Radio Frequency Identification RFID

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Radio Frequency Identification RFID
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The Internet of Things

• At the moment only logistics and retail is
• thinking about this. But it is too important. If
  we
• light up the world it must be negociated by all
• stakeholders artists, poets, citizens,
  youngsters,
• old people, parents, children,

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For this we need neutral spaces that can bring
opposites together in dialogue

• A place to discuss, make prototypes and give
  advice to governments and companies
• Both the internet and the internet of things
• Media policy has become a policy of
  infrastructures and access

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Waag Society

• Education, Culture, Health, Public Domain

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• Collaborations between
• Users Groups/Society
• Designers
• Programmers
• Artists Scientists
• h gt Demo
• Die

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Design for social friction

• SEARCH JAM DEBATE RADIO RADICAL When they said
  sit down, I stood up
• Growing up, Bruce Springsteen  
• Two projects in
• development which investigate and produce tools
  for citizenship for both youth and
• policy agents. Two crucial terms are light
  communities and design for social friction. In
• Designing for social friction Exploring
  ubiquitous computing as means of cultural
• interventions in urban space the authors claim
  that social friction is articulated as a
• critical position, which could be applied as a
  strategy for design. In the recent decade
• we have seen many attempts in community projects
  and policies at large to design trust.
• The conditions in the European cities and
  specifically the disciplining measures by
• governments, the tendency to police situations
  that call for dialogue shows that this
• design for trust has lead to the current
  stalemate between an evergrowing call for more
• repression and indifference.
• (Rune Huvendick Jensen Tau Ulv Lenskjold IT
  University of Copenhagen www.itu.dk )

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Climate Change

• We look up and all around us ice is melting,
  strange flies appear on our
• doorsteps, ants we've never had before roam our
  houses, plants wake up
• among new neigbours. Those among us who pack
  their clothes for summer
• and winter are continuously at loss as of where
  to put what. The environment
• itself is changing themes, as if the scenes in
  her play are becoming slightly of.
• And we feel it. We care. Yet we act as if are
  quite helpless. In not being able to
• identify clear agency we seem to freeze in fear
  as we feel we can not do - do
• as in act change - anything.

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Future heritage (imagine ic, bibi panhuizen)

• It is clear that we do not need more data, more
  statistics, more graphs when we
• can feel the change in the winds of climates. It
  is also clear that we do not need
• more visualizations or mappings, or renderings of
  any kind to begin to argue
• that we might understand better. We do. Words are
  pushing themselves
• forward in particular sentences, bridges and
  narrative, it seems. Weary of the
• challenge of the pun, the riposte, the clever
  retorte, stream of consciousness
• for theory, we begin to look for fresh air.
• Future heritage (imagine ic, bibi panhuizen)

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Artists can be the pattern. 

• Sharon Fernandez - artist and institutional
  change strategist - says the artistic
• response to the credit crisis and climate change
  is primarily about the challenge
• to match the 'pluralities without' diversity of
  cultures, religions, everyday
• practices with the 'pluralities within'
  ourselves. In her view, artists do not map
• patterns but ARE the pattern. Through
  articulation of the need for the
• recognition of the pluralities within, we wish to
  take discussions and practical
• encounters at TM09 beyond the realization that we
  lack certain morals. We aim
• to fuse imaginative modes of confronting the
  'pluralities without' with a genuine
• attempt to formulate an ethics of how we might
  live with the pluralities within.

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