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David McGavock

…My heart's in Accra » CHI keynote: Desperately Seeking Serendipity - 1 views

  • Cities embody political decisions make by their designers.
    • David McGavock
       
      Sounds like program or be programmed to me
  • It’s much harder to get the architects behind Facebook or Foursquare articulate the behaviors they’re trying to enable and the political assumptions that underly those decisions.
    • David McGavock
       
      Again - Programmers!
  • An urban planner who wants to make changes to a city’s structure is held in check by a matrix of forces: a desire to preserve history, the needs and interests of businesses and residents in existing communities, the costs associated with executing new projects. Progress is slow,
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  • For those planning the future of Facebook, it’s hard to study what’s succeeded and failed for MySpace, in part because an exodus of users to Facebook is gradually turning MySpace into a ghost town.
  • If we learn from real-world cities instead of abandoned digital ones, what lessons might we take?
    • David McGavock
       
      Conclusions
  • The Jacobs/Moses debate suggests we need to be cautious of architectures that offer convenience and charge isolation as a price of admission. This is the concern Eli Pariser articulates in his (excellent) new book, “The Filter Bubble“.
  • He worries that between Google’s personalized search and the algorithmic decisions Facebook makes in displaying news from our friends, our online experience is an increasingly isolated one,
  • They’re cars, rather than public transit or busy sidewalks.
  • A map of Vancouver overlaid with my friends’ recommendations is one thing; one that recommends restaurants based on paid advertisements and doesn’t reveal this practice is another entirely.
  • The map I want is the one that lets me shuffle not just through my friends’ preferences but through annotations from different groups: first time visitors to the city; long-time Vancouverites; foodies; visitors from Japan, Korea or China.
    • David McGavock
       
      A diverse sampling of taste
  • People’s actions inscribe their intentions onto a city.
  • Online spaces are often so anxious to show me how my friends are using a space that they obscure how other audiences are using it.
  • It’s possible to find out what’s popular on Facebook to an audience broader than that of your friends.
    • David McGavock
       
      Something Google+ should consider
  • One of the reasons curation is such a helpful strategy for wandering is that it reveals community maxima. It can be helpful to know that Times Square is the most popular tourist destination in New York if only so we can avoid it.
  • knowing where Haitian taxi cab drivers go for goat soup is often useful data on where the best Haitian food is to be found.
  • If you want to explore beyond the places your friends think are the most enjoyable, or those the general public thinks are enjoyable, you need to seek out curators who are sufficiently far from you in cultural terms and who’ve annotated their cities in their own ways.
    • David McGavock
       
      key to breaking the filter bubbles
  • Geocaching is its own peculiar form of community annotation, where the immediate goal is leaving your signature on someone else’s logbook, but the deeper goal is encouraging you to explore in a way you otherwise wouldn’t.
  • SF0, founded by a trio of Chicagoans transplanted to San Francisco, was designed to encourage players to discover things they’d never seen or done in the city, in a way that encouraged independence and exploration.
  • Combining the insights we may find from studying the organization of cities with the ability to reshuffle and sort digitally may let us think about designing online spaces for serendipity in different and powerful ways.
    • David McGavock
       
      Conclusion?
  • - How do we design physical spaces to encourage serendipity? - What lessons about serendipity in physical spaces can we bring into the virtual realm? - How can we annotate the physical world, digitally, in ways that expand our encounters with the world, rather than limiting them?
    • David McGavock
       
      Questions over conclusion
  • We hope that cities are serendipity engines. By putting a diverse set of people and things together in a confined place, we increase the chances that we’re going to stumble onto the unexpected. It’s worth asking the question: do cities actually work this way?
  • Most of us are fairly predictable
  • We hope for random encounter with a diverse citizenry to build a web of weak ties that increases our sense of involvement in the community, as Bob Putnam suggested in Bowling Alone. And we worry that we may instead isolate and cocoon ourselves when faced with a situation where we feel like outsiders, as Putnam’s recent research suggests.
  • “Census data can describe the segregation of my block, but how about telling me how segregated my life is? Location data points in that direction.
  • Nathan Eagle, who has worked with Sandy Pentland at MIT’s Media Lab on the idea of “reality mining”, digesting huge sets of data like mobile phone records, estimates that he can predict the location of “low-entropy individuals” with 90-95% accuracy based on this type of data
  • We all filter the places we live into the places where we’re regulars and the ones we avoid, the parts of town where we feel familiar and where we feel foreign. We do this based on where we live, where we work, and who we like to spend time with.
  • I’m less concerned about left-right polarization in the US, and more concerned about us/them polarization around the world
  • through the design of the systems we use and our behavior with those systems, I see reasons to worry that our use of the internet may be less cosmopolitan and more isolated that we would hope.
  • There were – and are – reasons to distrust curators, but there’s a critical aspect of their work I believe we need to preserve as we move towards new models for organizing news.
    • David McGavock
       
      interesting view of curation
  • Countries that have more than 40 million or more internet users generally have a very strong bias towards local sources – the mean is roughly 95%/5%, which makes Americans look (slightly) cosmopolitan in comparison.
  • US broadcast media focuses much more on entertainment stories than on international news.)
  • What’s striking to me about this preference data is that there’s so little effort required to access international news sources like BBC, the Times of India or the Mail and Guardian – they’re one click away and don’t require crossing a language barrier – and how strong the “local” bias for national news sources appears to be.
  • on January 12th, I published “What if Tunisia had a revolution, but nobody watched?“… and I got a lot of phone calls when Ben Ali fled the country two days later.
  • The revolution in Tunisia caught intelligence and diplomatic services around the world flat-footed. It didn’t have to – there was a wealth of information being published on Tunisian Facebook pages
  • I’m forced to admit that there’s no way I would have known about the revolution brewing if I didn’t have close Tunisian friends.
  • I’m less interested in the ways in which we limit our paths through cities than in how we constrain what we do and don’t encounter online.
    • David McGavock
       
      key point
  • On the other hand, curators invariably have biases
  • We need mechanisms to ensure that search gets complemented with serendipity.
    • David McGavock
       
      Point we have been discussing. Filter bubbles
  • Facebook offers a different answer to the question, “What do I need to know?” – “You need to know what your friends and your friends of friends already know that you do not.”
    • David McGavock
       
      Facebook world = ummm....
  • there’s a decent chance that their collective intelligence has some blind spots
  • The problem, of course, is that if your friends don’t know about a revolution in Tunisia or a great new Vietnamese restaurant, you may not know either.
  • It’s worth asking whether that bubble is able to provide us with the serendipity we hope for from the web.
  • Serendipity, at first glance, looks like the positive side of unintended consequences, the happy accident. But that’s not what the term meant, at least originally.
  • The word was coined by Horace Walpole, an 18th century British aristocrat,
  • A Google search turns up 11 million pages with the term, including restaurants, movies and gift shops named “serendipity”, but very few on unexpected discovery through sagacity.
    • David McGavock
       
      Serendipity vs. Sagacity
  • he refers to a Persian fairy tale, The Three Princes of Serendip, in which the titular characters were “always making discoveries, by accidents and sagacity, of things they were not in quest of.”
  • Louis Pasteur observed, “In the fields of observation chance favors only the prepared mind.”
  • In “The Travels and Adventures of Serendipity”, he and Barber explore discovery in a General Electric laboratory under the leadership of Willis Whitney, who encouraged a work environment that focused as much on fun as it did on discovery.
    • David McGavock
       
      Sounds like Google. Tinkering, time to play, time to work.
  • If we want to create online spaces to encourage serendipity, we might start by learning from cities.
    • David McGavock
       
      Moving to the point of online learning
  • Our loss, I believe, is that we’ve lost sight of the idea that we could prepare ourselves for serendipity, both personally and structurally.
  • vibrancy comes from the ongoing chance encounter between people using a neighborhood for different purposes, encountering one another as their paths intersect and cross.
  • The neighborhoods Jacobs celebrates are certainly not the most efficient in terms of an individual’s ability to move quickly and independently. Vibrancy and efficiency may not be diametrically opposed, but it’s likely that the forces are in tension.
Charles van der Haegen

The Death and Life of Great American Cities - Wikipedia, the free encyclopedia - 0 views

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    "The Death and Life of Great American Cities, by Jane Jacobs, is a greatly influential book on the subject of urban planning in the 20th century. First published in 1961, the book is a critique of modernist planning policies claimed by Jacobs to be destroying many existing inner-city communities. Reserving her most vitriolic criticism for the "rationalist" planners (specifically Robert Moses) of the 1950s and 1960s, Jacobs argued that modernist urban planning rejects the city, because it rejects human beings living in a community characterized by layered complexity and seeming chaos. The modernist planners used deductive reasoning to find principles by which to plan cities. Among these policies the most violent was urban renewal; the most prevalent was and is the separation of uses (i.e. residential, industrial, commercial). These policies, she claimed, destroy communities and innovative economies by creating isolated, unnatural urban spaces. In their place Jacobs advocated for "four generators of diversity", writing on page 151, "The necessity for these four conditions is the most important point this book has to make. In combination, these conditions create effective economic pools of use." Mixed uses. Short blocks. Buildings of various ages & states of repair. Density. Her aesthetic can be considered opposite to that of the modernists, upholding redundancy and vibrancy, against order and efficiency. She frequently cites New York City's Greenwich Village as an example of a vibrant urban community. The Village, like many similar communities, may well have been preserved, at least in part, by her writing and activism. The book also played a major role in the urban development of Toronto, Ontario, Canada, where Jacobs was involved in the campaign to stop the Spadina Expressway.[1] The book continues to be Jacobs' most influential, and is still widely read by both planning professionals and the general public. Urban theorist Lewis Mumford, while f
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    The first time ever I understood how to share a diigo bookmank to a Group Hi Ha!!!
David McGavock

You Media :: About Us - 0 views

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    YOUmedia is an innovative, 21st century teen learning space housed at the Chicago Public Library's downtown Harold Washington Library Center. YOUmedia was created to connect young adults, books, media, mentors, and institutions throughout the city of Chicago in one dynamic space designed to inspire collaboration and creativity. High school age teens engaging with YOUmedia can access thousands of books, over 100 laptop and desktop computers, and a variety of media creation tools and software, all of which allow them to stretch their imaginations and their digital media skills. By working both in teams and individually, teens have an opportunity to engage in projects that promote critical thinking, creativity, and skill-building.
Charles van der Haegen

Shareable: About Us - 0 views

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    About Us Shareable is a nonprofit online magazine that tells the story of sharing. We cover the people, places, and projects bringing a shareable world to life. And we share how-tos so you can make a shareable world real in your life. In a shareable world, things like car sharing, clothing swaps, childcare coops, potlucks, and cohousing make life more fun, green, and affordable. When we share, not only is a better life possible, but so is a better world. The remarkable successes of Zipcar, Wikipedia, Kiva, open source software, Freecycle, and Creative Commons show this. They tell a hopeful story about human nature and our future, one we don't hear enough in the mainstream media. They show what's possible when we share. They show that we don't act merely for our own good, but go out of our way to contribute to the common good. They show that we can solve the social and environmental crises we face, and thrive as never before. They show that a new world is emerging where the more you share the more respect you get, and where life works because everyone is motivated to help each other. We tell this story because a shareable world might be just what's needed to enjoy life to the fullest today while creating a better tomorrow. And it's being built by people from all walks of life right now. Shareable is your invitation to join these innovators today. Want to start sharing? Check out our top 20 how-to share posts and our complete index of how-to share posts. Want to get involved in Shareable? You can contribute stories, feedback, and money. You can follow us on Twitter Facebook, and Identi.ca and share our stories with friends. You can register and join discussions about your favorite posts. You can subscribe to our e-mail list. We have more ideas for getting involved here. Want to know more about sharing? For the big picture on sharing, check out the following features: "Four Degrees of Sharing," by Janelle Orsi; "Ten Ways our World is Becoming More Share
Charles van der Haegen

The Saguaro Seminar: Civic Engagement in America - 0 views

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    "THE SAGUARO SEMINAR: CIVIC ENGAGEMENT IN AMERICA is an initiative of Professor Robert D. Putnam at John F. Kennedy School of Government at Harvard University focused on the study of "social capital" (the value of social networks) and community engagement. Our eponymous seminar from 1995-2000 involved 30 talented scholars and practitioners from across America (including then civil-rights-lawyer Barack Obama) in developing strategies for increasing American civic engagement and led to the bettertogether report. "Bettertogether" the final report of the Saguaro Seminar is now available at www.BetterTogether.org The Seminar participants were a diverse, exceptional group of 33 thinkers and doers, including articulate leaders from all parts of the country - from coast to coast, from small town and suburb to the inner city - and from all walks of life - from government officials to religious leaders, from labor union activists to high-tech and business executives, from elected officials to street workers. All participants demonstrate a deep commitment to improving the infrastructure of national civic life. These twenty-five practitioners and eight academic thinkers met for two-day sessions through late-1999 to develop a handful of practical strategies with national applicability for increasing Americans' connections with one another. "
David McGavock

The dreams of readers | ROUGH TYPE - 1 views

  • Psychologists and neurobiologists have begun studying what goes on in our minds as we read literature, and what they’re discovering lends scientific weight to Emerson’s observation.
  • “aesthetic emotions” that we feel when we view art from a distance, as a spectator:
  • We create our own version of the piece of fiction, our own dream, our own enactment.” Making sense of what transpires in a book’s imagined reality appears to depend on “making a version of the action ourselves, inwardly.”
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  • The scholars used brain scans to examine the cellular activity that occurs inside people’s heads as they read stories. They found that “readers mentally simulate each new situation encountered in a narrative.”
  • When, for example, a character in a story puts a pencil down on a desk, the neurons that control muscle movements fire in a reader’s brain. When a character goes through a door to enter a room, electrical charges begin to flow through the areas in a reader’s brain that are involved in spatial representation and navigation.
  • More than mere replication is going on.
  • we really do enter, so far as our brains are concerned, a new world — one conjured not just out of the author’s words but out of our own memories and desires — and it is our cognitive immersion in that world that gives reading its emotional force.
  • ” A work of literature, particularly narrative literature, takes hold of the brain in curious and powerful ways.
  • there are the “narrative emotions” we experience when, through the sympathetic actions of our nervous system, we become part of a story, when the distance between the attendee and the attended evaporates
  • A 2009 experiment conducted by Oatley and three colleagues suggests that the emotions stirred by literature can even alter, in subtle but real ways, people’s personalities.
  • Norman Holland, a scholar at the McKnight Brain Institute at the University of Florida, has been studying literature’s psychological effects for many years, and he offers a provocative answer to that question.
  • when we open a book, our expectations and attitudes change. Because we understand that “we cannot or will not change the work of art by our actions,” we are relieved of our desire to exert an influence over objects and people and hence can “disengage our [cognitive] systems for initiating actions.”
    • David McGavock
       
      Theory of mind 
  • The central subject of literature is society, and when we lose ourselves in a book we often receive an education in the subtleties and vagaries of human relations.
  • reading tends to make us at least a little more empathetic, a little more alert to the inner lives of others.
  • can strengthen a person’s “theory of mind,” which is what psychologists call the ability to understand what other people are thinking and feeling.
  • That frees us to become absorbed in the imaginary world of the literary work.
  • Jeff Jarvis, a media consultant who teaches journalism at the City University of New York, gave voice to this way of thinking in a post on his blog. Claiming that printed pages “create, at best, a one-way relationship with a reader,” he concluded that, in the internet era, “the book is an outdated means of communicating information.” He declared that “print is where words go to die.”
  • Society is growing ever more skeptical of the value of solitude. The status quo treats with suspicion  even the briefest of withdrawals into inactivity and apparent purposelessness. We see it in the redefinition of receptive states of mind as passive states of mind.
  • the arts of production and consumption, of getting stuff done, to which most of us devote most of our waking hours.
  • In a 2003 lecture, Andrew Louth, a theology professor at the University of Durham in England, drew a distinction between “the free arts” and “the servile arts.” The servile arts, he said, are those “to which a man is bound if he has in mind a limited task.”
  • free arts, among which Louth included reading as well as meditation, contemplation, and prayer, are those characterized, in one way or another, by “the search for knowledge for its own sake.”
  • We open ourselves to aesthetic and spiritual possibilities.
  • It may be that readers have to enter a state of languid pleasure, a dream, before they can experience the full spermatic vitality of a book. Far from being a sign of passivity, the reader’s outward repose signals the most profound kind of inner activity, the kind that goes unregistered by society’s sensors.
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    "The free arts, among which Louth included reading as well as meditation, contemplation, and prayer, are those characterized, in one way or another, by "the search for knowledge for its own sake." "
David McGavock

Mindful Infotention: Dashboards, Radars, Filters - City Brights: Howard Rheingold - 0 views

  • Tuning and feeding our personal learning networks is where the internal and the technological meet the social.
    • David McGavock
       
      Attention + Tech Tools + Learning Networks
  • Infotention is a word I came up with to describe the psycho-social-techno skill/tools we all need to find our way online today, a mind-machine combination of brain-powered attention skills with computer-powered information filters
  • More and more, knowing where to direct your attention involves a third element, together with your own attentional discipline and use of online power tools – other people
David McGavock

Transom » Radiolab: An Appreciation by Ira Glass - 0 views

  • Real journalism – and by that I mean fact-based reporting – is getting trounced by commentary and opinion in all its forms, from Fox News to the political blogs to Jon Stewart. Everyone knows newspapers are in horrible trouble. TV news continually loses ratings. And one way we broadcast journalists can fight back and hold our audience is to sound like human beings on the air. Not know-it-all stiffs. One way the opinion guys kick our ass and appeal to an audience is that they talk like normal people, not like news robots speaking their stentorian news-speak. So I wish more broadcast journalism had such human narrators at its center. I think that would help fact-based journalism survive.
  • particularly the places where the story turns, or where the hosts are to take different sides of an issue, those moments are always improvised.
  • Thus the utterly effortless chitchat that floats you so cheerfully from plot point to character moment to scientific explanation to the next plot point is actually worked over second by second and beat by beat, over the course of weeks.
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  • Jad’s an Oberlin-trained composer so he’s always either writing the music to fit the stories on his show, the way a composer writes a film score, or he adapts other people’s music so well you can’t tell it wasn’t custom made.
  • And all that meticulous work is in the service of something that’s the opposite of careful and meticulous: this totally chatty, happy, loose, spontaneous-sounding conversation between Jad and Robert and their interviewees.
  • on Radiolab. They invented this insanely concise, entertaining way to tell that story, and they have no problem hurtling through it quickly.
  • For my part, I find it comforting that this level of excellence is so labor intensive that they only can make ten full shows a year (plus, sure, 16 “shorts” that they distribute on the Internet). If they could do an hour of this every week, I think I’d have to quit radio. What would be the point of continuing? How could anyone compete with that?
  • There was an entire hour recently that took up the provocative question: from an evolutionary perspective, why would it be useful for us, or for any creature, to ever help one another? To ever be good? That’s a really hard premise for stories with ideas and emotion and strong characters and interesting plot lines.
  • “In an almost comic attempt to make their job hard, the duo take only the most difficult subjects from science and philosophy: ‘Time,’ ‘Morality,’ ‘Memory and Forgetting,’ ‘Limits.’”
  • What’s striking is the ambition of all this. Jad and Robert seem to be inventing their effects and techniques as they go.
  • Sometimes it seems like the only people who understand how terrific the show is, are listeners.
  • Radiolab also does a beautiful job figuring out a mix of stories that’ll move us from one idea to the next over the course of an hour. Lots of their episodes have a coherent argument to them, an argument that takes an hour and several stories to lay out.
  • Radiolab: An Appreciation I marvel at Radiolab when I hear it. I feel jealous. Its co-creators Jad Abumrad and Robert Krulwich have digested all the storytelling and production tricks of everyone in public radio before them, invented some slick moves of their own, and ended up creating the rarest thing you can create in any medium: a new aesthetic.
  • A 2010 NPR/SmithGeiger survey of news consumers who rightly should be in the public radio audience, showed that one of the biggest reasons adults say they choose not to listen to public radio is that they’re put off by the tone. One survey respondent said: “This type of story could be interesting, but the reporter’s voice and intonation is soooo affected, upper class, wasp, Ph.D. student-like, it detracts from the story.
  • This information is presented quickly and cheerfully. There’s a bounce to the whole thing. Music plays behind. Jad looks at a map, as he’s talking to Laura, naming the cities the balloon passed on its flight across England. It’s visual. Do I need to explain here that part of making great radio is remembering that you always need to give the audience things to look at?
  • All this banter also helps them solve a storytelling problem
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    Radiolab: An Appreciation I marvel at Radiolab when I hear it. I feel jealous. Its co-creators Jad Abumrad and Robert Krulwich have digested all the storytelling and production tricks of everyone in public radio before them, invented some slick moves of their own, and ended up creating the rarest thing you can create in any medium: a new aesthetic.
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    Telling a story - capturing the attention and curiosity of people. Sparking our humanity.
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