art is open source

art is open source

 

AOS, Art is Open Source, is an international informal network exploring the mutation of human beings with the wide and ubiquitous accessibility and availability of digital technologies and networks.

We move across arts and sciences, using technology, communication, performance, art and design, to instantiate emotional actions and processes that are able to expose the dynamics of our contemporary world.

We do this in academic, artistic, business and activist domains and, actually, we are focused on moving fluidly among each of these spaces.

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team (founders):

Salvatore Iaconesi and Oriana Persico

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intro’d to their new future ed lab venture when Kevin tweeted me this session:

http://www.artisopensource.net/network/artisopensource/2014/06/13/summary-of-the-planetary-event-for-the-future-of-education/

(honestly depressed me more than anything.. )

Education is a Commons – Final Hangout

Michel  – 42 min in Michel saying p2p is too slow] in final hangout

Philippe  – 1 hr – no prep/plan – but then – what did we learn from las 2 steps – don’t need 4th and 5th steps, youth today don’t need to talk: commons – they just seem immersed in it naturally

1:21 – Lief bringing up http://en.wikipedia.org/wiki/Elinor_Ostrom

we need a political infrastructure (commons?) as well as we have an internet infrastructure

1:24 – bonnitta – what do young people need? navigation tools.. but listen to them

1:28 – knowledge is not a matter of census – Salvatore

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http://www.artisopensource.net/network/artisopensource/2013/10/28/near-future-design-the-perception-of-a-new-possible-and-a-new-role-for-design/

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then intro’d to art is open source when Michel tweeted this project/write up:

http://www.artisopensource.net/network/artisopensource/2014/07/30/communication-knowledge-and-information-in-the-human-ecosystem-p2p-ethnography/

(huge resonation.. adding my end of dialogue embedded in their post below..

Much has happened since those times, including the fundamental intuitions and practices coming from Lévi-StraussMalinowski, to BatesonMeadCliffordGeertz,Bhabha and the many more with which ethnography has understood many lessons, including the ones of self-representation, the importance of performance (of all parties involved, and with all parties involved being able to choose the rules of the game, not having to adapt to a scheme decided by the ethnographer, in polyphonic ways, with a number of different voices, evenly distributed between the ethnographers and the people, from their own point of view).

This is a radical approach in which the logics of consensus are replaced by the ones of ecosystemic co-existence.

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, 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.

not a report/presentation.. but an ongoing conversation – GB Shaw ness

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.

P2P Ethnography requires the definition of the concept of Ubiquitous Commons:the availability and accessibility of shared, usable Knowledge, Information and Data Commons which are ubiquitous both in their spatial dissemination and in their capacity to co-exist throughout cultures, divides, media. A protocol for a new definition of Public Space in the Age of Communication, Information and Knowledge.

ie: commons – messy without abundance brought by net

This can be done in multiple ways, which can be combined together: they can be collected from social networks, harvested through interactive systems or opportunities for performance and self-expression and representation, or they can even be the object of education processes through which people understand how to create their own forms of expression and representation in ways which are suitable for inclusion in the Human Ecosystem.
whoa. .. even be…?
aren’t they it in total…?
that was the depression ness from their ed hangout

What knowledge do I produce? Do I plan to share it, transmit it or make it available/accessible/usable in some way? Using which tools, technologies, media? Dedicated to whom? Interoperable with what? Within which knowledge ecosystems?

This can be among the most surprising models to try to understand. Mostly because the desire and attitude towards producing knowledge is not often matched by the awareness about the efforts which are needed to make that same knowledge available, accessible, usable and interoperable with other sources. This is often one of the largest problems with innovation processes.

open ness – as largest problem

none of us if one of us

The first stage is mostly dedicated to describing a methodology to enable capturing the expressions coming from multiple points of view, and to map this methodology onto a protocol, so that the harvesting process can be performed through social networks, interviews, surveys, but also and most important through self-expressive and self-representational processes, in which individuals and organizations establish their own form for expression and representation (and the rules-of-the-game that go with it) and they use them to produce their own representation, in ways that are interoperable with the rest of the observed ecosystem.

networked individualism ness

individuals and organizations establish their own form for expression and representation (and the rules-of-the-game that go with it) and they use them to produce their own representation, in ways that are interoperable with the rest of the observed ecosystem.
 
app ness..
re. wire

This stage, the second, aims at creating readability in the ecosystem.

While stories and histories can be very readable, micro-histories are not. Micro histories are polyphonic and even dissonant. They include conflict (and, in fact, it is one of their fundamental characteristics) and do not focus on the dynamics of consensus (even multiple simultaneous consensus) but, rather, on the ones of co-existence and diasporas.

stigmergy ness – Cage ness

change in votingnaked streets – supposed tos – et al

From the simultaneous co-existence of strategies and tactics (from De Certeau’s framework) derives the possibility that each time, space, context, scenario or situation can (and does) have multiple meanings, according to which set of eyes you look through, different perceived softwares and hardwares: everyone potentially and continuously re-programs everything else.

see with heart.. ongoingly

This is the Third Space, described in anthropologic terms by Homi K. Bhabha, and in sociological terms by Edward Soja. Sociocultural approaches are concerned with the “… constitutive role of culture in mind, i.e., on how mind develops by incorporating the community’s shared artifacts accumulated over generations”. Bhabha applies socioculturalism directly to the postcolonial condition, where there are, “… unequal and uneven forces of cultural representation”. It is a transgressive space forself-expressionand self-representation. Third Space Theory suggests that policies of remediation based in models of the Other are likely to be inadequate: an inclusive space/time/context is needed.

As in the third space, strategies and tactics co-exist in the Third Infoscape, meaning the more structured, administrative, statistical data (the ones coming from administrations, organizations and bureaucracies, for example), and the more emergent ones relative to people’s expressions, emotions, and points of view. They can co-exist thanks to recipes, assemblages of ingredients and procedures through which individuals (be them persons or organizations) can describe their point of view onto the world. Recipes are the base onto which the different economies of the Third Infoscape are founded: reputation, attention and networked economies which are mutualistic, meaning that recipes are in a constant peer-to-peer evaluation process through which other subjects of the ecosystem describe their perceived importance for the well-being of the ecosystem itself.

Digital Urban Acupuncture is Urban Acupuncture in the age of ubiquitous media.

For example, this is among the things we experienced while participating to XY Lab. While the importance of storytelling was very clear (the need to tell the story of what happened in the laboratory), the notion of the fundamental importance of how to share the knowledge that was generated from the lab was not clear at all, at direct (what knowledge was produced in the various projects which took place in the lab?) and meta(what knowledge was generated in creating the lab?) levels.

The social articulation of difference, from the minority perspective, is a complex, on-going negotiation that seeks to authorize cultural hybridities that emerge in moments of historical transformation.

What Open Data movements still have not managed to do is to work on the dimensions which are ecosystemic and based on desire.

a diff experiment

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above post led to this:

human ecosystems:

tactics (bottom up, not legible, necessary as micro history – every day life – vs macro history)

strategies (top down, legible – but not getting at it)

7:53 – ie: two entirely different cities in the same space from language alone

http://www.artisopensource.net/projects/human-ecosystems.html

detroit:

http://human-ecosystems.com/home/human-ecosystems-at-the-gallery-project-in-detroit/

Unseen is curated by Rocco DePietro and Gloria Pritschet

The quest to see lies at the heart of human urgency. To breach the barrier between the visible and the invisible is compelling, emotional, informative and even magical. This process of discovery has always driven thinkers and image makers: artists, scientists and philosophers, from astronomers to nanotechnologists, from documentarians and data analysts to planners and prognosticators. As the unseen becomes seeable and seen, a pivot occurs, revealing and demanding irreversible change. No one who has seen is ever the same.

there is never nothing going on.. quiet enough to see it ness

The invisible may be unseen for many reasons. It may be purposely covert for socio-political or military reasons, or to hide corruption or actions contrary to the public good. It may be inadvertently unseen because of the limits of technology or its applications, or the limits of human perception or comprehension. It may be willfully unseen from lack of curiosity, imagination, salience, awareness, or limitations of perceptual processes.

huge

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oct 2014 – while at yale:

the factory of the mind

http://www.artisopensource.net/network/artisopensource/2014/10/18/the-factory-of-the-mind/ 

These are all short-term, tactical solutions, used to resolve this paradox: managing the unmanageable people who are able to introduce alternatives.

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control is failure