it is really nice that one of the last posts in this discussion comes from
these considerations on rural Brazil and its cultures.
One of the greatest influence for our support of science/arts/technology
collaboration, and on a polyphonic conception of culture and its
manifestations is Massimo Canevacci's work with the Bororo population in
Mato Grosso. If you have not read it already, I would strongly suggest you
read his "The Line of Dust":
Canevacci strongly believes in Marcus' concept of multi-sited ethnography,
which in itself obliges to a trans-disciplinary approach:
in current years what happens in rurality, even the most radically far
ruralities, is informed by what happens in the metropolis. It does not make
sense to study rurality without studying the metropolis as well. This has
impacts on people's opportunities and freedoms for self-expression and
self-representation. And, in these last few years, also in terms of
auto-representation, where "auto" means "automatic", meaning algorithmic
and datafied, through the actions of platforms, governments, corporations,
research itself etc.
when performing ethnography with the Bororo, Canevacci clearly states that
imagining that he is the researcher, observing, and they are the observed
subjects, is absurd. In the Line of Dust book, for example, this fact
emerges continuously: the Bororo which becomes a professor, and gives a
lecture on their cosmology and connects it with technology; their use of
technology in their claim with the government; their relationship with the
Salesians, and with the transformation of architecture (from the
classical, cosmology-connected architecture to the one which is
administration-related, and "civil"); the rituals (for example the
extraordinary experience with the Bororo funeral, and the intricate
relationship between representation, self-representation, technology,
performance, participation, solidarity, emotion)
This leads us to support approaches like the ones supported for example by
Marco Casagrande, who, in his Third Generation City describes territories
as "a form of knowledge". For example he speaks about "ruins" (the third
generation city as the "ruin" of the industrial city) in terms of sincretic
maps of the city, as they match the layerings, transformation and mutation
of the city and of people's daily lives, cultures etc.
Or with Gilles Clément's Third Landscape, which is in its nature
polyphonic. While John Barrel spoke about the "dark side of the landscape"
speaking about the ways in which gardens represented power's materialized
view on nature, the Third Landscape is an open-source, accessible, open,
possibilistic reservoir for polyphonic views on the world. And an extreme
location for biodiversity in the city.
And it is interesting how Casagrande takes up this concept, talking about
in his "Third Generation City" he says:
"Like a weed creeping into an air-conditioning machine the industrial city
will be ruined by rumors 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."
It is remarkable how these approaches, which are very rigorous, managing to
bring up large projects for cities, architectures, territories, etc,
require new definitions (or, following Roger's description of the "concept
of disciplines is no doubt absurd", maybe un-definitions) for disciplines
and the ways in which to traverse them: trans-discipline, maybe, more than
And they require a cultural intervention on aesthetics:
both Clément and Casagrande always speak about the necessity to achieve a
different aesthetic: how do you achieve the gaze which is able to recognize
the Third Landscape and the Third Generation City as beautiful,
interesting, valuable, etc?
Art, participation, performance, solidarity are the answers which these and
other authors give, together with an informed mash-up between sciences,
arts, technology, ethics and more.
This, for us, propagates to data, and to the whole digital realm that has
entered the scene in these years, and which is now really difficult, if not
impossible, to separate from physical.
This is why we have defined the Third Infoscape, which is for data,
information and their flows/circulations/deposit what the Third Landscape
is to urban nature and the Third Generation City is to architecture: the
myriads of micro-histories, the data/info/communication which they
generate, their polyphonic nature, their call for a new "telepathic
imperative" (see Jannifer Gabrys' wonderful "Telepathically Urban" essay) ,
and the need/call for new aesthetics and for new alliances.
Of course here the open availability, accessibility and usability of data,
information, knowledge and tools is of fundamental importance, and it
strongly questions the practices of many large players such as Google,
Facebook, Acxiom and other large scale data/information collectors and
managers, including governments and their derivations.
Not only in terms of freedom of access, but also in terms of "what" data to
collect, "who" uses it, "why" to collect such data in this way and for
these purposes, "how" to process this data, and more.
Which leads us to the necessity for a polyphonic scenario, in which
multiple approaches co-exist, influence and support each other,
ecosystemically, defining relations, separations, conflicts, differences,
This, for example, has a large impact on definitions of "heritage": because
in the Third Infoscape multiple forms can co-exist, passing through myriads
of micro-histories which become elaborated in different ways, and they
co-exist, and this multiplicity is the resulting "poly-heritage"
On Mon, Jun 26, 2017 at 2:19 PM, roger malina <email@example.com> wrote:
> i am here now in brazil in santa luxia where 'the human project' is working
> on a triad of creative industries, rural health and primary education
> they just got funding for a small building for a center for vocational
> for art science and technology- stem to steam is blooming here in an
> where disciplines are meaningless !
> this is part of the 'human project' of ipti-
> The Human Project is a model of how art, science and technology can be
> used as vectors of promotion of human development, conceived by IPTI
> and partners in 2007.
> i discussed the idea of cultural heritage here with saulo baretto- he
> told me the only
> indigenous group in sergipe province were the xoco people = there are
> 400 in the group
> and there is literally nothing about them on the web ( at least in
> english)- colonial history
> has left its trace
> No profile text currently available. Profile suggestions welcome.
> Joshua Project suggests the following outline:
> Introduction / History
> Where are they located?
> What are their lives like?
> What are their beliefs?
> What are their needs?
> Prayer Points
> Submit a profile
> so whats my point- i think something about monocultures ( remember
> the green revolution)- jens hauser at isea reminded us that everything
> that is green is not necessarily good ( the human visual perception
> green in vision)= and a key idea behind biodiversity is the idea of
> as i travel back to the mediterranean to join the leo50 party in bologna i
> wonder whether even in the concept of 'cultual heritage' and indigenous
> peoples we are not guilty of mono-culturalism- maybe i will get a chance
> to meet xoco people for whom the very concept of disciplines is no doubt
> roger malina
> in Brazil
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*[**MUTATION**]* *Art is Open Source *- http://www.artisopensource.net
*[**CITIES**]* *Human Ecosystems Relazioni* - http://he-r.i
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Professor of Near Future and Transmedia Design at ISIA Design Florence:
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