Archive for the ‘social’ Category

UBIQUITOUS POMPEI: THE FINAL EVENT FOR THE DIGITAL CITY CREATED BY STUDENTS

Ubiquitous Pompei, published on Art is Open Source

 

On December 14th, in the city of Pompei, we celebrated the final step in this phase of the Ubiquitous Pompei project, created through a series of workshops performed together with high school students who were invited to imagine the digital future of their city.

All together for the presentation of Ubiquitous PompeiAll together for the presentation of Ubiquitous Pompei

This has been an incredible experience for us. The possibility to work in tight contact with young students and to become enablers for their awareness of the possibilities offered by technologies and networks has been an amazing opportunity.

We were able to explore with the students the concepts of new forms of citizenship, innovative forms of participation and collaboration, novel ways of deciding and evaluating public policies, engaging ways of narrating the stories of the places in which they live, getting people, companies and administrations involved.

Vice-Mayor Claudio Alfano and the studentsVice-Mayor Claudio Alfano and the students

The workshops were used to introduce students to the opportunities and scenarios offered by ubiquitous technologies such asaugmented reality, location based media and services, and QRCodes and other digital tagging techniques. On top of that, students and educators were  introduced to the MACME and NeoReality technologies, to be used in the process of imagining and creating the prototypes used to describe the digital future of the City of Pompei.

The technologies have been provided to students, educators and public administrators through an open platform. It can be found here (click to open PompeiAR, the tech platform used to create Ubiquitous Pompei).

Art is Open Source and FakePress Publishing will maintain the platform open and accessible to students/educators/administrators to allow them to continue in their journey through technological innovation: continuous experiments will be performed (and so don’t be surprised if, sometimes, test content pops up on the linked website: it means that students are actually working on it, experimenting on their city’s future) and, possibly, be transformed into real-life scenarios.

Giampiero Gramaglia and Derrick de Kerckhove at the eventGiampiero Gramaglia and Derrick de Kerckhove at the event

The event on December 14th has been a wonderful experience and a chance to finally get together with all involved actors to evaluate the results of our efforts.

During the event, a commission composed by Derrick de Kerckhove, Giampiero Gramaglia, Claudio Alfano, Maria Pia Rossignaud and Antonio Irlando experienced the presentations of the projects created by the students, introduced by Oriana Persico and then presented directly by the young innovators. After the presentations the commission evaluated the prototypes produced during the project and assigned an award of distinction to the project which implemented an ubiquitous book dedicated to the ancient “social networks” found in Pompei’s ruins, where people inscribed graffiti messages about their daily life and full of useful information; An augmented reality application allows you to read these graffiti by framing them in your smartphone and, thus, to translate them from latin into your own language, to discover the lives of ancient Pompeians and engage an experiment in atemporality by being able to comment the ancient graffiti and open up a dialogue across time.

All students were awarded a certificate of participation to the project.

We definitely wish to thank the Public Administration of the City of Pompei – and especially Claudio Alfano, the Vice-Mayor of the City of Pompei and Town Councillor for   Technological Innovation, and Mayor Claudio D’Alessio – for embracing with such energetic enthusiasm the vision proposed through this project, and by making us feel so welcome and appreciated in our efforts to discover, together with students and educators, the positive opportunities which the digital future can bring closer to us, and helping us to develop our cities, relations, jobs and environments.

And we sincerely wish to thank the students and professors at the Liceo Socio-pedagogico E. Pascal and the Istituto Bartolo Longo, the two schools which joined us in this wonderful experience: you have been so nice to have dedicated us some of your time and energies, and so wonderful to have perfectly understood the sincerity with which we propose our ideas and skills.

And, of course, we wish to thank MediaDuemila and Associazione Amici di Media Duemila, for creating the “McLuhan Incontra Pompei” project and, thus, making this all possible, and prof. Derrick de Kerckhove for leading our visions.

More really important people/organizations which we want to give sincere credit and thanks to can be found here, at the project’s website.

HERE you can find the Ubiquitous Pompei project website, the open platform used by students and educators to design the digital future of their city.

HERE you can fide the project descriptions that have been proposed by students and presented on December 14th 2011

HERE you can find information about the MACME technology used in the project.

HERE you can find information about the NeoReality technology used in the project.

The Ubiquitous Pompei project, as well as the concepts produced by the students, are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Ubiquitous Pompei, Art is Open Source, MediaDuemila and the students of Pompei

Ubiquitous Pompei, Art is Open Source, MediaDuemila and the students of Pompei

Advertisements
VacanzaVacanza

 

Vacanza! (Holiday!)

please join us at AHAktitude 2011 in Carrara, in April 01-02-03, 2011

AOS will present:

Vacanza! a really relaxed Augmented Reality workshop

at AOS (and in the other initiatives such as REFF and FakePress) we’ve been proclaiming the rise of a new (or old?) idea of Augmented Reality, a philosophical approach screaming:

“Autonomy! You have the power and tools to shape your own world, creating additional spaces for your expression and free action!”

We’ve started some time ago, joyfully attacking supermarkets with our augmented reality invasion in Squatting Supermarkets.

Then we continued the Augmented reality experiments with FakePress, exploring the possibility to invent new languages and usage grammars for the world that had impacts on education, knowledge, society, cities and relationships.

And, lately, with our recently released Augmented Reality Drug, with REFF, RomaEuropa FakeFactory.

All these actions used technologies and practices to reinvent the world, our roles and the things we can do each days, promoting a multilayered, polyphonic, multicultural, free, autonomous version of reality, and suggesting that new imaginaries, languages, strategies,  politics and poetics can be created, reinventing art, business, activism and communication.

This is why we’re truly happy to present:

Vacanza!

(holiday)

http://ahacktitude.org/event/2011/doku.php?id=vacanza

a series of micro-workshops, micro-lectures, micro-forums and micro-interstitial meetings executed using crumpled-up Augmented Reality and other technologies.

When: April 1-2-3 2011, at AHAcktitude
Where: Carrara, Italy

AHAcktitude Program: http://ahacktitude.org/event/2011/doku.php?id=program

What:
An intense program of micro-workshops, micro-seminars, micro-lectio-magistralis disseminated in the spaces and times of the AHAcktitude meeting.

The micro courses will define an interstitial narrative that will traverse the whole event:

  • Workshops on Augmented Reality executed by throwing crumpled-up micro-sldies to other people during other workshops
  • Lectures on the Reinvention of Reality made for 1 people at the time while we invent new ways of remixing beer, vodka and tomato juice
  • The tales of our latest actions with squats in London, student groups at universities, taking them “REFF’s education program on the methodologic reinvention of reality through critical practices of remix, mashup, recontextualization and re-enactment” and organizing the initiatives for the protest that will take place on March 24-25-26 2011: narrated wearing stupid glasses with fake mustache and plastic noses, hiding post-it notes, qrcodes, AR markers and distributing small softwares, micro slideshows, mini websites prepared there, live, in realtime.

 

Feedback and interaction

Workshops are open for everyone!
They are anytime, anywhere, always!
Being hit by one of the crumpled-up slides will mean that you are in one of them!
The objective of the workshops is to create emergent, spontaneous, effective, reproducible, appropriatable, remixable, re-enactable, disseminated, augmented discussions.
Throw me your micro crumpled slides with questions and ideas!
Throw them to other people, so that they can be in the workshop, too!
Copy, fake, reproduce, show and plagiarize the micro workshops! use the post-its and qrcodes!
Make “fake” ones yoruselves!
Place them all around AHAcktitude and in the whole city!
Copy the micro softwares and micro-lectures!
send them by mail to everyone! click “i like” and “share” on social networks!
Finally, reality is augmenting.

RomaEuropa FakeFactory featured on La StampaRomaEuropa FakeFactory featured on La Stampa

A video about REFF RomaEuropa FakeFactory has been published on the website of La Stampa, an important italian newspaper.

watch the video here

RomaEuropa FakeFactory on La StampaRomaEuropa FakeFactory on La Stampa

REFF RomaEuropa FakeFactory is back.

http://www.youtube.com/v/iyoOlobkqhU?fs=1&hl=en_US

A book is coming out in Italy (and an international version is following soon, before the end of the year) together with the next step in our action in favor of better innovation policies andpractices for arts and culture.

During these days Italy is living strange times, with a government that is something that could easily be called a “soft dictatorship”and an extensive crisis scenario across culture, imaginaries and perspectives.

This, in particular, is a peculiar day for Italy, as the governmental crisis began just a few hours ago. And it is indeed a very strange crisis, as the in-crisis government actually has loads of power (it managed to have the crisis postponed by 14 days, to be able to create a few more laws:) ), and the possible alternatives do not really offer any real difference to the currently running models.

This is a media dictatorship, as its power is based on 20+ years of television and on the social changes it induced in the population.

Current culture and art policies reflect that. Totally.

This difficult scenario is what induced us in the first place when we created REFF, RomaEuropa FakeFactory.

A quick-quick history: in 2008 a big italian culture/arts institution created an international competition that was really terrible in terms of the supported cultural policies, of artists’ rights and of intellectual property issues. We, a group of artists and activists together with 80+ partners all over the world , created REFF, a fake institution and a competition just like the “original” one, only supporting open, innovative practices and policies.

The impact was so strong that REFF was invited at the Cultural Commission of the Italian Senate.

The original institution (theFondazione RomaEuropa) was forced to change its policies and to transform its practices, becoming just like REFF :)

The action continued, as the original Fondazione became the focus of several large operators’ assault on the digital imaginaries of people to create what they openly call the Digital Class.

This process saw the biggest italian telco operator (Telecom Italia) invading practically every space in digital arts, leading to a scenario in which even the absurd “Internet for Peace” campaign was possible: a telco operator was becoming a major political force in all the issues related to networks, digital innovation, intellectual property and publishing, obtaining the support of more that 70 representatives in both the Parlament and the Senate.

We leveraged REFF, our shadow institution, and uncovered many of these opaque processes. Last one of which is the assault on digital publishing industries: the market of ebooks and ebook readers is the latest area of assault on italy’s digital cultures scenario and on the practices of free expression and self-determination.

This is why together with FakePress wecreated this book.Together with the book a software platform will be released (GPL2 license) allowing people to freely create ebooks, and enhanced books featuring augmented reality, wide tagging, and fruibility across several devices.

The platform has been recently presented at Artissima with the help of the Piemonte Share Festival as an opportunity for publishing and expression practices for the arts and culture.

Multiple events will follow in the next days and months.

Stay tuned, if you like.

cheers.

xDxD

from REFF RomaEuropa FakeFactory on AOS

info at REFF RomaEuropa FakeFactory

REFF RomaEuropa FakeFactory

[PRESS RELEASE – ENGLISH ]

Almost two years after its creation il 2009, the REFF – RomaEuropa FakeFactory is back with the publication of its book, published in Italy by DeriveApprodi & FakePress:

REFF RomaEuropa FakeFactory cover

REFF
The reinvention of the real through critical practices
of remix, mash-up, re-contextualization, reenactment

Foreword by: Bruce Sterling

Over 30 contributions ranging from critical articles to interviews; a catalog of 30 works exploring the themes of remix in an extended way; the special mentions of the 2009-2010 contest; a new experience of reading integrating the digital and paper dimentions trough the use of Augmented Reality and tagging; an open source tool for creating ubiquitous, cross-media publications, by FakePress.

From the foreword, by Bruce Sterling:

“Right now, the behaviors and activities commemorated in this book are bizarre. Very. They are so peculiar that they are inherently difficult to describe, because they come from the outer reaches of an emergent network-culture.
I could write an entire book about these ideas and practices, a book that would be science fiction, architecture fiction, design fiction, a technical manual and also a manifesto for network economics. That book would be rather like this book, only less entertaining.”

REFF. An example of an artistic, cultural and political act. A truly Augmented Reality, a multi-strata object that entices to be discovered, read and used with more “sense” up to the performative one. A new prototype of publication, beyond the e-book.

Copyright
RomaEuropaFakeFactory book is licensed under Creative Commons Attribution-NonCommercial ShareAlike 2.5 Italy.

Site

http://www.romaeuropa.org
http://www.fakepress.it
http://www.deriveapprodi.org

Facebook

http://www.facebook.com/pages/REFF-RomaEuropa-FakeFactory/121217751261830?ref=ts&v=wall

Press & Contacts

Davide Sacco – Ufficio Stampa DeriveApprodi
ufficiostampa@deriveapprodi.org
+39 328 3921381
+39 392 3273987

Oriana Persico – Media & Communication FakePress
oriana@fakepress.net
+39 347 7126928

AUTHORS, ARTISTS & CURATORS
(in alphabetical order)

“VOICES”
Richard Barbrook, Tatiana Bazzichelli, Germana Berlantini, Mike Bonanno, Loretta Borrelli, Andy Cameron, Massimo Canevacci, Francesca Canu, Carlo Cappa, Antonio Caronia, Dario Carrera, Stefano Coletto, Fiorello Cortiana, Umberto Croppi, Marco Fagotti, Marc Garret, Alex Giordano, Maria Hellström Reimer e Milica Lapčević, Lorenzo Imbesi, Stephen Kovats, Simona Lodi, Francesco “Warbear” Macarone Palmieri, Federico Monaco, Movimento ScambioEtico, Andrea Natella, Eleonora Oreggia aka xname, Luigi Pagliarini, Federico Ruberti, Marco Scialdone, Guido Scorza, Valentina Tanni, Jasmina Tescnovic, Cristina Trivellin e Martina Coletti

“VISIONS”
0100101110101101.ORG, Antoni Abad, Alterazioni Video, Apparati Effimeri, David Benqué, Jens Brand, Alex Dragulescu, Amy Francescini (Future Farmers), Flyer Communication (FLxER), Derek Holzer, Carlo Infante, jodi.org, Steve Lambert, Les Liens Invisibles, Fosco Loiti Celant, Garrett Lynch, Guthrie Lonergan, Quayola, Rebar Group, Ben Rubin, Adam Somlai-Fischer (Architecture), Sosolimited, Eugenio Tisselli, Troika, Hannes Walter e Stephen Williams (Fluid Forms), Marianne Weems (The Builders Association), Clemens Weisshaar e Reed Kram, Jaka Železnikar

” REFF Special Mentions 2009/2010″
Daniele Mancini / Urban Fields, Agnese Trocchi, Mathilde Neri Poirier / Hotel Nuclear, Luther Blissett, Agatino Rizzo / Cityleft, Adriano Sanna / Image Hunters, Pasquale de Sensi, Paola Zampa, Michael Cipolla, Chiara Passa, Anna Olmo, Eva Pedroni Simoncelli, Francesco D’Isa, Marco Pignatti, Samo Pedersen, Anna Gramma, Ivan / Eri Nav, Nanette Wylde, Laura Spampinato, Alessandro Suizzo, Chiara Micheli, Andrea Paglia, Difesa Jubecca, Andreas Maria Jacobs, Leif Ahnland, Stefano Pala e Francesco Rosati, Alessio Ballerini, Gregor Rozanski, quwt, judsoN, Bernardina / Demo Architects, Jelena Jovic, Sara Basili, Juan Lopez, Jimenez Lai, mag.MA Architetture, moriyuki, Giorgia Borroni, Cortomobile, Cenk Dereli, Titusz Tarnai, Daniele Salvatori, Chiara Angioli, Luis Rolando Rojas, Yurij Alekhno, Jose Antonio De Jesus Corona Gonzalez, Snak3, Adriana e Morena, Sheriff Xenoph, Pier Giorgio De Pinto

Edited by:
Cary Hendrickson, Salvatore Iaconesi, Oriana Persico, Federico Ruberti, Luca Simeone (FakePress)

http://www.romaeuropa.org

Available in the best bookstores from November 2010

ESAConference

ESAConference

from ESA Conference 2010 @ Bocconi University on AOS

 

We have recently been at the ESA Conference 2010 “Culture and the Making of Worlds” held at the Bocconi University in Milan during October 2010.

The conference is one of the main events in the global research scenario of sociology. It is held by the European Sociological Association (ESA) and the conference was organized by the ASK group at the Bocconi University.

With FakePress we presented a series of projects.

First we made a general presentation of the FakePress project

 

Then we presented the Squatting Supermarkets project:

 

then we presented our anthropologi writing project Ubiquitous Anthropology / Ubiquitous Bororo:

 

and the second part

 

and then we presented the REFF RomaEuropa FakeFactory project / action

 

and, by the way, check out often on the REFF RomaEuropa FakeFactory page, as a wonderful book is coming out using augmented reality and wide tagging techniques published by DeriveApprodi and FakePress.

All our contributions have been published here on the SSRN (Social Science Research Network).

In the next few days we will publish all the presenttions and PDFs of the presentations.

New Media BookNew Media Book

FakePress and Art is Open Source will present a workshop titled

“Next-step publishing: ubiquitous, disseminated, emergent, multi author narratives”

[program and info at the bottom of the article]

We can transform any space or surface into a display using electronic devices combined with location-based technologies, sensors, augmented reality and innovative visual surfaces. Furthermore, interactive surfaces are transforming the world, people and their activities.
It is progressively more possible – and accessible – to “write on the world“, layering contents, meanings, visuals and sensations that anyone can compose, diffuse and communicate.
The world transforms into a cross-medial polyphony built from ubiquitously accessible points of view: augmented reality, QRCodes, spime, fiducial markers, wearable technologies, portable electronic devices allow accessing content and information, and interacting with them directly from places, architectures, objects and bodies.
All this brings the word “publishing” into a totally new perspective, deeply mutating all of the roles involved: editors, authors, audiences, critics, curators. Roles that remix just as the visions and the contents, mutually interconnecting and overwriting each other, creating multiple and fluid visions of the world whose adoption can be a key element to the creation of new forms of expression, new sensibilities, new spaces.
The availability of ways to effectively stratify interpretations on the world in autonomous and incontrollable modalities gives rise to infinite possibilities for self-expression, self-determination and for the creation of sustainable opportunities which we have a chance to catch. Doing it effectively is a linguistic act and a cultural process which we can only activate through the emergence of imaginaries that allow for creation of these autonomous realities, their integration in the flow of our daily lives and the escape from those “walled gardens”, dead ends and mouse-traps that constantly sit around the corners of technological adoption.
During the workshop we will present these concepts throughout the disciplines and practices of art design and communication sciences, of digital and visual cultures, of hacking and activism.
Theory will go side by side with practice: we will introduce our newly developed Open Source platform that will be released by november under a GPL2 license, through which any WordPress blog can be transformed into a multichannel publishing system with cross-medial features (web, mobile, paper, augmented reality, location based, digital book…).
We will then show, in practice and getting people involved, how it is possible to use the platform to create a cross-medial publication that is accessible geographically, in proximity, architecturally, from objects “filled” with content and information, in augmented reality, from mobile phones, tablets and computers, and also from paper publications.
For anyone attending: please bring your laptop. The workshop will be useful even if you don’t bring your laptop with you, but you’ll have a chance to create your own example publication if you do bring it.

An event inside Innovation Festival 2010 – www.innovationfestival.it

Innovation FestivalInnovation Festival

NEW MEDIA BOOK
CONFERENCE + WORKSHOP

curated by
Milano in digitale
Cristina Trivellin e Martina Coletti

Fondazione D’Ars Oscar Signorini onlus, Milan

October 9th 2010 – 14:00 / 19:00
Palazzo Affari ai Giureconsulti, piazza Mercanti 2, Milano

14:00-16:30 workshop
“Next-step publishing: ubiquitous, disseminated, emergent, multi-author narratives”
Salvatore Iaconesi/xDxD.vs.xDxD e Oriana Persico/penelope.di.pixel
FakePress http://www.fakepress.it/

16:30 Conference with:

  • Antonio Caronia, scientific curator of the initiative
  • Mario Gerosa, curator, and Roberta Peveri coordinator of: Parla come navighi. Antologia della webletteratura italiana, Edizioni Il Foglio
  • Alessandro Bertante, writer, curator of the anthology Voi non ci sarete. Cronache dalla fine del mondo, X book
  • Marco Ghezzi, BookRepublic (http://blog.bookrepublic.it/)

Link to the Facebook event: http://www.facebook.com/event.php?eid=152666021423234

Robot Festival 2010, Bologna, ItalyRobot Festival 2010, Bologna, Italy

Augmented Reality can create opportunities for critical reinvention of the world.

Squatting Supermarkets uses augmented reality to break open the codes of commercial communication on the products we use every day. By taking a picture with your mobile phone to the logo of a product, individuas can contribute to a global, disseminated relational discourse on ecology, sustainablity and social responsibility issues of the things we eat, wear and use every day.

The logo gets recognized with computer vision techniques and is used as a fiducial marker that can be used by the Squatting Supermarkets application to create a discussion space onto which people can write their thoughts and interact with other individuals and groups.

An interpretative layer on top of reality where we can express ourselves, bypassing communication control strategies enacted by corporations and governments. Augmented Reality as a new space for self-expression.

FakePress and Art is Open Source present:

Squatting Supermarkets @ RObot Festival 2010

from 15th to 18th September

Bologna, Italy

click here for more info about RobotFest 2010

click here for more info about Squatting Supermarkets

click here for even more info about Squatting Supermarkets

please link back to: http://www.artisopensource.net/2010/09/09/squatting-supermarkets-robot-festival-bologna/

The video shows the presentation of the paper titled “Wearing Emotions: Physical representation and visualization of human emotions using wearable technologies” presented at the IV10 (Information Visualization 2010) conference at South Bank‘s college in London, on July 26th, 2010.

http://vimeo.com/13779500

http://www.slideshare.net/xdxd/wearing-emotions-sifppresentation

The paper and presentation describe a research process focused on the scientific research, design and implementation of wearable devices able todisplay human emotions – be them individual, group or global – on physical bodies.
The devices created in the process have been used to create 3 artistic performances as both proofs of concepts and as innovative forms of artistic and aesthetic expression: Talkers performanceOneAvatar and Conference Biofeedback.

the slides relative to the presentation can be found here:
http://www.slideshare.net/xdxd/wearing-emotions-sifppresentation

the video can be found here:

http://vimeo.com/13779500

or here

http://www.archive.org/details/WearingEmotionsByFakepressPresentedAtTheIv10ConferenceInLondonJuly

on Art is Open Source:

http://www.artisopensource.net/2010/07/31/wearing-emotions-by-fakepress-presented-at-the-iv10-conference-in-london-july-2010/

Reference links:

the IV10 conference website:
http://www.graphicslink.co.uk/IV10/

Art is Open Source:
http://www.artisopensource.net/

FakePress:
http://www.fakepress.it/

Talkers Performance:
http://www.artisopensource.net/talkers/

OneAvatar:
http://www.artisopensource.net/OneAvatar/

Conference Biofeedback:
http://www.flickr.com/photos/xdxd_vs_xdxd/sets/72157622816765253/

from:

http://www.artisopensource.net/2010/07/25/squatting-supermarkets-new-interfaces-and-project-development/

A new interface for the squatting supermarkets installation was featured recently at the SMIR project.

Traditional products were added to the system, documenting their history, sustainable production processes and ecologic impacts.

by FakePress, Art is Open Source

produced by SMIR project, Marcovaldo association and Share Festival

Squatting Supermarkets

Squatting Supermarkets

Squatting Supermarkets at Mondovì

Squatting Supermarkets at Mondovì

On Friday May 5th 2010 Art is Open Source , FakePress and The Hub Roma will be in Mondovì together with the Piemonte Share Festival and associazione Marcovaldo to present the next steps of the Squatting Supermarkets / iSee project.

Squatting Supermarkets is one of the projects included in the SMIR (Spazi Multimediali per l’Innovazione e la Ricerca / Multimiedia Spaces for Innovation and Research) project, an european project inolving the restoration of two ancient churches in Mondovì (Italy) and Embrun (France) to create a trans-frontier media research center that will investigate on the possibilities for digital arts to collaborate with the development of territories and populations.

We (as AOS and FakePress) are investing a lot on this project, as we feel that arts and social innovation go well together hand in hand in exploring new practices for a more sustainable world.

And we are not alone in this. The Sharing (the association behind the Piemonte Share Festival) and Marcovaldo (an association with a long history of territorial interventions promoting development, the arts, local economies and creativity) have been truly active, lately, on our involvement wih Squatting Supermarkets, and they are setting up an ecosystem of local producers that will form a first official experimentation base for the adoption of the practices designed with iSee / Squatting Supermarkets.

During the next few months we will add a layer of digital reality to the wonderful traditional cheeses, wines, vegetables, salamis and meats, through which producers will be able to inform people about their sustainable production and distribution processes, and people will be able to gather information on what it means for them and for the rest of world to consume critically, accessing informations, documentaries, global sources of information. Finally the products we eat and consume every day will have a story: we will be able to know who produce them, where, how and with what effects on our world. And we will be able to communicate with them and among ourselves, near and far, directly throgh the products that shape our daily lives.

So, we are really excited to get this part of the project going!

And “We” is growing by the minute, as you can read here about the recent collaborations with our friends and partners at The Hub Roma, the research group at the Tor Vergata University in Rome, the students that will produce end-of-course project works on Squatting Supermarkets and iSee at La Sapienza University in Rome. And there will be additions by the minute.

In Mondovì we will present a research poster (you can download the PDF of the poster here) that describes the current state of the research (titled “the Active Consumer“) and the planning we have set up for the next important date for Squatting Supermarkets, around the half of July 2010, back in Mondovì for the next steps of the project and a beautiful event in the medieval city square together with all the artists and initiatives of the SMIR project.

In Mondovì we will also present the new features of the iSee application for iPhone / Android that is at the heart of Squatting Supermarkets, including a new information visualization technology that will be released as Open Source.

So, as usual: stay tuned!

please register at the Facebook Event if you’d like to inform us that you’re coming, and if you want to stay updated on the event:

Facebook Event

More info at:

Squatting Supermerkets – info
Squatting Supermerkets – artistic statement by Salvatore Iaconesi
iSee – info
Zero Impact Technology Prize offered by the EnviParc in Turin – Piemonte Share Festival ‘09
Presentation  @Faculty of Architettura “La Sapienza” May 4th 2010 – Rome

Site Reference
www.smirproject.eu
www.toshare.it
www.artisopensource.net
www.fakepress.it
www.hubroma.net
www.designinteraction.it

Posted via email from xdxd.vs.xdxd

From Artisopensource.net

I was always facinated by We feel Fine by Jonathan Harris and Sep Kamvar.

The possibility to design using emotions has always intrigued me and, yet, it seemed like an unachievable task.

The notion of being able to identify emotions in an automatic (or assisted) way is quite a complicated activity, and it needs to enact complex classifications and profund analisys of cultures, contexts, noises, ironies.

FakePress - Publishing EmotionsFakePress – Publishing Emotions

Theory

Some theories come to our rescue while approaching the enormous feat of identifying and classifying emotions.

Plutchik’s psychoevolutionary theory is based on ten postulates that identify basic emotions as entities derived from primordial behaviours, with actual, complex, emotions being represented as linear combinations of the basic ones, disposed in 2D and 3D geometries that highlight similarities and opposites among them.

Paul Ekman researched on models for identification and classification that have been very useful in the analisys of facial expression.  Our faces are one of the most evident places in which our emotions show, and Ekman’s research is very important from a cross-cultural point of view, as he identified a limited set of emotion/facial expression pairs that are virtually unmodified across all cultural extractions.

Magda B. Arnold provided an incredible surge in interest on the theories of psychology of emotions by researching them in the 1940s, when the behavioural perspectives were the main trend. Her research on the interrelations between emotions and the tendency to perform actions is somewhat outdated, but a milestone in the scientific history on these themes.

Nico Frijda focused, like Ekman, on the connections between facial expressions and emotions, in somewhat of a behavioural perspective in which emotions were the indicators of the readiness and tendency to perform actions.

Carroll IzardJeffrey Allan Gray, John B. Watson and Jaan Panksepp provided a somewhat more physical form of interpretation of emotions, creating their own schemes for classification originated from the idea of basic emotions as being hardwired into our bodies and primordial mind setups. Watson specifically dedicated several chapters of his books to the analisys of emotions as hereditary modes of response.

William James and Carl Lange produced a theory on basic emotions according to which within human beings, as a response to experiences in the world, the autonomic nervous system creates physiological events such as muscular tension, a rise in heart rate, perspiration, and dryness of the mouth. Emotions, then, are feelings which come about as a result of these physiological changes, rather than being their cause. James and Lange arrived at the theory independently. Lange specifically stated that vasomotor changes are emotions. A bodily connection with emotion and a classification scheme deriving from it.

William McDougall produced a theory intercnnecting emotions and basic instincts, in main opposition with Watson’s behaviourism. According to McDougall, behavior is not simply a response to a stimuli but is goal seeking and purposive. For McDougall, a person’s emotional core was stable and unimpacted by learning.

O. H. Mowrer presented some interesting results on the possibility of interpreting emotions through the lens of a learning process. His exaples were particularly effective on guilt and other forms of emotion that were easily imposed by cultural contexts.

Silvan Tomkins focused his research on understanding the level of neural activity connected to the activation of emotions. His Freudian derives were originated from the idea of the behavioural importance of the mechanisms generating from “lacking” something. His classification of nine pairs of affects depict this idea.

Oatley and Johnson-Laird assume in their theory, called by them “communicative theory of emotions” (Oatley & Jenkins, 1996, p. 254), a hierarchy of parallelly working processing instances, which work on asynchronously different tasks.  These instances are coordinated by a central control system (or operating system).  The control system contains a model of the entire system. This is a semantic theory of emotion that is particularly interesting for our purposes, as it is specifically designed to be implemented on a computer.

Ortony, Clore and Collins assume that emotions develop as a consequence of certain cognitions and interpretations. Their theory exclusively concentrates on the cognitive elicitors of emotions. They postulate that three aspects determine these cognitions: events, agents, and objects. The main objective of their research is to investigate the possibility to design a formal system or a computer that is able to draw conclusions about emotional episodes which are presented to it.

Roseman bases a theory on a model in which five cognitive dimensions determine whether an emotion arises and which one it is. The first dimension describes whether a person possesses a motivation to a desired situational state or a motivation away of an unwanted situational state. The dimension thus knows thus the states “positive” and “negative”. The second dimension describes whether the situation agrees with the motivational state of the person or not. The dimension thus knows thus the states “situation present” or “situation absent”. The third dimension describes whether an event is noticed as certain or only as a possibility. This dimension knows the conditions “certain” and “uncertain”. The fourth dimension describes whether a person perceives the event as deserved or undeserved, with the two states”deserved” and “undeserved”. The fifth dimension finally describes, from whom the event originates. This dimension knows the states “the circumstances”, “others” or “oneself”. From the combination of these five dimensions and their values a table can be arranged (Roseman, 1984), from which, according to Roseman, emotions can be predicted.

For Scherer five functionally defined subsystems are involved with emotional processes.  An information-processing subsystem evaluates the stimulus through perception, memory, forecast and evaluation of available information.  A supporting subsystem adjusts the internal condition through control of neuroendocrine, somatic and autonomous states.  A leading subsystem plans, prepares actions and selects between competitive motives.  An acting subsystem controls motor expression and visible behaviour.  A monitor subsystem finally controls the attention which is assigned to the present states and passes the resulting feedback on to the other subsystems. Scherer is especially interested in the information-processing subsystem.  According to his theory this subsystem is based on appraisals which Scherer calls stimulus evaluation checks (SEC).  The result of these SECs causes again changes in the other subsystems.

A very interesting approach comes from Aaron Sloman, according to whom emotions are not independent processes, but develop as emergent phenomenon from the interaction of the different subsystems of an intelligent system.  Therefore, no necessity exists for an own “emotion module”.  A look at psychological emotion theories leads Sloman to the conclusion:
“Disagreements about the nature of emotions can arise from failure to see how different concepts of emotionality depend on different architectural features, not all shared by all the animals studied.” (Sloman and Logan, 1998, p. 6)
Sloman’s approach intentionally disregards physiological accompaniments of emotions.  For him these are only peripheral phenomena: “They are peripheral because essentially similar emotional states, with similar social implications, could occur in alien organisms or machines lacking anything like our expression mechanisms.” (Sloman, 1992c, p. 20)

Dacher Keltner focuses on a social approach to emotions. In his own words: “My own studies have focused on the social functions of emotion, arguing that emotions enable individuals to respond adaptively to the problems and opportunities that define human social living. Based on this approach to emotion, I have documented the appeasement functions of embarrassment, the commitment enhancing properties of love and desire, and how awe motivates attachment to leaders and principles that transcend the self.” This is a really interesting perspective, as it accounts for the possibility to analyze emotions from a point of view that encompasses complex interactions among social contexts, cultural backgrounds, emergent dynamics.

Design

The visualization shown on FakePress’s homepage represents the beginning phase of a design process.

It uses Plutchik’s classification and applies by leveraging the availability of several realtime search engines that allow our systems to fetch information from a multitude of sources on social networks, blogs, websites. Services such as Collecta, OneRiot and the APIs offered by Twitter, Facebook, Friendfeed and Google .

This first implementation had two main goals in mind:

  • the possibility to design and implement a system that is able to analyze great amounts of data in realtime to search, identify and classify “emotional data”, meaning data that can be interpreted as the expression of an emotional state
  • the identification of representation schemes that are characterized by a high degree of expressivity, accessibility and synthesis

What we wanted was a “device” that was able to present low-doses of highly expressive information obtained by processing great amounts of information that were collected as being “emotion expression related”.

This first prototype does just that:

  • data is priodically collected using the aforementioned realtime services (every 2 minutes, the system collects the last 10 minutes of information, keeping a history of 40 minutes in its databases)
  • processing the data, before storing it (also to avoid problems related to privacy and intellectual property), by selecting the information regarded as “interesting” and “relevant” (e.g.: sentences with a definite structure, such as “i feel…”, and others), anonymizing it (removing references to actual sources) and, finally, storing it in a parametricized way (e.g.: the whole sentences making up messages are not stored; the list of words, relevancies and phrase structures are)
  • use Plutchik’s classification, applied using about 2000 synonims (and growing) to identify and classify emotional states
  • grouping data together with its identification indexes to aggregate it into the synthetic, graphic form shown on the visualization

Plutchik’s classification is far from satisfactory from our point of view. But it served two purposes: on one side it was easy enough to implement (in its necessarily approximated form for what concerns the need to filter input data); on the other side it offered useful insights for the deisgn of a global process that we will use for the next steps.

Next steps

In the next steps this concept will be expanded in the following directions:

  • implement a different classification methodology to achieve a more significant result: we will probabily use Keltner’s or Sloman’s methodologies to obtain results that assess social and anthropological issues
  • expand mechanisms and systems to include the possibility to analyze multiple cultural contexts, different languages and diverse communities or individuals
  • include in the system a generalization of the input layer, to be able to connect devices that collect biometric information to be used side by side with written language and other types of interaction to infer emotional states
  • create a multi-community structure, where individuals can join in to share and disseminate their emotional states
  • expand the set of visualizations and representations, to include the creation of emotional maps, body stimulations, visual compass-like visualizations

We will head toward a broadened definition of augmented reality in which “ordinary reality” is augmented with emotional layers acting as “interpretative layers” on the world we live in. What happens when i can share my emotions with people, associating them to specific places, times, objects, environments, bodies? What kind of comunication forms can arise? What kind of education processes can this practice stimulate? How can cultural production, knowledge sharing, education, creativity, innovation, entertainment, commerce, ethics, politics and, in general, science  and arts benefit from such practices.

Stay tuned and collaborate with us while we start this research process.

FakePress welcomes contributions and participation from interested researchers, artists, creatives, interaction designers, academics, entrepreneurs and experimenters wishing to join in the research process.

[fundamental contributions for this text come from this webpage ]

Come and see Squatting Supermarket’s augmented reality buffet @ La Scighera, on January 24th (Sunday) 2010

event info here:

http://www.lascighera.org/e-ancora-magnaven-e-semper-beveven-barbera-squatting-supermarkets

Squatting Supermarkets occupies and reinterprets the spaces and times of commerce, to enact critical practices and poetical reflections, superimposing a free and accessible digital space on ordinary reality.

Augmented Reality, natural interfaces, free knowledge and information to create complex shopping narratives and freedom for expression.

http://www.artisopensource.net

http://www.fakepress.net

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/