Sticky Postings
By fabric | ch
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FIND BELOW ALL THE TAGS THAT CAN BE USED TO NAVIGATE IN THE CONTENTS OF | RBLG BLOG:
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Note that we had to hit the "pause" button on our reblogging activities a while ago (mainly because we ran out of time, but also because we received complaints from a major image stock company about some images that were displayed on | rblg, an activity that we felt was still "fair use" - we've never made any money or advertised on this site).
Nevertheless, we continue to publish from time to time information on the activities of fabric | ch, or content directly related to its work (documentation).
Wednesday, August 26. 2015
Note: In parallel with the exhibition about the work of E.A.T at the Museum der Moderne in Salzburg, another exhibition: Hippie Modernism: The Struggle for Utopia that will certainly be worth a detour at the Walker Art Center in Minneapolis later this autumn.
Via Dezeen
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The architecture and design of the counterculture era has been overlooked, according to the curator of an upcoming exhibition dedicated to "Hippie Modernism".

Yellow submarine by Corita Kent, 1967. Photograph by Joshua White
The radical output of the 1960s and 1970s has had a profound influence on contemporary life but has been "largely ignored in official histories of art, architecture and design," said Andrew Blauvelt, curator of the exhibition that opens at the Walker Art Center in Minneapolis this autumn.
"It's difficult to identify another period of history that has exerted more influence on contemporary culture and politics," he said.
"Much of what was produced in the creation of various countercultures did not conform to the traditional definitions of art, and thus it has largely been ignored in official histories of art, architecture, and design," he said. "This exhibition and book seeks to redress this oversight."

Superchair by Ken Isaacs, 1967

Women in Design: The Next Decade by Sheila Levrant de Bretteville, 1975. Courtesy of Sheila Levrant de Bretteville
While not representative of a formal movement, the works in Hippie Modernism challenged the establishment and high Modernism, which had become fully assimilated as a corporate style, both in Europe and North America by the 1960s.
The exhibition, entitled Hippie Modernism: The Struggle for Utopia will centre on three themes taken from taken from American psychologist and psychedelic drug advocate Timothy Leary's era-defining mantra: Turn on, tune in, drop out.
Organised with the participation of the Berkeley Art Museum/Pacific Film Archive, it will cover a diverse range of cultural objects including films, music posters, furniture, installations, conceptual architectural projects and environments.

Hendrixwar/Cosmococa Programa-in-Progress, 1973. Courtesy of the Walker Art Center collection, Minneapolis

Jimi Hendrix, Ira Cohen, 1968. Photograph from the Mylar Chamber, courtesy of the Ira Cohen Archive
The Turn On section of the show will focus on altered perception and expanded individual awareness. It will include conceptual works by British avant-garde architectural group Archigram, American architecture collective Ant Farm, and a predecessor to the music video by American artist Bruce Conner – known for pioneering works in assemblage and video art.
Tune In will look at media as a device for raising collective consciousness and social awareness around issues of the time, many of which resonate today, like the powerful graphics of the US-based black nationalist party Black Panther Movement.

Untitled [the Cockettes] by Clay Geerdes, 1972. Courtesy of the estate of Clay Geerdes
Drop Out includes alternative structures that allowed or proposed ways for individuals and groups to challenge norms or remove themselves from conventional society, with works like the Drop City collective's recreation dome – a hippie version of a Buckminster Fuller dome – and Newton and Helen Mayer Harrison's Portable Orchard, a commentary on the loss of agricultural lands to the spread of suburban sprawl.

Environment Transformer/Flyhead Helmet by Haus-Rucker-Co, 1968. Photograph courtesy of Haus-Rucker-Co and Gerald Zugmann
The issues raised by the projects in Hippie Modernism – racial justice, women's and LGBT rights, environmentalism, and localism among many other – continue to shape culture and politics today.
Blauvelt sees the period's ongoing impact in current practices of public-interest design and social-impact design, where the authorship of the building or object is less important than the need that it serves.

Payne's Gray by Judith Williams, circa 1966. Photograph courtesy of the Morris and Helen Belkin Art Gallery, The University of British Columbia

Superonda Sofa by Archizoom Associati, 1966. Photograph courtesy of Dario Bartolini, Archizoom Associati
Many of the exhibited artists, designers, and architects created immersive environments that challenged notions of domesticity, inside/outside, and traditional limitations on the body, like the Italian avant-garde design group Superstudio's Superonda: conceptual furniture which together creates an architectural landscape that suggests new ways of living and socialising.

Hello Dali by Isaac Abrams, 1965
Blauvelt sees the period's utopian project ending with the OPEC oil crisis of the mid 1970s, which helped initiate the more conservative consumer culture of the late 1970s and 1980s.
Organised in collaboration with the Berkeley Art Museum and the Pacific Film Archive, Hippie Modernism will run from 24 October 2015 to 28 February 2016 at the Walker Art Center.
Friday, March 13. 2015
Via Rhizome
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"Computing has always been personal. By this I mean that if you weren't intensely involved in it, sometimes with every fiber in your body, you weren't doing computers, you were just a user."
Ted Nelson
Friday, October 17. 2014
Note: are we all on our way, not to LA, but to HER... ?
Via MIT technology Review
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Tablets and laptops coming later this year will be able to constantly listen for voice commands thanks to new chips from Intel.
By Tom Simonite

New processors: A silicon wafer etched with Intel’s Core M mobile chips.
A new line of mobile chips unveiled by Intel today makes it possible to wake up a laptop or tablet simply by saying “Hello, computer.” Once it has been awoken, the computer can operate as a voice-controlled virtual assistant. You might call out “Hello, computer, what is the weather forecast today?” while getting out of bed.
Tablets and lightweight laptops based on the new Core M line of chips will go on sale at the end of this year. They can constantly listen for voice instructions thanks to a component known as a digital signal processor core that’s dedicated to processing audio with high efficiency and minimal power use.
“It doesn’t matter what state the system will be in, it will be listening all the time,” says Ed Gamsaragan, an engineer at Intel. “You could be actively doing work or it could be in standby.”
It is possible to set any two- or three-word phrase to rouse a computer with a Core M chip. A device can also be trained to respond only to a specific voice. The voice-print feature isn’t accurate enough to replace a password, but it could prevent a device from being accidentally woken up, says Gamsaragan. If coupled with another biometric measure, such as webcam with facial recognition, however, a voice command could work as a security mechanism, he says.
Manufacturers will decide how to implement the voice features in Intel’s Core M chips in devices that will appear on shelves later this year.
The wake-on-voice feature is compatible with any operating system. That means it could be possible to summon Microsoft’s virtual assistant Cortana in Windows, or Google’s voice search functions in Chromebook devices.
The only mobile device on the market today that can constantly listen for commands is the Moto X smartphone from Motorola (see “The Era of Ubiquitous Listening Dawns”). It has a dedicated audio chip that constantly listens for the command “OK, Google,” which activates the Google search app.
Intel’s Core M chips are based on the company’s new generation of smaller transistors, with features as small as 14 nanometers. This new architecture makes chips more power efficient and cooler than earlier generations, so Core M devices don’t require cooling fans.
Intel says that the 14-nanometer architecture will make it possible to make laptops and tablets much thinner than they are today. This summer the company showed off a prototype laptop that is only 7.2 millimeters (0.28 inches) thick. That’s slightly thinner than Apple’s iPad Air, which is 7.5 millimeters thick, but Intel’s prototype packed considerably more computing power.
Friday, April 25. 2014
Via ArchDaily via The European
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This article by Carlo Ratti originally appeared in The European titled “The Sense-able City“. Ratti outlines the driving forces behind the Smart Cities movement and explain why we may be best off focusing on retrofitting existing cities with new technologies rather than building new ones.
What was empty space just a few years ago is now becoming New Songdo in Korea, Masdar in the United Arab Emirates or PlanIT in Portugal — new “smart cities”, built from scratch, are sprouting across the planet and traditional actors like governments, urban planners and real estate developers, are, for the first time, working alongside large IT firms — the likes of IBM, Cisco, and Microsoft.
The resulting cities are based on the idea of becoming “living labs” for new technologies at the urban scale, blurring the boundary between bits and atoms, habitation and telemetry. If 20th century French architect Le Corbusier advanced the concept of the house as a “machine for living in”, these cities could be imagined as inhabitable microchips, or “computers in open air”.
Read on for more about the rise of Smart Cities

Wearable Computers and Smart Trash
The very idea of a smart city runs parallel to “ambient intelligence” — the dissemination of ubiquitous electronic systems in our living environments, allowing them to sense and respond to people. That fluid sensing and actuation is the logical conclusion of the liberation of computing: from mainframe solidity to desktop fixity, from laptop mobility to handheld ubiquity, to a final ephemerality as computing disappears into the environment and into humans themselves with development of wearable computers.
It is impossible to forget the striking side-by-side images of the past two Papal Inaugurations: the first, for Benedict XVI in 2005, shows the raised hands of a cheering crowd, while the second, for Francesco I in 2013, a glimmering constellation of smartphone screens held aloft to take pictures. Smart cities are enabled by the atomization of technology, ushering an age when the physical world is indistinguishable from its digital overlay.
The key mechanism behind ambient intelligence, then, is “sensing” — the ability to measure what happens around us and to respond dynamically. New means of sensing are suffusing every aspect of urban space, revealing its visible and invisible dimensions: we are learning more about our cities so that they can learn about us. As people talk, text, and browse, data collected from telecommunication networks is capturing urban flows in real time and crystallizing them as Google’s traffic congestion maps.
Like a tracer running through the veins of the city, networks of air quality sensors attached to bikes can help measure an individual’s exposure to pollution and draw a dynamic map of the urban air on a human scale, as in the case of the Copenhagen Wheel developed by new startup Superpedestrian. Even trash could become smarter: the deployment of geolocating tags attached to ordinary garbage could paint a surprising picture of the waste management system, as trash is shipped throughout the country in a maze-like disposal process — as we saw in Seattle with our own Trash Track project.

Afraid of Our Own Bed
Today, people themselves (equipped with smartphones, naturally) can be instruments of sensing. Over the past few years, a new universe of urban apps has appeared — allowing people to broadcast their location, information and needs — and facilitating new interactions with the city. Hail a taxi (“Uber”), book a table for dinner (“OpenTable”), or have physical encounters based on proximity and profiles (“Grindr” and “Blendr”): real-time information is sent out from our pockets, into the city, and right back to our fingertips.
In some cases, the very process of sensing becomes a deliberate civic action: citizens themselves are taking an increasingly active role in participatory data sharing. Users of Waze automatically upload detailed road and traffic information so that their community can benefit from it. 311-type apps allow people to report non-emergencies in their immediate neighborhood, from potholes to fallen tree branches, and subsequently organize a fix. Open Street Map does the same, enabling citizens to collaboratively draw maps of places that have never been systematically charted before — especially in developing countries not yet graced by a visit from Google.
These examples show the positive implications of ambient urban intelligence but the data that emerges from fine-grained sensing is inherently neutral. It is a tool that can be used in many different applications, and to widely varying ends. As artist-turned-XeroxPARC-pioneer Rich Gold once asked in an incisive (and humorous) essay: “How smart does your bed have to be, before you are afraid to go to sleep at night?” What might make our nights sleepless, in this case, is the sheer amount of data being generated by sensing. According to a famous quantification by Google’s Eric Schmidt, every 48 hours we produce as much data as all of humanity until 2003 (an estimation that is already three years old). Who has access to this data? How do we avoid the dystopian ending of Italo Calvino’s 1960s short story “The Memory of the World,” where humanity’s act of infinite recording unravels as intrigue, drama, and murder?
And finally, does this new pervasive data dimension require an entirely new city? Probably not. Of course, ambient intelligence might have architectural ramifications, like responsive building facades or occupant-targeted climates. But in each of the city-sensing examples above, technology does not necessarily call for new urban space — many IT-infused “smart city initiatives” feel less like a necessity and more like a justification of real estate operations on a massive scale – with a net result of bland spatial products.
Forget About Flying Cars
Ambient intelligence can indeed pervade new cities, but perhaps most importantly, it can also animate the rich, chaotic erstwhile urban spaces — like a new operating system for existing hardware. This was already noted by Bill Mitchell at the beginning of our digital era: “The gorgeous old city of Venice […] can integrate modern telecommunications infrastructure far more gracefully than it could ever have adapted to the demands of the industrial revolution.” Could ambient intelligence bring new life to the winding streets of Italian hill towns, the sweeping vistas of Santorini, or the empty husks of Detroit?
We might need to forget about the flying cars that zip through standard future cities discourse. Urban form has shown an impressive persistence over millennia — most elements of the modern city were already present in Greek and Roman times. Humans have always needed, and will continue to need, the same physical structures for their daily lives: horizontal planes and vertical walls (no offense, Frank O. Gehry). But the very lives that unfold inside those walls is now the subject of one of the most striking transformations in human history. Ambient intelligence and sensing networks will not change the container but the contained; not smart cities but smart citizens.
This article by Carlo Ratti originally appeared in The European Magazine
Wednesday, November 06. 2013
Via e-flux
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Shiomi Mieko, "Fluxus balance: version 1955, for 68 contributors," 1995. One from a portfolio of 68 prints, each 9 1/16 x 12 5/8 inches, edition of 10. Courtesy the Museum of Modern Art, New York. © 2013 Shiomi Mieko.

New on post:
Shiomi Mieko, Poema Colectivo, Polish Radio Experimental Studio
The editors of post are delighted to announce Between New York and Tokyo: Fluxus and Graphic Scores, a selection of archival materials, artistic projects, and essays commissioned and edited by Miki Kaneda and Doryun Chong.
post.at.moma.org
In 1964, Shiomi Mieko sent a card to more than 200 artists spanning multiple continents inviting them to "write a word and place it somewhere." Shiomi's simple instruction exemplifies the spirit of openness, simplicity, and versatility that characterized the transnational artistic networks related to Fluxus in the 1960s. Between New York and Tokyo raises questions about artistic networks and their transformative potential still relevant today.
Materials include:
–Newly commissioned essays by artist Shiomi Mieko and art historian Midori Yoshimoto
–Rarely seen collections of Spatial Poems by Shiomi Mieko drawn from MoMA's holdings
–A video of pianist Fujii Aki performing Shiomi's Endless Box
–David Horvitz's Artist Breakfast, a contemporary, networked take on Shiomi's Spatial Poems, broadcast live on post
Appearing on post this fall:
Polish Radio Experimental Studio (PRES)
A selection of audio recordings, films, and musical notations produced by artists and composers linked to the Polish Radio Experimental Studio, a unique hub for experiments in sound and art established in Warsaw in 1957.
Poema Colectivo: Revolución and the International Mail Art Network
In 1981, the Mexican group Colectivo 3 initiated an international collective poem with the aim of investigating the theme "revolution." post presents images of the 310 works, newly commissioned essays, and primary documents translated for the first time.
Also on post:
Interviews
Bratescu: "The Studio Is Myself" / Dias's "Incomplete Biography" / Yamaguchi: Jikken Kobo / Yasunao: The "John Cage Shock" in Japan
Essays
Uesaki on Yokoo Tadanori / Hendricks on Fluxus / Ehrenberg on the archive as artwork / Ross on Iimura Takahiko
Places
Istanbul report by Superpool / The sounds of Japan's antinuclear movement by Novak / MoMA curators in Brazil, Central and Eastern Europe, and Japan
Practices
APN portfolios from the 1950s / Poetry performance by Augusto de Campos / Portfolio of Iimura Takahiko's film performances / Krakowiak's response to the Sogetsu Art Center
Features
Kaneda on experimental music in Japan / Hirasawa on 1960s Japanese film festivals
Workshops
Denegri on Gorgona—in English and Croatian / Montgomery on historicizing the 1960s and 1970s in Latin America / Crowley on sound experiments in the former Soviet Bloc / Bal's remarks on C-MAP / Longoni's reflections on decentering
post is an online platform developed by The Museum of Modern Art, and managed with an international network of partners and contributors. post launched in February 2013 with the aim of publishing research resources and artistic projects that engage with narratives falling outside art history's familiar accounts. Committed to investigating artistic practices that have historically been overlooked in MoMA's collection and exhibitions, post explores experimental practices in East Asia, Central and Eastern Europe, and Latin America and the Caribbean.
Adapting the attributes of an online journal, archive, exhibition space, and forum for research exchanges, post uses the characteristics of the Web to spark in-depth explorations of the ways in which modernism is being redefined, and link those topics to artists and institutions working today.
post grows out of Contemporary and Modern Art Perspectives (C-MAP), a cross-departmental research program begun in 2009 at MoMA to facilitate a museum-wide study that reflects the multiplicity of modernities and histories of contemporary and modern art. Read more about C-MAP here.
To join the conversations and follow topics of interest to you, create a user profile that will keep you updated with activities on post.
post.at.MoMA.org
Friday, September 20. 2013
Via MIT Technology Review
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By The Physics arXiv Blog
Sentiment analysis on the social web depends on how a person’s state of mind is expressed in words. Now a new database of the links between words and emotions could provide a better foundation for this kind of analysis.

One of the buzzphrases associated with the social web is sentiment analysis. This is the ability to determine a person’s opinion or state of mind by analysing the words they post on Twitter, Facebook or some other medium.
Much has been promised with this method—the ability to measure satisfaction with politicians, movies and products; the ability to better manage customer relations; the ability to create dialogue for emotion-aware games; the ability to measure the flow of emotion in novels; and so on.
The idea is to entirely automate this process—to analyse the firehose of words produced by social websites using advanced data mining techniques to gauge sentiment on a vast scale.
But all this depends on how well we understand the emotion and polarity (whether negative or positive) that people associate with each word or combinations of words.
Today, Saif Mohammad and Peter Turney at the National Research Council Canada in Ottawa unveil a huge database of words and their associated emotions and polarity, which they have assembled quickly and inexpensively using Amazon’s crowdsourcing Mechanical Turk website. They say this crowdsourcing mechanism makes it possible to increase the size and quality of the database quickly and easily.
Most psychologists believe that there are essentially six basic emotions– joy, sadness, anger, fear, disgust, and surprise– or at most eight if you include trust and anticipation. So the task of any word-emotion lexicon is to determine how strongly a word is associated with each of these emotions.
One way to do this is to use a small group of experts to associate emotions with a set of words. One of the most famous databases, created in the 1960s and known as the General Inquirer database, has over 11,000 words labelled with 182 different tags, including some of the emotions that psychologist now think are the most basic.
A more modern database is the WordNet Affect Lexicon, which has a few hundred words tagged in this way. This used a small group of experts to manually tag a set of seed words with the basic emotions. The size of this database was then dramatically increased by automatically associating the same emotions with all the synonyms of these words.
One of the problems with these approaches is the sheer time it takes to compile a large database so Mohammad and Turney tried a different approach.
These guys selected about 10,000 words from an existing thesaurus and the lexicons described above and then created a set of five questions to ask about each word that would reveal the emotions and polarity associated with it. That’s a total of over 50,000 questions.
They then asked these questions to over 2000 people, or Turkers, on Amazon’s Mechanical Turk website, paying 4 cents for each set of properly answered questions.
The result is a comprehensive word-emotion lexicon for over 10,000 words or two-word phrases which they call EmoLex.
One important factor in this research is the quality of the answers that crowdsourcing gives. For example, some Turkers might answer at random or even deliberately enter wrong answers.
Mohammad and Turney have tackled this by inserting test questions that they use to judge whether or not the Turker is answering well. If not, all the data from that person is ignored.
They tested the quality of their database by comparing it to earlier ones created by experts and say it compares well. “We compared a subset of our lexicon with existing gold standard data to show that the annotations obtained are indeed of high quality,” they say.
This approach has significant potential for the future. Mohammad and Turney say it should be straightforward to increase the size of the date database and at the same technique can be easily adapted to create similar lexicons in other languages. And all this can be done very cheaply—they spent $2100 on Mechanical Turk in this work.
The bottom line is that sentiment analysis can only ever be as good as the database on which it relies. With EmoLex, analysts have a new tool for their box of tricks.
Ref: arxiv.org/abs/1308.6297: Crowdsourcing a Word-Emotion Association Lexicon.
Wednesday, April 03. 2013
Via ArchDaily
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Following on from their previous ‘videopolemic’ tribute to Lebbeus Woods, 32BNY has released their second video featuring artist and designer Vito Acconci’s response to the question, “Is architecture art?”. Having straddled both architecture and art throughout his carrer, Acconci is cleary comfortable in discussing their relationship, as he talks passionately about the importance of putting people at the center of both. “Because architecture is used… it can possibly be misused, and once it is misused, I think, the user goes one step further…than the architect”.
More about Acconci after the break…
Although he first became prominent for his radical performance and installation art in the 1970′s, Vito Acconci was deeply involved in furniture design and architecture towards the end of the 1980′s – a natural step considering his belief that the public should be ‘participants in’ art rather than ‘viewers of’ it . After founding Acconci Studio in 1988 to explore theoretical design and building, he undertook many architectural and landscape projects – notably his collaboration with Steven Holl to design the facade of the Storefront for Art and Architecture in 1992. The facade, comprised of independently rotating panels which open the gallery to the street, blurs the distinction between the inside and the city and allows for several different configurations.
Although 32BNY admit they do not know what the terms ‘cinematic architectural discourse’, or ‘videopolemic’ mean, they are undeterred from their exploration. You can find out more about them and their work on their website.
Personal comment:
Great yet simple considerations about image vs architecture as well as interaction. The misuse part of architecture is very interesting as well and reminds me a lot of Derrida's approach of language and architecture.
Monday, January 09. 2012
Via MIT Technology Review
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New system detects emotions based on variables ranging from typing speeds to the weather.
By Duncan Graham-Rowe
Researchers at Samsung have developed a smart phone that can detect people's emotions. Rather than relying on specialized sensors or cameras, the phone infers a user's emotional state based on how he's using the phone.
For example, it monitors certain inputs, such as the speed at which a user types, how often the "backspace" or "special symbol" buttons are pressed, and how much the device shakes. These measures let the phone postulate whether the user is happy, sad, surprised, fearful, angry, or disgusted, says Hosub Lee, a researcher with Samsung Electronics and the Samsung Advanced Institute of Technology's Intelligence Group, in South Korea. Lee led the work on the new system. He says that such inputs may seem to have little to do with emotions, but there are subtle correlations between these behaviors and one's mental state, which the software's machine-learning algorithms can detect with an accuracy of 67.5 percent.
The prototype system, to be presented in Las Vegas next week at the Consumer Communications and Networking Conference, is designed to work as part of a Twitter client on an Android-based Samsung Galaxy S II. It enables people in a social network to view symbols alongside tweets that indicate that person's emotional state. But there are many more potential applications, says Lee. The system could trigger different ringtones on a phone to convey the caller's emotional state or cheer up someone who's feeling low. "The smart phone might show a funny cartoon to make the user feel better," he says.
Further down the line, this sort of emotion detection is likely to have a broader appeal, says Lee. "Emotion recognition technology will be an entry point for elaborate context-aware systems for future consumer electronics devices or services," he says. "If we know the emotion of each user, we can provide more personalized services."
Samsung's system has to be trained to work with each individual user. During this stage, whenever the user tweets something, the system records a number of easily obtained variables, including actions that might reflect the user's emotional state, as well as contextual cues, such as the weather or lighting conditions, that can affect mood, says Lee. The subject also records his or her emotion at the time of each tweet. This is all fed into a type of probabilistic machine-learning algorithm known as a Bayesian network, which analyzes the data to identify correlations between different emotions and the user's behavior and context.
The accuracy is still pretty low, says Lee, but then the technology is still at a very early experimental stage, and has only been tested using inputs from a single user. Samsung won't say whether it plans to commercialize this technology, but Lee says that with more training data, the process can be greatly improved. "Through this, we will be able to discover new features related to emotional states of users or ways to predict other affective phenomena like mood, personality, or attitude of users," he says.
Reading emotion indirectly through normal cell phone use and context is a novel approach, and, despite the low accuracy, one worth pursuing, says Rosalind Picard, founder and director of MIT's Affective Computing Research Group, and cofounder of Affectiva, which last year launched a commercial product to detect human emotions. "There is a huge growing market for technology that can help businesses show higher respect for customer feelings," she says. "Recognizing when the customer is interested or bored, stressed, confused, or delighted is a vital first step for treating customers with respect," she says.
Copyright Technology Review 2012.
Personal comment:
While we can doubt a little about the accuracy of so few inputs to determine someone's emotions, context aware (a step further from "geography" aware) devices seems a way to go for technology manufacturers.
Transposed into the field of environement design and architecture (sensors, probes) it could lead to some designs where there is a sort of collaboration between the environment and it's users (participants? ecology of co-evolutive functions?). We mentioned this in a previous post (The measured life): "could we think of a data based architecture (open data from health and Real Life monitoring --in addition to environmental sensors and online data--) that would collaborate with those health inputs?" and now with those emotional inputs? A sensitive environment?
We worked on something related a few years ago within the frame of a research project between EPFL (Swiss Institute of Technology, Lausanne) and ECAL (University of Art and Design, Lausanne), it was rather a robotized proof of concept at a small scale than a full environment though: The Rolling Microfunctions. The idea in this case was not that "function follows context", but rather that "function understand context and triggers open/sometimes disruptive patterns of usage, base on algorithmic and semi-autonomous rules"... Functions as a creative environment. Sort of... The result was a bit disapointing of course, but it was the idea behind it that we thought was interesting.
And of course, all these projects should be backed up by a very rigourous policy about user's, function's and space's data: they belong either to the user (privacy), to the public (open data) or why not, to the space..., but not to a company (googlacy, facebookacy, twitteracy, etc.) unless the space belong's to them, like in a shop (see "La ville franchisée", by David Mangin) .
Wednesday, November 24. 2010
Via GOOD
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by Patrick James

Evan Roth proposes that we become Intellectual Property Donors:
Why let all of your ideas die with you? Current Copyright law prevents anyone from building upon your creativity for 70 years after your death. Live on in collaboration with others. Make an intellectual property donation. By donating your IP into the public domain you will "promote the progress of science and useful arts" (U.S. Constitution). Ensure that your creativity will live on after you are gone, make a donation today.
We're happy to share our salvageable organs with those who need them, so why not our ideas?

You can download and print your own labels here.
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