, nor is it just an inventory. It is rather built upon the relationships between
them as well as on the ways in which the objects have been assembled randomly by the users.
Paraphrasing Benjamin’s words from his seminal text of 1934 The Author as Producer, the atlas
becomes a ‘reader as producer’, i.e. a reading tool, a reading machine. To build an atlas involves cutting,
framing, assembling and editing. Through the atlas, the interpretation of reality becomes a truly creative
act. Similarly, when one reads an atlas he or she creates an interpretation, makes choices, frames the
images contained in each board, precisely as Aby Warburg did with the images of his unfinished and
unpublished dispositif: the Bilderatlas Mnemosyne (Huberman 2011).
In an atlas, the montage produces knowledge based on the assembling of images. The stages are
montage, demontage and remontage. In this respect, the board (table) differs from the canvas (tableau),
which is characterised by visual unity and temporal immobility, in the following features:
- a complex system
- a space of meetings and connections
- a space of dissections
- a space of de-finitions
- a space of permutations
- as an open-ended, dynamic and indefinite space
- as an exhibition of dis-order
- as a re-volution of the traditional forms of classification.
References
Benjamin, W. (2005) The Author as Producer. Selected Writings. Volume 2. Part 2. Harvard University
Press.
Bisoni, C. (2011). La logica dei recaps: dal riassunto all'interfaccia [Recaps: From the Summary to the
Interface). Media Mutations 3: Ecosistemi narrativi: Spazi strumenti, modelli, Bologna, 24-25 maggio.
http://mediamutations.org/fileadmin/user_upload/documents/MM3_abstract_Bisoni.pdf
Bruno, G. (2002). Atlas of Emotion: Journeys in Art, Architecture, and Film. Verso.
Bruno, G. (2007). Public Intimacy: Architecture and the Visual Arts. The MIT Press.
Cometa, M. (2012). La scrittura delle immagini [The Writing of Images]. Raffaello Cortina Editore.
Didi-Huberman, G. (2011). L'oeil de l'histoire: Tome 3, Atlas ou le gai savoir inquiet. Les Editions de
Minuit.
Didi-Huberman, G. (2010). Atlas: How to carry the world on one's back. Museo Nacional Centro de Arte
Reina Sofia, Madrid, November 26, 2010-March 28,2011; ZKM, Museum fur Neue Kunst, Karlsruhe, May,
7-August 28, 2010; Sammlung Falckenberg, Hamburgo, September 24-November 27, 2011. Museo
Nacional Centro de Arte Reina Sofia.
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4. Eco, U. (2009). The Infinity of Lists: An Illustrated Essay. Rizzoli.
Gray, J. (2010). Show Sold Separately: Promos, Spoilers, and Other Media Paratexts. New York
University Press.
Information Architecture Institute (2013). What is IA? http://www.iainstitute.org/en/learn/resources/
what_is_ia.php
Innocenti, V., Pescatore, G. (2012 forthcoming). Information Architecture of Television Series. Journal of
Information Architecture 4(1-2), http://journalofia.org/.
Lambe, P. (2007). Organising Knowledge: Taxonomies, Knowledge and Organisational Effectiveness.
Neal-Schuman Publishers.
Manovich, L. (2007). Cultural Analytics: Analysis and Visualization of Large Cultural Data Sets. http://
www.manovich.net/cultural_analytics.pdf.
Manovich, L. (2010). Software Culture. Edizioni Olivares.
Mitchell, W.J.T. (1995). Picture Theory: Essays on Verbal and Visual Representation. University of
Chicago Press.
Norman, D. (1994). Things That Make Us Smart: Defending Human Attributes In The Age Of The
Machine. Basic Books.
Resmini, A.; Rosati, L. (2011). Pervasive Information Architecture: Designing Cross-Channel User
Experiences. Morgan Kaufmann.
Resmini, A.; Rosati, L. (2013). Oltre Flatlandia: dal prodotto all’ecosistema. In Bisoni, C.; Innocenti, V. (a
cura di). Media Mutations: Gli ecosistemi narrativi nello scenario mediale contemporaneo. Spazi, modelli,
usi sociali. Stem Mucchi.
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