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  • DE MOURAT Robin (6)
  • LATOUR Bruno (6)
  • LECLERCQ Christophe (4)
  • BRILLI Agata (3)
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  • Article (9)
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in Diseña Publié en 2021-09
CALIBRO design studio
DUNCAN Evennou
VERJAT Benoît
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Online images could be considered as traces of the dynamics of social issues. Concurrently, the same images are enrolled in vast algorithmic infrastructures. Specific research registers have been devised to account for, and experience, one or the other of such specificities. The scope of the present contribution is to introduce a possible crossing of the existing registers and to further the role of large image corpora visualizations beyond pure analytical or critical purposes. To this extent, the ʽDEPT.ʼ project is described. A series of visual artifacts —data- and media- visualizations, catalogs, tableaux, and scores― were conceived during the project in order to progressively bring online images to public and participatory settings so as to inquire into situated issues. The paper details the needs, intellectual frameworks, and methodological choices, along with the visual artifacts conceived in the project to develop online images as shared and collective expressions of the issues under inquiry.

in Reassembling Scholarly Communications Publié en 2020-10
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in City Killers Sous la direction de TOZZI Lucia Publié en 2020-02
CALIBRO design studio
ÓBELO design studio
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Mentre la home page di Airbnb si sta caricando, la casella di ricerca dice Anywhere. La pagina si carica e, nella stessa casella, il testo Prova “Miami” sostituisce Anywhere. Digitate Milano nell’interfaccia, inserite un paio di date – una per l’arrivo, una per la partenza –, aggiungete il numero di compagni di viaggio. Scorrete e selezionate i servizi a cui non rinuncereste mai mentre siete a casa altrove. La piattaforma proporrà le soluzioni disponibili tra i 17.659 annunci su Milano, ma l’interfaccia dirà semplicemente “più di 300 posti per soggiornare”. Se state cercando un appartamento per la Settimana del Design, molto probabilmente l’interfaccia vi avvertirà: Il 203% in più di persone è alla ricerca di una casa a Milano. Arrivi in città in un momento di grande richiesta. Vi consigliamo di sbrigarvi a prenotare.

in Diseña Publié en 2020
ALLEN Jamie, Critical Media Lab)
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This special issue explores how do we account for the sensitive, intimate ways in which our toolsets ‒ and our choices of these ‒ become the infrastructures that co-produce and co-constitute knowledge and meanings. Testing Against the World aimed at addressing, exploring, and making more explicit the following questions: What drives the choice of toolsets in empirical investigations? Why does contemporary research demand to be ‘grounded’ empirically? What professional, personal, and emotional attachments afford the selection of particular means of observation and translation? What do we expect from our tools? What do they expect of us? How are tools and technologies instrumentalized? How have tools and research adapted or been forced to adapt to new empirical demands, and knowledge economies? What have such settings required us to assume, acquire, or impose? How do choices of instruments and tools pre-format worlds under investigation and authorize the creation of new worlds?

in 2CO - COmmunicating COmplexity Sous la direction de CECCARELLI Nicolò Publié en 2020
PERONDI Luciano
FERRARI Marco
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This paper discusses a theoretical framework for a research aimed to produce a dictionary of visual analogies used for the explanation of scientific theories, collected both from historical and contemporary sources. The artifacts will be indexed through a set of criteria and tags that will allow to navigate the contents and map correlations across time, scientific domains and types of publication. The archive will grow as an open-ended accumulation of examples, adapting the methodology for the selection and organisation of the analogies based on the new entries. A set of visualisations will be used in order to navigate the archive and make emerging patterns legible. The initial method of classification will be based on the faceted system envisioned by Luca Rosati (Rosati, 2015), in which artifacts are tagged and tags are organised according to a faceted classification. Tags will not be mutually exclusive, but they’ll act like attributes: each entry may have multiple tags, tthe number of which can grow without any limit or predetermined direction.

in Reassembling Scholarly Communications Publié en 2020
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“Journal,” “monograph,” “conference proceedings.” These are just a few names of formats that evoke the institutions and practices of the academic world. On the one hand, they summon a shared framework for thinking, reading, and writing; connecting specific institutions, infrastructures, and activities. On the other hand, they contain diverse and differentiated expectations depending upon disciplines, countries, and schools of thoughts. Moreover, if we compare them with the contemporary objects to which they relate, a certain cognitive dissonance may arise. Is an “academic journal” still a “journal” when it is less and less affected by its periodicity, and more and more distributed and manipulated at the level of granularity of its articles or citations? Is the expression “conference proceedings” still relevant when it stands for the online publication of audio or video recordings? What is an “academic book” when this expression designates artefacts spanning from collections of diverse fragments and excerpts found on the web, to e-reader oriented .epub compositions? If one acknowledges that the materiality of an academic text significantly affects the communication functions and practices attached to it, these displacements between names and experiences take on some significance. Names are far more stable than the actual practices and purposes that they imply. How, then, to qualify these displacements and the persistence of a format’s names? How do they affect the formation of scholarly communities in contemporary open and transdisciplinary collectives? How does a format make a public?

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De suite d’instructions traduites en langage informatique, les “algorithmes” ont été investis d’un sens bien différent depuis qu’ils sont devenus des compagnons quotidiens de nos activités en ligne, et influencent notre vie économique, sociale et politique. Ils sont aussi de vastes assemblages sociotechniques distribués qui comprennent données, plateformes, calculs, hypothèses, monétisation de l’attention, etc., qui reconfigurent l’innovation dans un large éventail d’activités et concentrent un pouvoir dont il est difficile de saisir la nature. La relation entre la société et ses algorithmes est conflictuelle. Par l’intermédiaire d’une méthodologie interdisciplinaire croisant sciences sociales et design, nous cherchons à nous saisir des erreurs commises au quotidien par les technologies de calcul pour en rendre visible certaines caractéristiques, rendre compte de l’expérience des utilisateurs de services numériques qui sont calculés par les algorithmes, et poser les bases d’une éthique de la négociation avec l’agentivité algorithmique. Nous faisons appel à la figure du glitch pour convoquer un imaginaire alternatif qui rééquilibre la relation entre intelligence humaine et intelligence artificielle.

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This paper is part of a research about the visualization of complex systems. More specifically, it focuses on the emerging need for a narrative approach in the understanding of complex networks. A listener plays a key role in any narration process. Likewise, in every visual representation, the observer has the same role: narrators evoke whereas observers interpret through their imaginary. Why should the designer use a narrative mode of thought? Why should he give to the audience a good story more than a sound argument?. To answer these questions, we present the Map of the Future we designed for Wired Italy.

in Design as problem-making Sous la direction de RAMON Rispoli Publié en 2019-04
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We designers, through our activities and our practices, have tirelessly produced the future. We have seen, foreseen and made others see the future by realising it, by making it real. Other disciplines and practices have imagined or planned the future, but they have still relied on design to produce its iterations at a human, vivid and tangible scale. We have been called to materially weave together the horizon of the “vision” and the plane of “action” by using “projects” as vectors. All modern reflections on design and its methods have mobilised this ability as their very disciplinary justification. They have articulated an idea—or an ideal—of design as a problem- solving activity (Dorst, 2006). A transformative process obtained by jumping into the future and then returning to fix a specific reality. The field of Design has unbound its scope ever since, to the point that, as Colomina and Wigley (2016) noted “[t]here is no longer an outside to the world of design. Design has become the world.” This completely designed world, the one that has been brought back from the future, is today showing its fragilities, its precarity. As Tony Fry (1999) showed, design—the global, modern and solutionist enterprise—triggered some significant “defuturing effects”. It contributed to hindering the world itself from having a future. The contemporary reality, along with its political, social, technological and ecological issues (Latour, 2018), transformed the future—once thought of as an infinitely expandable horizon, spatially and temporally—into an incoming pressure acting on the present (Latour, 2010). Faced with a contraction of possibilities in terms of the availability of time and space, we should question the way in which we are allowing our present reality to be investigated, represented, designed and, ultimately, endowed with a future.

The essay tries to unfold the specificities of some design approaches developed at the SciencesPo médialab. Instead of proposing a generalizable set of methods, this experiential account is a tentative systematization of some techniques that have been tested in the lab. Describing them is like annotating an anthology of thoughts and experiments that revolve around the questions of the ‘public’ and its ‘issues’. The techniques are aimed at exploring the social, technical and political issues, collecting their traces, their descriptions and their partial stories, bringing them into a space where they can be questioned. The different techniques are aligned into two epistemic movements, complementing, supporting and expanding the digital methods traditionally used in the lab. The first movement tries to produce a localized representation of the issue. The second one invites the public to get as close as possible to it.

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