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HOW?
WHAT?
WHEN?
WHO?
EACH LAYER GENERATES
DATA / INFORMATION
HOW?
EACH LAYER IS CAPTURED IN
DIFFERENT WAYS
(and you can assume that, in one way or another,
if you generate it someone is ca...
WHAT?
[Human Ecosystems]
INTEROPERABILITY
LINKED-DATA
and other issues…
WHEN?
all the time, of course…
WHO?
A FEW
[Ubiquitous Commons]
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
8-20%of social networking activity is generated by BOTS
23 million on Twitter (14%)
56% of traffic, according to Incapsula’...
not only on social networks
WE ARE NOT ALONE
human non-humanhuman logics non-human logics
human
non-human
non-human
non-human
human
human
human
human
human
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
History / Micro-History
Micro-History
the intensive historical investigation of a well defined
smaller unit of research (most often a single event,...
Everyday Life
“Their story begins on ground level, with footsteps. They are
myriad, but do not compose a series. They cannot be counted
...
strategies / tactics
continuously
re-programming the environment
but tactics are not legible
this form unpredictable
creativity describes a space,
in which revolutionary
potentials exist
Third Space
“… everything comes together… subjectivity and objectivity, the
abstract and the concrete, the real and the imagined, the
...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
Third
Landscape
«Like a weed creeping into an air-conditioning machine the
industrial city will be ruined by rumours and by stories. The
c...
Third
Generation
City
Biodiversity
Cultural
Biodiversity
Third Infoscape
Third Infoscape
The Third Infoscape refers to the information and
knowledge generated through the myriads of micro-
histor...
a communicational environment, a diffused cloud of
sense and meaning which goes beyond the dynamics
of screens, and which ...
Heading towards a state which is basically comparable to the
one of telepathy (among human beings, human beings and
machin...
We can imagine information mutating into
landscape, delineating an urban space which is not
determined by distance and tim...
The wireless city is a space for the production of
dust in all its modalities. The city abounds with
compressed and errant...
This is the telepathic imperative. Data exists
everywhere in excess. In the wireless city, it floats
and settles in a hazy ...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
anthropology != ethnography
participant observation
self-representation
technologies
the ethnographer’s joke:
One day, the ethnographer wanted to take a picture of the natives
he was studying
As...
P2P Ethnography,
as Ethnography, can be defined as a qualitative
research design aimed at exploring cultural
phenomena.
Dif...
This is done by creating a Commons, to which
anyone can participate, in a performative,
participatory observation of the c...
P2P Ethnography represents a
participatory, performative approach, in which
research and understanding require gaining
awa...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
these are only a few seconds of the relational ecosystem in the city of Rome
we can see how relations are established amon...
this is an emotion observed in real-time over the city of Rome
these are the quantities of discussions happening in real-time
in the city of Rome, using social networks, and regarding t...
the large, yellow box, is centered
over the MAXX Museum of Rome,
as the Tech-Crunch event is in progress,
and people are v...
this is the relational ecosystem of the innovators in Italy
it is interesting, because it highlights how it is held in pla...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
UBIQUITOUS COMMONS
http://www.ubiquitouscommons.org
THE SCENARIO
• we generate massive amounts of
information, through network
connected devices
PROBLEM
• we have no way to understand what
information we generate
• we have no way to understand how this
information is...
HYPOTHESIS
• create a peer-to-peer protocol
• (and, hence, ecosystem)
• which hosts our expression about
intended usage of...
A LEGAL / TECHNOLOGICALTOOLKIT
CURRENT SCENARIO
note: scenario is shown for social networks, but also works for IoT, wearables and network connected devices
NEW SCENARIO
OUTCOMES
DATA-SUBJECTS CHOOSE
FORTHE INFORMATIONTHEY PUBLISH/
GENERATE
“LICENSE” BECOMES POLYMORPHIC
BY CREATING NEW IDEA OF IDENTITY
IDENTITY?
INDIVIDUAL
COLLECTIVE

ANONYMOUS

NOMADIC

TEMPORARY
IDENTITY GENERATED USING
RELATIONAL ANDTRUST
BASED MECHANISM
(HIGH QUALITY RELATIONAL ECOSYSTEM)
“LICENSE” CREATED BY
ATTRIBUTING DATA/INFO
TO CERTAIN IDENTITIES
LICENSE DISTRIBUTED ONTOTHE
BLOCKCHAIN
THE ENTIRE BLOCKCHAINVERIFIES
ACCESS
TRANSACTIONS ARE LIKE MICRO-
CONTRACTS: FULLYTRACEABLE AND
TRANSPARENT
COMMUNITIES/ORGS/PEOPLE CAN CREATE
LICENSES FOR SPECIFIC PURPOSES, BY CREATING
THEIR IDENTITIES
OPENS UP MULTIPLETYPES OF
ECONOMIES
NEXT STEPS
CREATE ADOPTION CASES
MOVETO FIRMWARE OF
IOT AND NETWORK CONNECTED
DEVICES
UBIQUITOUS COMMONS
http://www.ubiquitouscommons.org
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
Emotional Landmarks
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
“The Third Industrial Revolution? Yes! Meaning that
we’re seeing a new kind of factory: this time not for
bodies, but for ...
“The emergence of the Experience
Economy coincides with, albeit not
coincidentally, heightened interest
in creative thinki...
the
Industrialization
of the Mind
the paradox of the cultural industry
Conscience can be induced and
reproduced by industrial means, but
it cannot be produc...
The industry of the mind does not
produce anything, but the dynamics of
infiltration and transmission which are
necessary t...
The industrialization of the mind begins from education.
While we debate about curricula, education systems and
university...
the role of
TROUBLEMAKERS
what does this have to do with
CITIES?
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
Zombies!
aristocrat
monster
freak
superstar
monster of
everyday life
what is the zombie of the 21st century?
?
“Most product designers focus
primarily on the internal mechanics
of the good itself: how it performs.
What if the attenti...
Both art and creativity, become norms,
expected, needed, both from the point of
view of the industry, and from the
perspec...
what is the role of intellectuals?
artists, designers, coders, creatives, writers…
the majority of creative products
are derivatives
this is not enough
to feed the industry
we have to deal with
potential troublemakers
… also said: those who radically innovate
Enzensberger:
“The rapid development of the mind industry, its rise to a key
position in modern society, has profoundly ch...
According to Marshall McLuhan
“the artist is the person who invents the means to
bridge between biological inheritance and...
According to Derrick de Kerckhove
“few people apart from artists are capable of predicting the
present. […] The role of th...
According to Roy Ascott
“the artist as the figure which is able to confront with a world
which increasingly sees its conten...
According to Gregory Bateson
“art was the only possible way to satisfy the need of finding
solutions through radical change...
Arts are about possibility, and opportunity.
About sensing the present (the contemporary) and
exposing it, in ways that su...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems...
Myriads: workshop Pills
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Myriads: workshop Pills

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The slides used at Ars Electronica 2015 for the "Myriads" project, exploring the elements of the installation and the theoretical and technical approaches which constitute its concept.

learn more at:

http://www.artisopensource.net/network/artisopensource/2015/09/29/myriads-trangression-in-the-post-city-after-ars-electronica-2015

Myriads is a project by Art is Open Source, Human Ecosystems and Ubiquitous Commons

Publicada em: Dados e análise
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Myriads: workshop Pills

  1. 1. HOW? WHAT? WHEN? WHO?
  2. 2. EACH LAYER GENERATES DATA / INFORMATION HOW?
  3. 3. EACH LAYER IS CAPTURED IN DIFFERENT WAYS (and you can assume that, in one way or another, if you generate it someone is capturing it, whether you realize it or not) HOW?
  4. 4. WHAT?
  5. 5. [Human Ecosystems]
  6. 6. INTEROPERABILITY LINKED-DATA and other issues…
  7. 7. WHEN?
  8. 8. all the time, of course…
  9. 9. WHO?
  10. 10. A FEW
  11. 11. [Ubiquitous Commons]
  12. 12. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  13. 13. 8-20%of social networking activity is generated by BOTS 23 million on Twitter (14%) 56% of traffic, according to Incapsula’s Bot Traffic Report 8,7% of Facebook users
  14. 14. not only on social networks
  15. 15. WE ARE NOT ALONE
  16. 16. human non-humanhuman logics non-human logics
  17. 17. human non-human non-human non-human human human human human human
  18. 18. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  19. 19. History / Micro-History
  20. 20. Micro-History the intensive historical investigation of a well defined smaller unit of research (most often a single event, the community of a village, a family or a person)”
  21. 21. Everyday Life
  22. 22. “Their story begins on ground level, with footsteps. They are myriad, but do not compose a series. They cannot be counted because each unit has a qualitative character: a style of tactile apprehension and kinesthetic appropriation. Their swarming mass is an innumerable collection of singularities. Their intertwined paths give their shape to spaces. They weave places together. In that respect, pedestrian movements form one of those “real systems whose existence in fact makes up the city”. They are not localized; it is rather that they spatialize. They are no more inserted whithin a container than those Chinese characters speakers sketch out on their hands with their fingertips.”
  23. 23. strategies / tactics
  24. 24. continuously re-programming the environment but tactics are not legible
  25. 25. this form unpredictable creativity describes a space, in which revolutionary potentials exist
  26. 26. Third Space
  27. 27. “… everything comes together… subjectivity and objectivity, the abstract and the concrete, the real and the imagined, the knowable and the unimaginable, the repetitive and the differential, structure and agency, mind and body, consciousness and the unconscious, the disciplined and the transdisciplinary, everyday life and unending history.” in the Third Space:
  28. 28. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  29. 29. Third Landscape
  30. 30. «Like a weed creeping into an air-conditioning machine the industrial city will be ruined by rumours and by stories. The common subconscious will surface to the street level and architecture will start constructing for the stories – for the urban narrative. This will be soft, organic and as an open source based media, the copyrights will be violated. The author will no longer be an architect or an urban planner, but somehow a bigger mind of people. In this sense the architects will be like design shamans merely interpreting what the bigger nature of the shared mind is transmitting.»
  31. 31. Third Generation City
  32. 32. Biodiversity
  33. 33. Cultural Biodiversity
  34. 34. Third Infoscape
  35. 35. Third Infoscape The Third Infoscape refers to the information and knowledge generated through the myriads of micro- histories, through the progressive, emergent and polyphonic sedimentation of the expressions of the daily lives of city dwellers.
  36. 36. a communicational environment, a diffused cloud of sense and meaning which goes beyond the dynamics of screens, and which is not virtual anymore, but impalpable and mental
  37. 37. Heading towards a state which is basically comparable to the one of telepathy (among human beings, human beings and machines, machines and machines…), reconfiguring urban ecologies so that mapping virtuality or physicality would not be needed anymore, and replacing this need with the possibility to create recombinant inventories of the telepathic migration of dusts, of the myriads of pulverized sensors which are disseminated, diffused
  38. 38. We can imagine information mutating into landscape, delineating an urban space which is not determined by distance and time, but from the transformation of densities and presences.
  39. 39. The wireless city is a space for the production of dust in all its modalities. The city abounds with compressed and errant signals. Yet instead of dissolving urban space, as so many writers suggest, these communication and sensing technologies fill it with signals — Jennifer Gabrys
  40. 40. This is the telepathic imperative. Data exists everywhere in excess. In the wireless city, it floats and settles in a hazy surround. Sifting through the modalities of dust to sense and communicate through the urban medium will ultimately require a well tuned telepathic sense — Jennifer Gabrys
  41. 41. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  42. 42. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  43. 43. anthropology != ethnography
  44. 44. participant observation
  45. 45. self-representation
  46. 46. technologies the ethnographer’s joke: One day, the ethnographer wanted to take a picture of the natives he was studying As he tries to shoot, the native stops him “Wait! Wait!” The ethnographer goes “oh, I’m sorry, you’re afraid because you think that it will setl your soul…” And the native: “no, no… it’s just that you didn’t switch on the camera, and you’re holding it the wrong way!”
  47. 47. P2P Ethnography, as Ethnography, can be defined as a qualitative research design aimed at exploring cultural phenomena. Different from Ethnography, its aim is not to produce field studies or case reports, but to establish continuously available, diffused, accessible, participatory, performative and collaborative processes which allow gaining understandings about the knowledge and the systems of meanings in the lives of a social group, and its interactions with other ones.
  48. 48. This is done by creating a Commons, to which anyone can participate, in a performative, participatory observation of the cultural phenomenon, and in which all of the observations are accessible to everyone, manageable, remixable, recombinant.
  49. 49. P2P Ethnography represents a participatory, performative approach, in which research and understanding require gaining awareness of one’s position within the relational ecosystem (from cultural, emotional, aesthetic, perceptive, cognitive points of view) of the observed social group, and to establish or modify relations and interconnections both within the group, outside of it, and in-between, in fluid, dynamic, possibilistic ways.
  50. 50. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  51. 51. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  52. 52. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  53. 53. these are only a few seconds of the relational ecosystem in the city of Rome we can see how relations are established among communities and groups, and how information, news, opinions, emotions and knowledge flow from one node to the other.
  54. 54. this is an emotion observed in real-time over the city of Rome
  55. 55. these are the quantities of discussions happening in real-time in the city of Rome, using social networks, and regarding the arts, theater, music, and more. It is the cultural life of the city, visualized in real time.
  56. 56. the large, yellow box, is centered over the MAXX Museum of Rome, as the Tech-Crunch event is in progress, and people are very active on social networks. We have observed the transformation of the relational ecosystem of the city of Rome before, during, and after (15 days, 60 days and 120 days) the event, to understand its impacts on the city. We have designed a method to answer the question: “how do you make an ecosystemic event in the city?” “how do you make an event which creates persistent relations in the city?”
  57. 57. this is the relational ecosystem of the innovators in Italy it is interesting, because it highlights how it is held in place by a limited number of large operators (in the center of the relational supernova), which hold everything together. in other words: everyone holds relations with few large operators, but there are little-to-none peer-to-peer relations going on the innovation ecosystem is not really resilient, and is dominated by large operators
  58. 58. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  59. 59. UBIQUITOUS COMMONS http://www.ubiquitouscommons.org
  60. 60. THE SCENARIO • we generate massive amounts of information, through network connected devices
  61. 61. PROBLEM • we have no way to understand what information we generate • we have no way to understand how this information is used (directly and indirectly) • we have no possibility to express how we want our information to be used • we have no constructive way to build collaborative initiatives using all of this information
  62. 62. HYPOTHESIS • create a peer-to-peer protocol • (and, hence, ecosystem) • which hosts our expression about intended usage of information, and • which hosts the access mechanism to our data/information
  63. 63. A LEGAL / TECHNOLOGICALTOOLKIT
  64. 64. CURRENT SCENARIO
  65. 65. note: scenario is shown for social networks, but also works for IoT, wearables and network connected devices
  66. 66. NEW SCENARIO
  67. 67. OUTCOMES
  68. 68. DATA-SUBJECTS CHOOSE FORTHE INFORMATIONTHEY PUBLISH/ GENERATE
  69. 69. “LICENSE” BECOMES POLYMORPHIC BY CREATING NEW IDEA OF IDENTITY
  70. 70. IDENTITY? INDIVIDUAL COLLECTIVE
 ANONYMOUS
 NOMADIC
 TEMPORARY
  71. 71. IDENTITY GENERATED USING RELATIONAL ANDTRUST BASED MECHANISM (HIGH QUALITY RELATIONAL ECOSYSTEM)
  72. 72. “LICENSE” CREATED BY ATTRIBUTING DATA/INFO TO CERTAIN IDENTITIES
  73. 73. LICENSE DISTRIBUTED ONTOTHE BLOCKCHAIN
  74. 74. THE ENTIRE BLOCKCHAINVERIFIES ACCESS
  75. 75. TRANSACTIONS ARE LIKE MICRO- CONTRACTS: FULLYTRACEABLE AND TRANSPARENT
  76. 76. COMMUNITIES/ORGS/PEOPLE CAN CREATE LICENSES FOR SPECIFIC PURPOSES, BY CREATING THEIR IDENTITIES
  77. 77. OPENS UP MULTIPLETYPES OF ECONOMIES
  78. 78. NEXT STEPS
  79. 79. CREATE ADOPTION CASES
  80. 80. MOVETO FIRMWARE OF IOT AND NETWORK CONNECTED DEVICES
  81. 81. UBIQUITOUS COMMONS http://www.ubiquitouscommons.org
  82. 82. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  83. 83. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  84. 84. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  85. 85. Emotional Landmarks
  86. 86. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  87. 87. “The Third Industrial Revolution? Yes! Meaning that we’re seeing a new kind of factory: this time not for bodies, but for minds”
  88. 88. “The emergence of the Experience Economy coincides with, albeit not coincidentally, heightened interest in creative thinking. It also introduces a real need for greater improvisational skills in the workplace.”
  89. 89. the Industrialization of the Mind
  90. 90. the paradox of the cultural industry Conscience can be induced and reproduced by industrial means, but it cannot be produced.
  91. 91. The industry of the mind does not produce anything, but the dynamics of infiltration and transmission which are necessary to the formation of the perception of what is possible, desirable, preferable: in the formation of the perception of the future.
  92. 92. The industrialization of the mind begins from education. While we debate about curricula, education systems and university reforms, the technological systems which will make all of these things obsolete and irrelevant are right around the corner. The possibility to control that which is accepted or refused, perceived as present and future, is a primary subject for political debate.
  93. 93. the role of TROUBLEMAKERS
  94. 94. what does this have to do with CITIES?
  95. 95. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  96. 96. Zombies!
  97. 97. aristocrat monster freak superstar monster of everyday life
  98. 98. what is the zombie of the 21st century? ?
  99. 99. “Most product designers focus primarily on the internal mechanics of the good itself: how it performs. What if the attention centered instead on the individual’s use of the good? The focus would then shift to the user: how the individual performs while using the good.”
  100. 100. Both art and creativity, become norms, expected, needed, both from the point of view of the industry, and from the perspective of the user, of the individual. Both become performers, in stage acts (the authors describe them in terms of theatre genres), in which both parties take active, constructive, creative part in a creative action.
  101. 101. what is the role of intellectuals? artists, designers, coders, creatives, writers…
  102. 102. the majority of creative products are derivatives
  103. 103. this is not enough to feed the industry
  104. 104. we have to deal with potential troublemakers … also said: those who radically innovate
  105. 105. Enzensberger: “The rapid development of the mind industry, its rise to a key position in modern society, has profoundly changed the role of the intellectual. He finds himself confronted with new threats and new opportunities. Whether he knows it or not, whether he likes it or not, he has become the accomplice of a huge industrial complex that depends for its survival on him, as he depends on it for his own. He must try, at any cost, to use it for his own purposes, which are incompatible with the purposes of the mind machine. What it upholds he must subvert. He may play it crooked or straight, he may win or lose the game; but he would do well to remember that there is more at stake than his own future.”
  106. 106. According to Marshall McLuhan “the artist is the person who invents the means to bridge between biological inheritance and the environments created by technological innovation”.
  107. 107. According to Derrick de Kerckhove “few people apart from artists are capable of predicting the present. […] The role of the artist today, as always, is to recover for the general public the larger context that has been lost by science’s exclusive investigations of text”.
  108. 108. According to Roy Ascott “the artist as the figure which is able to confront with a world which increasingly sees its content and meaning as created out of people’s interaction and negotiation. A world which is unstable, shifting and in flux; which parallels life, not through representation or narrative, but in its processes of emergence, uncertainty and transformation.”
  109. 109. According to Gregory Bateson “art was the only possible way to satisfy the need of finding solutions through radical changes in our way of thinking, or even to our way of knowing.”
  110. 110. Arts are about possibility, and opportunity. About sensing the present (the contemporary) and exposing it, in ways that suggest reflection, and the insurgence of imagination. About the opportunity – through artworks and performance – to shift what is perceived as “possible”, as “imaginable”.
  111. 111. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org
  112. 112. COME SEE THE NEXT ONES! come see the Myriads exhibit take your knowledge pill www.artisopensource.net www.human-ecosystems.com www.ubiquitouscommons.org

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