Wednesday, January 27. 2010Les vertus nouvelles de la circulation circulaire de l'informationLes temps changent. Et la notion de « circulation circulaire de l’information », qui était vicieuse dans le discours du sociologue Cette idée d’inversion de la valeur attachée à cette notion n’est pas de moi. Je l’ai lue quelque part, mais je ne souviens pas où. Je la fais donc circuler sans référence à la source, ce qui rompt un peu, précisément, le flux de circulation circulaire. A me lire ici, on pourrait croire que j’en suis la source, alors que je ne suis qu’un « circulateur » [1]… Mais j’ai un autre bon exemple sous la main. Suivez, pas à pas, le processus de circulation circulaire :
Dans cette chaîne, chacun de ceux qui citent renvoie vers tous ceux qui ont cité précédemment. Et le tout suscite, à chaque citation, une « grappe » de commentaires « sur place » de la part du lectorat particulier de chacun des « citateurs ». Chacun des « citateurs » commente l’information initiale et la « reformate » à destination de son propre lectorat, permettant ainsi d’en accroître la diffusion. Le processus se propage « en grappe » lui-aussi, chaque point de citation étant potentiellement le noeud d’une nouvelle propagation. Le message initial se métamorphose durant le processus (avec probablement des pertes et des gains d’informations au passage : des simplifications ou des enrichissements), mais c’est - en définitive - la diffusion globale du message initial qui est accrue par ce processus « en avalanche »… Il y a là de quoi réfléchir. C’est vraiment, à mon avis, un nouveau mode de circulation de l’information qui s’illustre ici : une circulation de noeud en noeud, au sein d’un réseau « en grappes ». Ce modèle n’a que peu de chose à voir avec celui de la circulation de l’information dans les réseaux « traditionnels » des médias (presse écrite, radio, télévision), comme je le suggérais récemment (cette question fait partie de « mon programme de travail sur ce blog »). Une idée de là où je veux en venir, dans cet article de Alexandre Steyer [3] et Jean-Benoît Zimmermann [4] : Influence sociale et diffusion de l’information (15 pages, en .pdf). Résumé :
Quand la blogosphère joue à plein de cette « circulation circulaire » de blog en blog, qui permet la formation d’effets de diffusion « en avalanche », les médias en ligne, dans leur logique de sites « portails de l’information », de « sites de destination », ne sont pas en mesure de le faire. Ils ne sont plus qu’un maillon dans une chaîne, et c’est la chaîne - non plus le média - qui assure la diffusion en ligne. Les journalistes n’ont pas encore pris conscience de cette nouveauté et ne s’y sont pas encore réellement adaptés : s’ils veulent jouer un rôle dans la diffusion de l’information, c’est dans la dimension sociale d’internet que ça se joue, c’est à dire hors de leur site et après la mise en ligne. C’est ce qui me pousse à penser que l’avenir du journalisme en ligne est dans l’immersion dans les réseaux sociaux du net, ce qui est une autre aspect de la question déjà posée précédemment : Les sites d’info doivent-ils migrer sur Facebook et dans les blogs ? On va en reparler sur ce blog… ----- Via Novövision Personal comment:
Un commentaire très à propos par rapport à la nature même de ce blog de "veille" (celui de fabric | ch). J'aime assez l'idée et l'image d'"avalanche informationnelle", qui serait donc constituée par la masse des "reblogs" et autres "reposts" ou citations. Time Is The New Space: Moments, Not Memosby Stowe Boyd
In some recent writings and presentations, I have explored the topic 'Time Is The New Space':
I want to build on one aspect of this topic: to the degree that we rely on real-time streaming as the basis of our work interactions, we will sense that we are sharing time, not documents, or other artifacts. Interaction in real-time forms the context of our interactions, and displaces many prior social objects. In particular, this means the end of documenting status is reports: moments are what we share, not memos. The elements of the memo are atomized into a scattershot of micro status updates, which, like macro blogging before it, has thrown away the stucture of beginning, middle and end. We are always at the start, middle, and end. Not everything fits into a 140 character Twitter post, but long form writing won't necessarily look like memos, but a slightly slower stream made up of larger chunks. In everyday, more prosaic terms, I am betting that the operational documents that flowed, sluggishly, through the interoffice mail of companies in the '90s, and as email attachments in the '00s, will simply not be created in the '10s. Instead, people will simply aggregate others' streams -- both micro and macro -- ordered by time and topic. Or simply remain aware of what folks are doing in an ambient way, sharing time. A fully streamed world, not batched. ----- Via /Message
Posted by Patrick Keller
in Culture & society, Interaction design, Science & technology, Territory
at
11:13
Defined tags for this entry: culture & society, interaction design, science & technology, space, territory, time
Homefront Dissolveby noreply@blogger.com (Geoff Manaugh) Keiichi Matsuda, a student at the Bartlett School of Architecture, produced this fantastic short video in the final year of his M.Arch. It was, he writes, "part of a larger project about the social and architectural consequences of new media and augmented reality."
Now how do we use all that home-jamming ad space for something other than Coke and Tesco? What other subscription-content feeds can be plugged into this vertiginous interface? Take a look—and you can find more thoughts, and another video, on Matsuda's own blog. ----- Via BLDGBLOG Personal comment: On reste dans l'imaginaire de l'hyper-cuisine, mais le projet est pour un fois bien réalisé, mélangeant esthétique quotidienne ou domestique (teintée de "pop") et "slick" des interfaces. La partie la plus intéressante me parait être le moment de "digression digitale" (réalité augmentée parallèle?) où l'"utilisateur" se laisse absorber par son univers de communication et ses réseaux sociaux. On voit alors vraiment l'émergence de nouveaux territoires médiatisés, hybridés à la réalité ambiante qui elle-même médiatisée. On y voit l'aspect éphémère et hautement variable (multi-tâches?) de ce nouvel espace.
Posted by Patrick Keller
in Architecture, Interaction design
at
09:59
Defined tags for this entry: architects, architecture, artificial reality, interaction design, interferences, speculation
Tuesday, January 26. 2010Google Toolbar Keeps Tracking Your Browsing Even After You Choose Disable?by Stan Schroeder
A very detailed explanation can be found on Edelman’s blog. In addition to the problems named above, he also quotes some bits from Google Toolbar’s installation and privacy disclosures, which seem to have worsened over time. Google has recently taken a very big step towards protecting their users’ security and privacy by refusing to operate under some of China’s rules. But it makes it easy to forget that Google itself has a history of privacy issues, some of which seemingly still haven’t been resolved. ----- Via Mashable Whole Earth Catalog Neoncampobase*You throw your bread on the water, and… well, you never can tell, ladies and gentlemen. WHOLE EARTH CATALOGUE Video selection for the series “Playlist”, Neoncampobase, Bologna (Italy) Founded by the American writer Stewart Brand in 1968, the Whole Earth Catalogue (WEC) was a catalogue of tools that was regarded as a bible by the counterculture generation – that is, by those who shaped the techno-cultural environment we are living in. Published regularly until 1972 and sporadically until 1998, it definitely died with the rise of the Web, of which it is considered a conceptual forerunner by people such as Steve Jobs (founder of Apple) and Kevin Kelly (founder of Wired). WEC was conceived as an “evaluation and access device” meant to bring power and knowledge to the people. It featured excellent reviews of books, maps, professional journals, courses, and classes, along with objects of any kind, from gardening tools to computers. Everybody could submit a review for the catalogue. Like the WEC reviewers, the artists in this exhibition are contributing to a shared resource; like them, they love their tools and, like them, they are interested in understanding the world as a whole. What did change, in the meantime – and mostly thanks to the WEC generation – is the world itself. These artists use simple tools and editing tricks in order to comment on the current status of the image, to talk about themselves, to edit found material and to improve its meaning; they explore cultures and habits in order to sample, remix and comment them; they use and abuse technologies; they export metaphors, practices, aesthetics and narratives to other situations. This may sound weird if you are not living in their same time slice, but please – don’t call them formalists. They are not working within a medium: they are working within a media-implemented reality. They are realists, in the only way that realism makes sense nowadays. This peculiar realism can bring somebody to go back to when everything started. Notoriously, psychedelic drugs played an important rule in the beginning of digital culture. Without Sun, by Brody Condon, is a mesh-up of various found videos of individuals on a psychedelic substance. Why do people broadcast these materials? Do these “out of the body” experiences have any relationship with other now common forms of projection of the self, such as online videogaming? Some artists, such as Cory Arcangel or Oliver Laric, are interested in the conceptual consequences of technologies, and on the way they are updating fundamental concerns of our culture; others, such as the duo AIDS-3D, explore how technologies are increasingly affecting our spiritual life. In their own words, they want to make “the intangible magic of technology visible”. Not necessarily trough technologies themselves: Constant Dullart’s video, for example, turns Youtube’s “loading” animation into a suggestive, hypnotic object using light and styrofoam balls. This concern with magic and transcendence is shared by many of the artists on show, from Petra Cortright to Damon Zucconi, from Harm Van den Dorpel to Martin Kohout. In their hands, a video filter can become the best way to explore how consistent the outer world is, and how consistent we are. It can become the best way to get a better knowledge of the world we live in, whatever we may mean with this word. Lavori selezionati / Selected works: AIDS-3D (Daniel Keller & Nik Kosmas, US/DE), Motion Capture Dance, 2008. Video, 08.34 min. Courtesy Gentili Apri, Berlin. Online at http://www.aids-3d.com/motioncapture.mov. Cory Arcangel (US), Drei Klavierstücke op. II – I, 2009. Video, 04.21 min. Courtesy Team Gallery, New York. Online at http://www.beigerecords.com/cory/Things_I_Made/DreiKlavierstucke. Brody Condon (US), Without Sun, 2008. Video, 15.12 min. Courtesy Virgil De Voldere, New York. Online at http://www.tmpspace.com/video/WithoutSun.mov (excerpt). Petra Cortright (US), Das Hell(e) Modell, 2009. Video, 03.41 min. Online at http://petracortright.com/das_helle_modell/das_helle_modell.html. Paul B. Davis (UK/US), Compression Study #4 (Barney), 2007. Video, 02.49 min. Courtesy Seventeen Gallery, London. Online at http://www.youtube.com/watch?v=CWG5jqzYsEI. Constant Dullart (NL), Youtube as a Sculpture, 2009. Video, 00.33 min. Online at http://www.youtube.com/constantdullaart. Martijn Hendriks (NL), Untitled (12 glowing men), 2008. Video, 04.10 min. Online at http://www.12glowingmen.com/. Jodi (BE/NL), Mal Au Pixel, 2009. Video, 01.14 min. Courtesy Gentili Apri, Berlin. Online at http://www.youtube.com/watch?v=KE8VIKXnsQ0. Martin Kohout (CZ/DE), Close Up, 2009. Video loop, 03.11 min. Online at http://www.martinkohout.com/new/close-up/. Oliver Laric (DE), Aircondition, 2006. Video, 01.59 min. Courtesy Seventeen Gallery, London. Online at http://www.oliverlaric.com/airconditionvideo.htm. Les Liens Invisibles (IT), Too Close to Duchamp’s Bicycle, 2008. Video loop, 02.14 min. Online at http://www.lesliensinvisibles.org/too-close-to-duchamps-bicycle/. Miltos Manetas (GR/UK), King Kong After Peter Jackson, 2006. Video, 03.05 min. Online at http://www.youtube.com/watch?v=cNMkjWpdC4c. Pascual Sisto (US), No strings attached, 2007. Video, 01.30 min. Online at http://www.pascualsisto.com/projects/no-strings-attached/. Paul Slocum (US), You’re Not My Father, 2007. Video, 04.05 min. Online at http://turbulence.org/Works/notmyfather/. Harm Van den Dorpel (NL), Resurrections, 2007. 3 animated found photos, 04.18 min. Online at http://www.harmvandendorpel.com/work/resurrections. Damon Zucconi (US), Colors Preceding Photographs (woodshed), 2008. Video, 00.35. Courtesy Gentili Apri, Berlin. Online at http://damonzucconi.com/uploads/Video/woodshed_w.mov. Related Links:Personal comment: I've only heard recently of this "Whole Earth Catalogue" (yet another origin of the web), while looking at the "Das Netz" movie from Lutz Dammbeck. Here it comes back in a video show. It looks interesting as it is deeply rooted into californian counter culture that could also be pinpointed as "yet another --60ies-- root" for the web!
Posted by Patrick Keller
in Art, Culture & society, Interaction design, Science & technology
at
09:43
Defined tags for this entry: art, culture & society, exhibitions, history, interaction design, science & technology
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fabric | rblgThis blog is the survey website of fabric | ch - studio for architecture, interaction and research. We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings. Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations. This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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