Myriads: workshop Pills

EACH LAYER GENERATES
DATA / INFORMATION
HOW?

EACH LAYER IS CAPTURED IN
DIFFERENT WAYS
(and you can assume that, in one way or another,
if you generate it someone is capturing it,
whether you realize it or not)
HOW?

INTEROPERABILITY
LINKED-DATA
and other issues…

COME SEE THE NEXT ONES!
come see the Myriads exhibit
take your knowledge pill
www.artisopensource.net
www.human-ecosystems.com
www.ubiquitouscommons.org

8-20%of social networking activity is generated by BOTS
23 million on Twitter (14%)
56% of trafﬁc, according to Incapsula’s Bot Trafﬁc Report
8,7% of Facebook users

human non-humanhuman logics non-human logics

human
non-human
non-human
non-human
human
human
human
human
human

Micro-History
the intensive historical investigation of a well deﬁned
smaller unit of research (most often a single event,
the community of a village, a family or a person)”

“Their story begins on ground level, with footsteps. They are
myriad, but do not compose a series. They cannot be counted
because each unit has a qualitative character: a style of tactile
apprehension and kinesthetic appropriation. Their swarming
mass is an innumerable collection of singularities. Their
intertwined paths give their shape to spaces. They weave places
together. In that respect, pedestrian movements form one of
those “real systems whose existence in fact makes up the city”.
They are not localized; it is rather that they spatialize. They are no
more inserted whithin a container than those Chinese characters
speakers sketch out on their hands with their ﬁngertips.”

continuously
re-programming the environment
but tactics are not legible

this form unpredictable
creativity describes a space,
in which revolutionary
potentials exist

“… everything comes together… subjectivity and objectivity, the
abstract and the concrete, the real and the imagined, the
knowable and the unimaginable, the repetitive and the
differential, structure and agency, mind and body,
consciousness and the unconscious, the disciplined and the
transdisciplinary, everyday life and unending history.”
in the Third Space:

«Like a weed creeping into an air-conditioning machine the
industrial city will be ruined by rumours and by stories. The
common subconscious will surface to the street level and
architecture will start constructing for the stories – for the
urban narrative. This will be soft, organic and as an open
source based media, the copyrights will be violated. The
author will no longer be an architect or an urban planner, but
somehow a bigger mind of people. In this sense the
architects will be like design shamans merely interpreting
what the bigger nature of the shared mind is transmitting.»

Third Infoscape
The Third Infoscape refers to the information and
knowledge generated through the myriads of micro-
histories, through the progressive, emergent and
polyphonic sedimentation of the expressions of the
daily lives of city dwellers.

a communicational environment, a diffused cloud of
sense and meaning which goes beyond the dynamics
of screens, and which is not virtual anymore, but
impalpable and mental

Heading towards a state which is basically comparable to the
one of telepathy (among human beings, human beings and
machines, machines and machines…), reconﬁguring urban
ecologies so that mapping virtuality or physicality would not
be needed anymore, and replacing this need with the
possibility to create recombinant inventories of the telepathic
migration of dusts, of the myriads of pulverized sensors which
are disseminated, diffused

We can imagine information mutating into
landscape, delineating an urban space which is not
determined by distance and time, but from the
transformation of densities and presences.

The wireless city is a space for the production of
dust in all its modalities. The city abounds with
compressed and errant signals. Yet instead of
dissolving urban space, as so many writers
suggest, these communication and sensing
technologies ﬁll it with signals
— Jennifer Gabrys

This is the telepathic imperative. Data exists
everywhere in excess. In the wireless city, it ﬂoats
and settles in a hazy surround. Sifting through the
modalities of dust to sense and communicate
through the urban medium will ultimately require a
well tuned telepathic sense
— Jennifer Gabrys

technologies
the ethnographer’s joke:
One day, the ethnographer wanted to take a picture of the natives
he was studying
As he tries to shoot, the native stops him “Wait! Wait!”
The ethnographer goes “oh, I’m sorry, you’re afraid because you
think that it will setl your soul…”
And the native: “no, no… it’s just that you didn’t switch on the
camera, and you’re holding it the wrong way!”

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, diffused, 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.

This is done by creating a Commons, to which
anyone can participate, in a performative,
participatory observation of the cultural
phenomenon, and in which all of the
observations are accessible to everyone,
manageable, remixable, recombinant.

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.

these are only a few seconds of the relational ecosystem in the city of Rome
we can see how relations are established among communities and groups,
and how information, news, opinions, emotions and knowledge ﬂow from
one node to the other.

this is an emotion observed in real-time over the city of Rome

these are the quantities of discussions happening in real-time
in the city of Rome, using social networks, and regarding the arts,
theater, music, and more. It is the cultural life of the city,
visualized in real time.

the large, yellow box, is centered
over the MAXX Museum of Rome,
as the Tech-Crunch event is in progress,
and people are very active on social
networks.
We have observed the transformation of the relational
ecosystem of the city of Rome before, during, and after
(15 days, 60 days and 120 days) the event, to understand
its impacts on the city.
We have designed a method to answer the question:
“how do you make an ecosystemic event in the city?”
“how do you make an event which creates persistent
relations in the city?”

this is the relational ecosystem of the innovators in Italy
it is interesting, because it highlights how it is held in place
by a limited number of large operators (in the center
of the relational supernova), which hold everything together.
in other words: everyone holds relations with few
large operators, but there are little-to-none peer-to-peer
relations going on
the innovation ecosystem is not really resilient,
and is dominated by large operators

UBIQUITOUS COMMONS
http://www.ubiquitouscommons.org

THE SCENARIO
• we generate massive amounts of
information, through network
connected devices

PROBLEM
• we have no way to understand what
information we generate
• we have no way to understand how this
information is used (directly and indirectly)
• we have no possibility to express how we
want our information to be used
• we have no constructive way to build
collaborative initiatives using all of this
information

HYPOTHESIS
• create a peer-to-peer protocol
• (and, hence, ecosystem)
• which hosts our expression about
intended usage of information, and
• which hosts the access mechanism to
our data/information

A LEGAL / TECHNOLOGICALTOOLKIT

note: scenario is shown for social networks, but also works for IoT, wearables and network connected devices

DATA-SUBJECTS CHOOSE
FORTHE INFORMATIONTHEY PUBLISH/
GENERATE

“LICENSE” BECOMES POLYMORPHIC
BY CREATING NEW IDEA OF IDENTITY

IDENTITY?
INDIVIDUAL
COLLECTIVE 
ANONYMOUS 
NOMADIC 
TEMPORARY

IDENTITY GENERATED USING
RELATIONAL ANDTRUST
BASED MECHANISM
(HIGH QUALITY RELATIONAL ECOSYSTEM)

“LICENSE” CREATED BY
ATTRIBUTING DATA/INFO
TO CERTAIN IDENTITIES

LICENSE DISTRIBUTED ONTOTHE
BLOCKCHAIN

THE ENTIRE BLOCKCHAINVERIFIES
ACCESS

TRANSACTIONS ARE LIKE MICRO-
CONTRACTS: FULLYTRACEABLE AND
TRANSPARENT

COMMUNITIES/ORGS/PEOPLE CAN CREATE
LICENSES FOR SPECIFIC PURPOSES, BY CREATING
THEIR IDENTITIES

OPENS UP MULTIPLETYPES OF
ECONOMIES

MOVETO FIRMWARE OF
IOT AND NETWORK CONNECTED
DEVICES

“The Third Industrial Revolution? Yes! Meaning that
we’re seeing a new kind of factory: this time not for
bodies, but for minds”

“The emergence of the Experience
Economy coincides with, albeit not
coincidentally, heightened interest
in creative thinking. It also
introduces a real need for greater
improvisational skills in the
workplace.”

the
Industrialization
of the Mind

the paradox of the cultural industry
Conscience can be induced and
reproduced by industrial means, but
it cannot be produced.

The industry of the mind does not
produce anything, but the dynamics of
inﬁltration and transmission which are
necessary to the formation of the
perception of what is possible,
desirable, preferable: in the formation of
the perception of the future.

The industrialization of the mind begins from education.
While we debate about curricula, education systems and
university reforms, the technological systems which will make all of
these things obsolete and irrelevant are right around the corner.
The possibility to control that which is accepted or
refused, perceived as present and future, is a primary
subject for political debate.

what does this have to do with
CITIES?

aristocrat
monster
freak
superstar
monster of
everyday life

what is the zombie of the 21st century?
?

“Most product designers focus
primarily on the internal mechanics
of the good itself: how it performs.
What if the attention centered
instead on the individual’s use of the
good? The focus would then shift to
the user: how the individual performs
while using the good.”

Both art and creativity, become norms,
expected, needed, both from the point of
view of the industry, and from the
perspective of the user, of the individual.
Both become performers, in stage acts
(the authors describe them in terms of
theatre genres), in which both parties take
active, constructive, creative part in a
creative action.

what is the role of intellectuals?
artists, designers, coders, creatives, writers…

the majority of creative products
are derivatives

this is not enough
to feed the industry

we have to deal with
potential troublemakers
… also said: those who radically innovate

Enzensberger:
“The rapid development of the mind industry, its rise to a key
position in modern society, has profoundly changed the role
of the intellectual. He ﬁnds himself confronted with new
threats and new opportunities. Whether he knows it or not,
whether he likes it or not, he has become the accomplice of a
huge industrial complex that depends for its survival on him,
as he depends on it for his own. He must try, at any cost, to
use it for his own purposes, which are incompatible with the
purposes of the mind machine. What it upholds he must
subvert. He may play it crooked or straight, he may win or
lose the game; but he would do well to remember that there is
more at stake than his own future.”

According to Marshall McLuhan
“the artist is the person who invents the means to
bridge between biological inheritance and the
environments created by technological innovation”.

According to Derrick de Kerckhove
“few people apart from artists are capable of predicting the
present. […] The role of the artist today, as always, is to recover
for the general public the larger context that has been lost by
science’s exclusive investigations of text”.

According to Roy Ascott
“the artist as the ﬁgure which is able to confront with a world
which increasingly sees its content and meaning as created out
of people’s interaction and negotiation. A world which is
unstable, shifting and in ﬂux; which parallels life, not through
representation or narrative, but in its processes of emergence,
uncertainty and transformation.”

According to Gregory Bateson
“art was the only possible way to satisfy the need of ﬁnding
solutions through radical changes in our way of thinking, or
even to our way of knowing.”

Arts are about possibility, and opportunity.
About sensing the present (the contemporary) and
exposing it, in ways that suggest reﬂection, and the
insurgence of imagination.
About the opportunity – through artworks and
performance – to shift what is perceived as “possible”, as
“imaginable”.

Myriads: workshop Pills

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