web in house

modeling networked individualismre\wire ness – in (be you) house.. (backstory)

update of house posted march 17, 2012..?

web by front door:

Jodhbir showing qr ness:

Jodhbir showing more:

pre-explaining web to Peter:

figuring out data mess – toward Deb Roy ness – which ends up settling toward word recognition of curiosity:

more into the data – happening/documenting while it’s happening


toward curiosity appmore curiosity app

site as prototype

all to model another waya people experiment




et al






when we moved out of the be you house.. i remember thinking it was a shame.. thinking it should perhaps.. even become a museum. now (couple years later) – thinking more that museums could.. again perhaps .. become be you houses. ie: thinking happenings ness.. and thinkings such as this:

Book Review: Museums in the New Mediascape: Transmedia, Participation, Ethics by Jenny Kidd http://t.co/Ho0BOJgmfN

Original Tweet: https://twitter.com/LSEImpactBlog/status/627468347572133888

Perhaps the most compelling examples in Kidd’s book concern the status of personal narratives in the contemporary museum. Kidd outlines the Culture Shock! digital storytelling project that began in 2008 in the North-East of England collecting memories from people in the region. This is a fascinating and often moving case study, though Kidd’s suggestion that “we are rarely, if ever, encouraged to think crucially and critically about the nature of our self”, and that “a concern for the personal” is often “dismissed in favour of dialogue about community and inclusion” (p.80), seems strange within a digital and economic context in which individualism and constant self-fashioning are prioritized above social goals or collective reflection. Her account of the Australian Centre for the Moving Image’s project 15 Second Place is also enlightening, especially as the short videos that people produced about meaningful spaces and places in their lives “were stiller, more reflective and more cryptic” than anticipated (p.81). The assumptions of speed, movement and superficiality that commonly accompany digital practices are contested here.


Later chapters focus on the role of interactive displays in museums and the connections they create with conventional exhibitions, and on museum games and the notions of empathy they may provoke, before a final section explores the idea of the museum as a “mashup, a site of active consumption, micro-creation, co-creativity and remix” (p.117). This conclusion opens up possibilities for collaboration and experimentation, and asks whether the ultimate success for a museum within this context would be to render itself invisible.

so.. museum as a sort of space of permission for detox.. for experimenting up close – with networked individualism.. et al.. with us.


another ie: the mousai house