Materials for a debate on grass-roots & corporate collaborative design practices and settings | Materiales para un debate sobre prácticas y situaciones colaborativas (de base o corporativas) en el diseño
Speaker: Eleanor Saitta The past century our infrastructure has seen both massive expansion and heavy centralization. Can non-governmental networks step up when governments fail to provide basic services? Can we avoid a further expansion of neoliberalism in a post-infrastructural state? Are the power structures embedded in our infrastructure cultural destiny? What happens when maker culture grows up?
The pitch is that the Internet of Things will make our world a greener place. Environmental sensors can detect pollution, the voices say. Smart thermostats can help us save money on our electric bills.
* Report: A Synthetic Overview of the Collaborative Economy. By Michel Bauwens, Nicolas Mendoza and Franco Iacomella, et al. Orange Labs and P2P Foundation, 2012.
"For anyone scratching their head about how to understand the deeper social and economic dynamics of online networks, a terrific new report has been released by Michel Bauwens called Synthetic Overview of the Collaborative Economy. Michel, who directs the Foundation for Peer to Peer Alternatives and works with me at the Commons Strategies Group, is a leading thinker and curator of developments in the emerging P2P economy.
The report was prepared for Orange Labs, a division of the French telecom company, as a comprehensive survey and analysis of new forms of collaborative production on the Internet. The report is a massive 346 pages (downloadable as a pdf file under a Creative Commons BY-NC-SA license) and contains 543 footnotes. But it is entirely clear and accessible to non-techies. Unlike so many popular books on this subject that are either larded with colorful hyperbole and overly long anecdotes, or arcane technical detail, the Bauwens report cuts to the chase, giving tightly focuses analyses of the key principles of online cooperation. The report is meaty, informative, comprehensive and well-documented.
From a commons perspective, the most interesting discussions are in Chapter Two and Three – “Discovering the User as a Value Creator and the Emergence of a User-Centric Ecosystem,” and “Infrastructures for ‘Sourcing the Crowd’ and Mutualizing Idle Resources.” This topics have been covered by other authors, of course, but the virtue of the Bauwens report is its admirable succinctness and overview in assessing these developments. The report amounts to a sampler of the “best of” such analysts as Clay Shirky, Yochai Benkler, Chris Anderson, Eric von Hippel, Henry Chesbrough, John Wilbanks and many other pioneering thinkers of the digital world.
The report gives extensive accounts, for example, about the nature of crowdsourcing, peer production, “personal manufacturing,” co-working and hackerspaces, distributed currencies and fab labs, among many other cooperative forms of production and value-sharing. A final chapter on open business models offers a typology of open source software and hardware business models, illustrating them with specific examples that are likely to surge forward in the future." (http://bollier.org/blog/lucid-new-primer-collaborative-economy)
De entrada sabemos que es imposible congelar en una serie de términos finitos lo que en la práctica es mutante, vivo y denomina prácticas y saberes de muy diversos entornos. Sin embargo, fomentar el debate y la discusión puede ser una vía de acercamiento a ese lenguaje que necesitamos para nombrar y comunicarnos.”
[This is an invited post by John Postill. John is a Vice-Chancellor’s Senior Research Fellow at RMIT University, in Melbourne. He is currently writing a book titled Hacker, Lawyer, Journalist, Spy: Freedom Technologists and Political Change in an Age of Protest. He blogs at media/anthropology.]
En un país donde el bloqueo económico impuesto por Estado Unidos es más viejo que la mayoría de sus habitantes y el gobierno local es el único administrador de lo que acaba en manos de los ciudadanos, ciertos sucesos inocuos para un español, un holandés o un mexicano se pueden convertir en un desafío digno […]
Smart Citizen is a platform to generate participatory processes of the people in the cities. Connecting data, people and knowledge, the objective of the platform is to serve as a node for building productive open indicators and distributed tools, and thereafter the collective construction of the city for its own inhabitants.
Critical Design and Speculative Design are well-stablished areas within design. As Anthony Dunne once put it “Critical Design is design without a happy ending”. That is, design as an exploratory method to confront the unknown or difficult issues, not necessarily as a process that ends up in another useful product or service. In that view design is a way of doing research to find ways around difficult social issues, marginal communities, etc.
It is a variant of design that is meant to provoke and create discussion, to involve people more than “users” into a productive dialogue by exposing new views, counterintuitive realities and other baffling experiences that confront the very roots of design.
Because of this intention, it is a way of designing specially connected with aspects of involvement, participation, discussion, democratizing and potentially openness.
The involvement of the very same people that are affected by a difficult issue (internal contamination, new technologies, new scientific results, new ways of producing, …) makes a connection with some of Open Design tenets.
Some threads of the “critical tradition” such as “critical making” try to connect both worlds.
In this session we aim at communicating the main ideas behind Critical and Speculative Design by presenting the work of several designers and to start a discussion with participants in order to connect with their interests and their views on Open Design.
We hopefully expect to come out of this session with a roadmap to reinforce and synergistically integrate both threads of design.
“At the heart of our economies, a diversification and increasing importance of collaborative practices can be observed. By proposing alternative paths of value creation and sharing, these practices open new perspectives in terms of consumption, production and innovation models.”
Mientras escribo la electricidad que alimenta mi ordenador Frankenstein, mil veces operado y revivido, se va cortando y el pequeño SAI lanza pitidos. Todo ello contribuye con mi sensación de vivir en una nave espacial y me recuerda cuan precarias pueden resultar nuestras infraestructuras.
Design has a history of violence. It can be an act of creative destruction and a double-edged sword, surprising us with consequences intended or unintended. Yet professional discourse has been dominated by voices that only trumpet design’s commercial and aesthetic successes.
Historically, designers’ ambitions have ranged from the quotidian to the autocratic, from the spoon to the city. Under the guise of urban renewal or the cliché of disruptive innovation, designers of all kinds—from architects and typographers to interface, product, and fashion designers—have played a role in the reconfiguration of ways of life, ecosystems, and moral philosophies. Although designers aim to work toward the betterment of society, it is and has been easy for them to overstep, indulge in temptation, succumb to the dark side of a moral dilemma, or simply err.
Violence, on the other hand, is one of the most mutable constants in history. It accommodates myriad definitions, spanning a wide spectrum between the symbolic and the real, and between the individual and the public. In recent years, technology has introduced new threats and added dramatically to its many manifestations. Our exploration of the relationship between design and violence will shed light on the complex impact of design on the built environment and on everyday life, as well as on the role of violence in contemporary society.
As we define it, violence is a manifestation of the power to alter circumstances, against the will of others and to their detriment. We have assembled a wide range of design objects, projects, and concepts that have an ambiguous relationship with violence, either masking it while at the same time enabling it; animating it in order to condemn it; or instigating it in order to prevent it. Almost all were designed after 2001. We see that year as a watershed because it marks four historical shifts in the modern evolution of violence: the beginning of a permanent War on Terror; a global shift from symmetrical to asymmetric warfare; the emergence of nation-building as an alternative to military supremacy; and the rise of cyberwarfare. The few exceptions—the AK-47, for instance—are archetypal examples of the entanglement between design and violence in the 20th century.
We will group the projects into the following thematic categories:
Hack/Infect: disrupting the rules of the system Constrain: binding, blocking, and distorting Stun: causing blunt trauma Penetrate: infiltrating the boundaries, breaching Manipulate/Control: drawing into the realm of violence with suasion Intimidate: promising damage and death Explode: annihilating visibly and completely