January 20, 15
Are ‘Smart Cities’ Smart Enough?
Stephane Roche, Nashid Nabian, Kristian Kloekl, and Carlo Ratti
Urban Computing and its Disconnects
Adam Greenfield and Mark Shepard
To what extent does an effect need to be unpredicted to be a response rather than reaction? How many alternative effects need to be possible? If an effect is one of many options to a condition is it a response?
As city populations grow there need be new systems to organize, house, and govern people. The significant expansion of peoples cannot necessarily be adequately responded to by the structures of existing government. The cultural individualization of peoples using portable personal computers can be compatible with acts of self-monitorization through self-sensing, however, the result of self-sensing can not necessarily be significant unless the results of a populations health conditions be pooled together with corresponding data for environmental conditions in order to find patterns for causes so that solutions can be more properly rooted. But how can people feel comfortable giving their bodily and locational data to a ruling party without feeling vulnerable? Can systems of collecting data be made transparent? If the city is run by data, societies will need to be educated in the matter as they are in other subjects. If a society is educated about environmental and bodily data inputs can it be more aware if its impacts? owHow How can the presence of “ambient informatics” benefit rather than distract society?
Whether ambient informatics and city sensing will benefit or endanger society, or both, it is an inevitable condition of humanities evolution as cultural interconnectedness with personal computation and communication devices rises. Information designers, architects, media analysts, technologists, and other thinkers and makers of society a like need to confront their potential role in the revolutionization of humanity.
The two essays discuss the systematic implements of computer programs graphic and web design. The concept of “default” system is reoccurring, Rob describing its actuality and Allen providing a solution called “tailoring” or editorial design. This idea sort of agrees with Rob, in that is suggests a program that is made to be overridden. A way of designing, similar in process to consumer engineering, that is to be altered optimally. The thing is, however, that this still does not get so close to confronting the issues Rob brings forward about systems of the design programs themselves, such as InDesign, Illustrator, etc. So Allen’s case gets half way there with “tailoring” individual web pages to suit its own content, and creating a system that can be tailored conveniently. It is the tailoring that may still be individually subject to default systems of design, and therefore is but a small solution that will not satisfy those who think more radically and passionately. Allen makes logical points but it seems these points are not nearly innovative enough to empower design and the designer and free him from the grid, nor template design, which I believe is default by nature. It is skeletal and barren of the very empowerment design is in need of, if it is to ever break free from advertisemental cliché and democratic surrender. The democratization of art, and design, degrades it to a point of amateur visuals designed by anyone who can get others to agree to actually use it. From there the billboard effect comes into play, and the viewers become passive and the views become hollow enterprises, like the face of a dictator decorating the streets where air used to be. A classic way to address the conservation of safe democratic design, would be to analyze it from within. To begin with the program which today, is the heart of design. When are we defaulting? What is not default? What happens when design is separated from exterior content and becomes its own content?
an animated poem based on a short story I wrote for my lover
a short film made in stop motion as a contemporary music video for the song A Feast of Friends by Jim Morrison and The Doors (all rights given to original copyright holder)