XY: a Castle, a Lab and the Near Future of Education

Art is Open Source will be at XY Lab in Puglia, from the 17th to the 31st of July, in the beautiful castle of Castrignano de’ Greci, for a massive workshop on knowledge, data, information, Human Ecosystems and the Near Future of Education.

It will be the first workshop to participate to the Knowledge Ecosystem we have been creating with the Knowpen Foundation. (learn more about the new education system we’ve been creating, HERE)

 

Information

The workshop is FREE, you will be in a beautiful castle with us and multiple other designers and researchers from all over the world, exploring the themes of “New Publishing” and “videomHacking“: new ways to tell stories and to create shared, ubiquitous narratives and participatory ecosystems.

The lab is divided in two interconnected experiences: X and Y.

X has been created by FF3300 and by Pazlab, Y has been created by Inuit and Dinamo Film, and both are implemented with the support of Laboratori dal Basso.

You can see more info about the the XY Lab HERE, and you can apply HERE.

 

The Near Future of Education

This will be an important workshop for us. For two reasons.

The first one: after the global event “Education is a Commons“, in which people from all over the world took part in the initial design of the Near Future Education System we’re defining, XY will constitute the first massive effort to create the tools and techniques through which this system will come to life.

We will be inventing and designing communication strategies, software, information visualizations for the Knowledge Common, the Alternative Currency which is used in the Education Ecosystem, the information visualizations which will show the well being of the ecosystem itself, including the relations, economies and productions which take place within it and thanks to it. We will be designing and implementing the Ecosystem itself, creating a peer-to-peer knowledge environment, an ubiquitous network-of-networks.

We will try to answer an enormous question: how is an inclusive, ubiquitous, participatory, mutualistic knowledge ecosystem made?

The second reason regards the fact that XY Lab will also be the first participatory education process which will actually take part to the Knowledge Ecosystem of the new Education System which we’re designing!

This means that all materials, documentation and tools will be open and accessible from the Ecosystem, that they will be usable in “recipes”, and that we will all be able to start assigning each other some Koinoos, the currency of the Knowledge Ecosystem, to evaluate the perception of how active we have been in participating to the well-being of the ecosystem: the new definition of value in the economy of the Education System we’re defining. (to know more about what this all means, you can read the initial description of the Education System designed by the Near Future Education Lab, follow developments on the P2P Foundation wiki, and join the Facebook Group of the Near Future Education Lab to ask us directly and start participating )

During the next months we will be openly supporting more projects, workshops, courses, tutorials, hackathons, learning environments, fablabs and more who will join the Knowledge Ecosystem, to start making the Near Future Education System a shared reality.

This is an important, fundamental first step!

XY Lab in the castle

XY Lab in the castle

Participants

The two-weeks workshop will be about New Publishing and VideomHacking. There will be two groups and multiple chances for cross-pollination.

We will be in the New Publishing area, exploring how to design and implement an ubiquitous knowledge ecosystem.

 

These are the teachers and tutors for the New Publishing area: X

Salvatore Iaconesihacker, designer and teacher at ISIA of Firenze

Oriana Persicohacker, designer and teacher at ISIA of Florence

Mauro Bubbicodesigner and teacher at ISIA of Urbino, among the leading experts in communications in Italy

Leonardo RomeiLecturer of Semiotics and member of the Academic senate at Isia (Higher education institute for industrial arts and design) of Urbino; co-founder of the communication design studio QZR. He received the PhD in Communication sciences from the Sapienza University of Rome and worked in the ESCoM – Cognitive semiotics and new medias team at FMSH (Fondation Maison des sciences de l’homme) in Paris. He gave several workshops and lectures and he wrote for Nova24 de Il Sole 24 ore, Alfabeta 2, iS Pearson, il Verri, Progetto Grafico. He is co-editor of the monographic issue of Progetto Grafico n. 25 “Text and Image in the Scientific Realm”.

Salvatore Zingalesemiotics teacher at Politecnico di Milano

Silvio Lorussoartist and designer. His ongoing PhD research in Design Sciences at Iuav University of Venice is focused on the intersections between publishing and digital technology from the perspective of art and design. Since 2013, he manages the Post-Digital Publishing Archive

Emilio Macchiagraphic designer and researcher, former participant at the JvE Academie, Maastricht. Curator of “Fahrenheit 39” – publishing fair and Head of “Offset” designers in residency program since 2011.

Antonio Vergari: analyst and informatics, a.i. and automatic learning system expert from Politecnico di Bari

Danilo di Cuiacreative technologist with a background in graphic design and a focus in human-computer interaction. In the past few years he has been crafting games, interfaces and interactive installations in the US and UK for clients such as ITV, Google and BBC. His latest installation ‘Collate’ has been selected for the London Design Festival and exhibited at the Victoria & Albert Museum in London.

Jacopo Pompiliivisual designer, currently attending a master’s degree in Communication Design at Politecnico di Milano. His bachelor final thesis at ISIA Urbino — Iperlibro (Hyperbook) — focused on digital publishing and new reading experiences specifically designed for new digital media.

Eugenio Battaglia: Neurosciences and biohacking expert

These are the teachers and tutors for the VideomHacking area: Y

Marcus Ströbelsoftware developer, contributor of Magic Lantern

Cosimo Bizzarri: storyteller and journalist, he’s currently working as the executive editor of COLORS Magazine and as a tutor at the Design faculty of the San Marino University

Gianpaolo D’Amico: PhD in Computer Science at the University of Florence, is freelance creative technologist for digital media and founder of the blog sounDesign

Paolo Patelli: PhD candidate at Politecnico di Milano, researches and designs between architecture, media technologies and public spheres

Giacomo Leonzi: has a degree in Science, and he currently works as a developer and interaction designer around the world

Nicholas Caporusso: researcher in the field of human computer interaction, and hospital risk management, CEO at QIRIS

Michelantonio Trizio: information engineer, hacker and enterpreneur, CTO ad QIRIS

Matteo De Mayda: photographer and art director based in Treviso. ADCI Award in 2012

Lea Dicursi: video-maker, video-editor and producer based in Barcellona. She had worked for Benetton, Colors Magazine and Fabrica

Matteo Bencini: interactive and web designer at Lcd s.r.l. in Florence

Ruggero Castagnola: IxD and Creative Technologist. Iuav graduate, currently research fellow at PoliMi

Giuditta Vendrame: designer and currently enrolled in Social Design Master at Design Academy Eindhoven

 

inside the castle

inside the castle

Join Us!

Join us for these two weeks of whorkshop! We’ll be happy to work with you.

The workshop is FREE!

You can see more info about the the XY Lab HERE, and you can apply HERE.

Openness and Near Future Design at I-Lab at Luiss University

We will be at I-Lab at Luiss University for a workshop on Near Future Design and the concept of Openness, on November 14th 2013, from 2pm to 6pm.

Here is the EventBrite page for the workshop and here is the Facebook page for I-Lab Luiss, where you can know more.

In the workshop we will explore, from the point of view of our experience across arts, design, architecture and business, the idea of Openness, Collaboration and Participation, as a driver for many of the things we do in our contemporary world.

We will approach the subject from the point of view of Near Future Design.

To understand the mutation is essential to direct it, and to be able to confront with the emergency and with the effective risk of catastrophe (environmental, economical, political) which «the normal flow of things» certainly does not allow us to avoid. It is essential to study and to forecast the future in order to confront with all of these issues. At the condition by which all of this work (as in all the other areas of the sciences) does not produce a caste of super-technicians who claim the right to decide – alone of together with the bureaucracies which govern us – everyone’s destiny. There must be no doubt about this: the people have the right to decide their own destiny.

Antonio Caronia

From this quote by Antonio Caronia, it is clear how the possibility and opportunity to collaborate to design our own future is an essential part of our freedom. To do this – to enable this opportunity – we adopt a series of methodologies which enable to transform the future into a performance: a dynamic condition whose aim is to help us become active (performers) in trying to give answers to the question “What future do we really want?”.

This is a previous article about Near Future Design which we wrote a few days ago. David Gray and Jon Husband helped us a lot to rewrite it, to convey both the message and the methodology in more direct and accessible ways. You can find this new version article below, and we thank them for being so helpful, and for bringing a whole new level of accessibility to the things we talk about.

See you at the workshop! (or if you can’t make it: see you here on Art is Open Source for the updates!)

Near Future Design: the role of design in creating the future

There are many possible futures. Perhaps the most important question we can ask ourselves is:

What future do we want?

The future does not exist. We live our lives in the present, and the future exists only in our imaginations, in our hopes, dreams, wishes, plans, forecasts and blueprints.

“The future,” in other words, is something we experience today. It is a performance, a global conversation about what we want, what we fear, what we expect, and what kinds of possibilities we can imagine.

We establish the future by the conversations we have about it.

Innovation.

Innovation is the art and science of bringing valuable new possibilities into being. That is, futures that are both desirable and possible. Thus, innovation is both design and implementation: designing a possible future and then making it happen.

But which future do we want?

Near future design.

The near future designer serves to activate the imagination; to help communities “conceive possibilities which do not yet exist” — possible futures — using dialogue, visualization, modeling and performance.

One of the central assumptions of near future design is that the future is not singular. There are an infinite number of possible futures, and we bring futures into being first by imagining them, next by exploring and examining them, and finally by selecting them.

The near future designer helps society and communities imagine, explore and examine possible futures, in order to increase the “possibility space” and improve the quality of decisions we make about what we value and how we want to proceed.

The near future designer helps us decide: Which future do we want?

The conversations we have, and the explorations we make in the present are important because they change the ideas that we have, and the decisions we make. Thus in a very real way, they change the future, because altering the present in such a way that we can make better choices and bring better futures into being.

The near future designer situates possible futures into the present, so we can explore them, think about them, talk about them and make value judgments about them.

To do this, we must understand the state of the arts and existing technologies. But that in itself is not enough. We must also understand the limits of our imaginations, the rituals and tensions of our times, including our deepest conflicts as well as those things which inspire us and provoke a sense of wonder.

We must create a tangible “sense of the possible” that feels real.

The near future designer presents us with tangible possible futures in the form of objects, visualizations and performances, to give us a more visceral understanding of what those futures mean, how we might experience them, how they might feel. By creating a space where we can suspend disbelief and simply experience the possible, the near future designer helps us develop a sense of the possible by giving us things to play with and ways to act it out.

This is Near Future Design.

A performance exploring possible futures, in which the observed current state of the arts and technologies mingles with culture to create a collective “sense of the possible”.

In which we improve our ability to explore, examine and experience possible futures, in order to make better decisions about which futures we want.

In which we connect and synthesize multiple sources of knowledge, in all disciplines and modalities, across cities, cultures, and virtual domains.

In which we can better understand tensions, conflicts, harmonies, dissonances; rituals, and tendencies when they are in their early stages, when they are still only suggestions.

The near future designer plays a fundamental role for society, creating spaces where people can perceive possible futures and take an active role in a conversation to build, create and perform their “collective possible,” helping more people make better decisions about the future we want.

Process

We have developed a formal process for Near-Future Design.

  • Define the areas of interest  for a topic

    • during each cycle/project we define the topics and areas of interest in each topic.  Those topics and areas  form our research domain;

    • these can be contiguous, complementary or contextual, providing continuity but also the possibility to expand to observations about indirect influences on the transformation of human societies identified by the research;

    • the output of this stage is a visual representation of the research domain, along with rigorous documentation;

  • The Future World Map

    • the map aims to collect information about what is perceived as “possible”, “impossible”, “desired”, “feasible”, “preferred” and “envisioned”;

    • it has two main areas, regarding the state of the arts and technologies, and the anthropological, ethnographic, psychological and emotional analysis of relevant cultures, communities, groups, organisations and individuals;

    • the part of the map that takes into account the state of the arts and technologies mainly deals with technical issues concerning the evolution of technologies, the data and information about the relevant contexts, and a description of trends;

    • the part of the map that takes into account the anthropological, ethnographic, psychological and emotional analysis deals with collecting and curating evidence about the ways human societies shape themselves (in the given contexts), and describes approaches, strategies, tactics, rituals, relationships, networks, emotional expressions, gestures, economies, dynamics, ecosystems and their relative equilibria, both current state and in transformation;

    • in all sections, information is provided about background, the socio-technical settings, the possible actors and stakeholders, and an expanded context for the stories that are about to be told;

    • the output of this stage is a visual map, a report and an extensive knowledge base.  This output can assume different forms, depending on the context and circumstances;

  • The Story Setup

    • it is the instantiation or launching of the story;

    • it describes in general terms the future scenarios which we aim to describe, at the same time limiting the scope by excluding certain areas which will not be examined, and by opening up the domains which will be the focus of the research;

    • its output is under the form of a narrative, expressed in visual and textual terms;

  • The Concept(s)

    • each possible future is examined by describing it conceptually (often abstract or diagrammatic sketches) as well as with a draft narrative which highlights the main modalities and sets up the development of the story;

  • The Story Functions

    • each story is designed according to a formalised schema (usually the three-acts of Setup, Conflict and Resolution), to provide consistent, solid narratives;

    • for each story, the basic story functions are created, highlighting the core theme of each narrative, which describe in growing detail the “stories of the chosen future”;

    • multiple stories can be created for each concept, even following different paths among the identified possibilities;

    • the output of this stage consists of the list of central events for each story, as well as a diagrammatic representation of their relations and those carried by the different (and alternative) storylines being developed;

  • The Event Maps

    • each story is expanded into an Event Map;

    • each Event Map is a diagram in which the main parts of the stories are grouped into circles, starting from the core (the main phases of each story) as well as some additional events which might be added to balance the story logic;

    • satellite events, alternative paths and time-based items are added to the Map to create context, and to enhance the world-building characteristics of this stage;

    • each story described in this way constitutes a world, giving a full sense of context and of credibility;

    • the output of this stage is constituted by the Event Maps diagrams and by the pertinent documentation;

  • The Story Maps

    • the Event Maps are transformed into sketches;

    • the representation in sketch form increases granularity and makes each Event more concrete;

    • this phase allows for some iteration with the previous ones, as its concreteness gives immediate evidence about the balance of the stories and about the necessity to re-factor them at one of the previous stages;

    • the output of this stage consists of the sketches and the pertinent documentation;

  • The Design Fictions

    • Simulacra

      • the objective of this phase is to create a simulacrum, a credible, possibly functional, “prototype from the near future” (a pre-totype), through product design and communication design, working across different media;

      • the objective is “world building”, creating not only “the object” (or service, or idea, or …) but also to create the world around it, for its credibility;

      • we answer the questions “What would be the world like, if there was object X? What would be in it? How would people behave?”, and we try to implement as much as we can about the answer using different media;

      • the final result should create a state of “suspended (dis)belief” in which it is impossible (or at least somewhat difficult) to decide if the “object” is real or fake, as there are multiple clues and evidences that point to its existence;

      • the simulacrum (and its state of suspended dis-belief) is the tool which we use to “shift the perception of the possible”, and to start the global dialogue around the possibilities for transforming human societies, thus triggering the performative dimension of Near Future Design;

    • Transmedia Narratives

      • the output of the Design Fiction phase, thus, is a set of Transmedia Narratives implementing the simulacrum for the story;

      • the Transmedia Narrative is a multi-modal storytelling technique which is able to move and combine the effects of multiple media, from physical objects, to websites, urban interventions and more.

 

UPDATE: These below are the slides from the workshop:

Ubiquitous Pompei: the future of the city, created by high school students

The future of the city in Pompei, as created by high school students.

the icon of Ubiquitous Pompei mobile app

the icon of Ubiquitous Pompei mobile app

You are invited to come at the event in which we will present the outcomes of our project in Pompei during which we invited high school students to create the digital future of their city.

Click here to access the event details on Facebook

Event Program:

December 13th, 2011, 12:00, in Piazza Bartolo Longo n 36, Pompei
Preview of the system and “Augmented Reality Promenade”, to discover the digital city
**Media and Press**

December 14th, 2011, 10:00 – Conference Hall at the building of the Administration of the City of Pompei
Presentation of the results of the series of events “McLuhan meets Pompei”: presentation of the project outcomes and ceremony in which participating students will be awarded their certificate of participation to the project.
**Open Event**

ABOUT THE PROJECT

“UBIQUITOUS POMPEI” is the result of the workshop “the Electronic Man. Ubquitous Writing and Identities”, an experimental laboratory focusing on ubiquitous publishing technologies and methodologies created by FakePress Publishing and Art is Open Source for the project “McLuhan meets Pompei”.

The laboratory took place on November 11th and 12th 2011, engaging 120 students in their 3rd, 4th and 5th year of high school and coming from two schools: the Liceo Socio-Psico Pedagogico E. Pascal and the Istituto Bartolo Longo.

One of the services in action on Ubiquitous Pompei

One of the services in action on Ubiquitous Pompei

Two days of intensive workshop on ubiquitous publishing: the possibility to transform bodies, architectures, objects and entire cities into novel spaces for publication.

The concepts at the base of the Electronic Man have been used to introduce this complex subject to students using the language of arts and performance, to be able to build together with students accessible cross-media content using Augmented Reality and QRCodes.

To achieve this, we used two open source, free platforms (MACME and NeoReality) produced by FakePress Publishing.

the web interface of Ubiquitous Pompei, with all the prototype content on the map

the web interface of Ubiquitous Pompei, with all the prototype content on the map

Workshops ended by inviting the students to imagine their own version of the “augmented city”.

The last phase of the project took place over the network: an intense discussion and collaboration process using email and Facebook allowed students to define their project ideas and to design 4 complete ideas working on the concept of augmented cartography, geo-localized social networks and ubiquitous narratives. (the ideas are presented on the project website)

Art is Open Source and FakePress Publishing set-up the technological platforms needed to activate students’ ideas, and transform them into a working prototype of their vision of what Augmented Pompei could be.

Ubiquitous Pompei originates from this process: the platform hosts all 4 designs and the project documentation, including the materials used during the workshops and the software tools used in the process.

Students and teachers have a direct access to the platform, allowing them to autonomously continue the experiments in the evolution of the current ideas or in the creation of new scenarios.

One of the projects in Ubiquitous Pompei, an augmented reality translation of the ancient roman graffiti

One of the projects in Ubiquitous Pompei, an augmented reality translation of the ancient roman graffiti

SPECIAL THANKS go to

all participating students: Antonella Abagnale, Daniela Alfano, Valentina Alvino, Consiglia Ammaturo, Sofia Ardizio, Gennaro Avitabile, Belmattino Francesca, Imma Lusy Carotenuto, Angela Chierchia, Maria D’Amaro, Gaetano D’Amora, Valentina D’Aquino, Teresa Di Dato, Di Nola Fabiano, Anna Di Palma, Maria Grazia Di Rosa, Paola Ferrara, Rosa Formisano, Maria Luigia Gargiulo,Rosalba Anna Gabbiano, Maria Galotto, Maria Pia Gazzetta, Elena Giordano, Melania Giordano, Raffaella Langella, Maria Loganini, Patrizia Marrano, Adriana Martino, Alessandra Martino, Annapaola Savarese, Caterina Napoli, Concetta Panariello, Carolina Piacente, Cristina Troise, Roberta Valerio, Giuseppe Vispini, Maria Teresa Vorraro, Pasqualina Zinno;
i professori Mario Bobba e Alfonso Carotenuto;

the schools: Liceo Socio-pedagogico E. Pascal and Istituto Bartolo Longo di Pompei;

Maria Pia Rossignaud, Ass. ONLUS Amici di MediaDuemila, MediaDuemila Magazine and Osservatorio TuttiMedia;

Antonio Irlando;

vice-mayor Claudio Alfano and mayor Claudio D’Alessio (Pompei) ;

Ruben Santillan;

Gaia De Nicola;

the City of Pompei and all its citizens

CREDITS

[1] “UBIQUITOUS POMPEI” is a project designed and produced by :
FakePress Publishing e AOS – Art is Open Source
Concept e Development:
Salvatore Iaconesi e Oriana Persico
Technologies:
MACME & Neoreality by FakePress Publishing

[2] “McLuhan meets Pompei” is an initiative promoted by:
Ass. ONLUS Amici di MediaDuemila
with the support and collaboration of:
Assessorato alla Comunicazione e Innovazione tecnologica del Comune di Pompei, MediaDuemila,Osservatorio TuttiMedia

Curated by:
Maria Pia Rossignaud

[3]“The Electronic Man. Ubiquitous Writing and Identities” is a workshop created by:
FakePress Publishing e AOS – Art is Open Source
Promoted by:
Ass. ONLUS Amici di MediaDuemila
with the support and collaboration of:Assessorato alla Comunicazione e Innovazione tecnologica del Comune di Pompei

Concept and Development:
Salvatore Iaconesi e Oriana Persico
Technologies:
MACME & Neoreality by FakePress Publishing

WEB SITES:

http://www.fakepress.it/
http://www.artisopensource.net/
http://www.amicidimediaduemila.it/
http://www.mediaduemila.it/

Info & Contact: oriana@fakepress.net

Project Site: http://artisopensource.net/pompeiAR/

 

Squatting Supermarkets at Eataly

Art is Open Source interviews Dino Borri from Eataly Turin about the possible uses of Augmented Reality and other technologies to inform consumers and enact critical practices.

more info on Squatting Supermarkets here:

http://www.artisopensource.net/2009/10/27/squatting-supermarkets/

http://www.artisopensource.net/2009/10/25/squatting-supermarkets-italiano/

http://www.artisopensource.net/2009/11/13/squatting-supermarkets-reports-and-next-steps/

Squatting Supermarkets – reports and next steps

Just recovering from the enormous effort put in setting up, performing and taking down the Squatting Supermarkets at the Piemonte Share Festival 2009, “Market Forces”.

share2-002620-2_3_4_tonemapped

Several thousands visitors, hundreds of customized food cans, hundreds of QRCodes printed to link products’ stories, dozens of hours of live Shoptivist TV, 3 workshops, a ShopDropping action in the city centre of Turin, an augmented reality tour at Eataly (a big shopping centre focused on organic foods), hundreds of questions and the relative answers.

These are the numbers. Read on for the details…

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