We live in interesting times. We need to work on a consistent philosophy of contradiction.
The following considerations are the introduction to a panel of discussion within the 26th edition of the ECSITE European Conference for Science Engagement that I have curated within the Makerspace Program. And it is all about handling this contradiction. I have invited museum experts from many different context, and one hacker.
Sabina Barcucci, Fablab Manager, MUSE, Museo delle Scienze, Trento, Italy
– Mikko Myllykoski, Experience Director, Heureka the Finnish Science Centre, Vantaa
– Ian Brunswick, Programme Manager, Science Gallery, Dublin, Ireland
– Marc Dusseiller, Scientist and DIYbio activist, Hackteria, Zurich, Switzerland
– Jochen Hunger, Exhibition Designer, Erlangen, Germany
– Jon Haavie, Exhibit Designer and Maker Ambassador, Norsk Teknisk Museum and Norway Makers, Oslo, Norway
The contradiction of museums that are vertical burocratized and centralized by definition but nontheless striving to engage with bottom up phenomena, grassroots communities, shows how they are more and more needing to radically innovate by grasping practices, values and culture from outer social forces.
I see this problems every day while trying to develop a place, a FabLab, for grassroots communities, in which integrating practices related to freedom of invention, but also the freedom of transgressing given rules and create and innovate. Hackers and makers are the new heroes of our times but the innovative dynamics these figures represent are not YET fitting with a ontologically vertical contexts as institutions are.
If museum institutions are willing to give space to these new heroes, are they actually prone to loose control? What is the boundary we can realistically provide for creating innovation?
About FabLabs and museums, I see three options:
– the first is extreme
/ neo liberalist museum (as Paul Preciado, former curator ad MACBA and dismissed because a scandal related to an exhibition called “The beast and the sovereign”) is a sort of company that can’t rely anymore on public fundings and need to react incomes in order to survive. In this context, to host a a reputation-based open source and technology centered grassroots community that finds its power in transgressing rules in order to create and innovate. It simply can’t happen in a museum.
– The second sees a moderate approach
Second option, is to think about a museum in which social movements are included and through this inclusion, they changes, they are cooptated. So: museums becomes slightly more open, and the grassroots belonging culture/practice/community/movement changes in terms of values and practices as well. Becoming more “for all” but also loosing its disruptive potential and nature.
A museum engages with a community of hackers and makers in order to being hacked, to integrate practices and culture coming from these groups, in order to promote new participation of civil society and social movements in to the board of trustees.
How to create within museum a proper capacity to engage with social forces from below? How much museum are open to decentralize control and organization? How museum are open to sustain a radical trust toward its community?
Un FabLab è uno spazio attrezzato a funzionare come piattaforma tecnica per la prototipazione, votata all’invenzione e all’innovazione, pensata per fornire stimolo e ispirazione per l’impresa locale. Un luogo per creare, giocare, apprendere, educare, inventare. Fare parte di un FabLab significa essere connessi a una comunità globale di studenti, educatori, tecnologi, ricercatori, maker e innovatori, soggetti tra cui avviene un continuo scambio di conoscenza. Attualmente sono circa 270 i FabLab in tutto il mondo di cui almeno venti solo in Italia e il numero è in costante crescita. Convididendo i FabLab lo stesso parco macchinari e gli stessi processi di condivisione, la visione generale punta alla costruzione di una rete globale in cui laboratori distribuiti possano fungere ovunque come ambienti per ricerca e invenzione dal basso.
Cinetic Flywheel è il video progettato e realizzato dall’Unità Produzioni Audiovisive MUSE (Fabio Pupin – DOP e shooting, Davide Dalpiaz – editing e loop compositing), che usa 15 volani cinetici come i piatti di altrettanti DJ virtuali.
Ad ogni volano è associato un loop musicale elettronico, che inizia a suonare quando il cinematismo sviluppato dal MUSE FabLab gli imprime il movimento, costruendo una progressiva stratificazione audio-visuale sempre più frenetica.
Il video riprende i progetti in gara al Progetto Faber, programma didattico e contest promosso e finanziato da InfoTN in collaborazione con il MUSE e il FabLab.
Prima versione del primo workshop di laser cutter “From bits to atoms” per scuole medie e superiori del Muse FabLab. Il workshop di due ore massimo è pensato per gruppi di lavoro di tre studenti i quali hanno a disposizione un laptop per gruppo con inkscape e un file base nella quale è presente lo sviluppo bidimensionale di un dodecaedro.
Dal Novembre 2013 a Ottobe 2014 è in mostra al Museion di Bolzano “When Now is Minimal. Il lato sconosciuto della Sammlung Goetz”. Uno degli artisti centrali della mostra è Gerwald Rochenschaub, artista e DJ austriaco basato a Berlino.
A settembre 2013 nasce il progetto Faber che, sulla base di un brief sviluppato dal MUSE FabLab, vede protagonisti gli studenti di diverse classi del Liceo Artistico Vittoria di Trento. Idea promossa e finanziata da InfoTn, il progetto Faber è stato finalizzato alla realizzazione di manufatti artistici cinetici, basati sull’arte optical e sull’arte programmata. Agli studenti del Liceo Artistico Vittoria è stato richiesto di sviluppare dei progetti grafici e artistici a forma di disco e di digitalizzarli, alfine di fabbricarli con il Taglio Laser all’interno del Muse Fablab. I progetti fabbricati sono stati poi montati su degli oggetti (dei rotori) sviluppati interamente dal Muse Fablab (dei contenitori stampati in 3D in grado di accogliere ognuno due motori e delle schede elettroniche di prototipazione come Arduino), pensati per mettere in movimento i dischi progettati dagli studenti, enfatizzandone e realizzandone l’effetto artistico cinematico e optical.
originally published by InfoTn
Un museo del 21° secolo non ha più solamente un buon numero di oggetti di valore in mostra. Servono tecnologia, innovazione, interattività per rendere i visitatori partecipi della scienza. In quest’ottica si colloca, nel primo piano del MUSE, un percorso museologico che parte dalla preistoria alpina e, passando per la contemporaneità e le tematiche di sostenibilità, arriva al laboratorio di fabbricazione digitale: il MUSE FabLab.
Il 10 gennaio scade il termine per presentare le candidature per il Master in Relational Design organizzato dall’accademia Abadir. Un pò di informazioni a riguardo…
Quello in Relational Design è un Master di primo livello promosso dall’Accademia Abadir per acquisire le competenze e le pratiche del design contemporaneo. Mission: Tra la scuola attuale e il mondo del lavoro del 2014 c’é un canyon. Sono mondi separati. Questo Master vuole costruire un ponte tra questi due mondi. Descrizione: Un Master di primo livello promosso dall’Accademia Abadir per acquisire le competenze e le pratiche del design contemporaneo.
The 5th STS Italia Conference will be held in Milan, Italy, June 12 through 14, 2014, by the Italian Society of Science and Technology Studies, in collaboration with the Politecnico di Milano Doctoral School in Design.
The conference is an opportunity to present empirical and theoretical work from a variety of disciplines and fields (sociology, anthropology, law, philosophy, design, psychology, semiotics, history, and economics, etc.). It focuses on diverse aspects of the social study of innovation processes, technology, science and design.
The following text reports the main points of my speech atfOSSa2013 the last November at Euratechnologie (Lille). I was there to present the issue #68 of MCD “The Open Future” curated by 5 Digicult authors, including me.
“Today I will basically present the scenario that Digicult developed for the multi authorial issue 68 commissioned by MCD, titled “the Open Future”. I am one of the 5 curators. The issue wants to show how Open Culture has produced emergent phenomena in many disciplinary fields, especially in those investigated within the 5 sections of the issue.
At November the 15th I have been invited to represent Digicult at the fOSSa2013 conference in Lille, organized by INRIA, the French Institute for Research in Computer Science and Automation. The main reason for me being there was to present at the conference the special issue #68 The Open Future curated by Digicult and published in paper by MCD.
by Sabina Barcucci
“Facts, not opinions” this is the inscription engraved on the gable at the entrance of an eccentric museum in the city centre of London. The museum hosts the machinery tried by David Kirkaldy, the first scientist who in 1865 tested industrial steel in order to make it a construction material for bridges, ships and railways. The inscription is a real declaration of intentions that describes the main role played by the scientific method and thinking within the paradigmatic shift occurred in the second half of the 19th century.
Milan Designweek 2013 has been defined by some critics and visitors as a low profile event, compared with the previous editions. If this is partly true – due also to many critical issues related to Italian economic and political condition – it is also true that this “renewed” low profile of the Design Week has opened to many small creative realities to perform with more freedom.
At the begin of March, I have been called by the Web Start Up [im]possible living to contribute to the organization of a call for ideas for designers interested in exhibiting their work during the Design Week at the Fuorisalone, a more informal event than the official Design Week. Fuorisalone takes spontaneously place in a very fine grained way all around the city. Everyone can autonomously organize and perform an event that will be easily added to the Fuorisalone guide.
Thursday, April 11 / 2013
Ex Fornace sul Naviglio, Milan
4 pm, round table: “Libraries 2.0: an emerging production for an emerging knowledge”
Curated by Sabina Barcucci
Contemporary knowledge forms of expression are changing. Their production process and organization are increasingly stored and addressed toward websites, social networks, online digital archives and platforms. At the same time, new technologies for material production are leading toward a sort of making culture Renaissance in which craftsmanship, technology and design are melting. It is the rise of the Makers and of the Do It Yourself reality.
Sunday, April 14 / 2013
Ex Fornace sul Naviglio, Milan
Curated by Sabina Barcucci
In recent years, the borders among design, art and science are consistently blurring. The collaboration among these discipline in fringe practices is becoming increasingly more common and necessary for their reciprocal innovation. In these new territories, mathematics, chemistry, biology, architecture, information technology and artistic practices are drawing from each other techniques, strategies and languages within a continuous exchange process based on experimentation.
What are the effects of the combination of design, science and information technology? What kind of new perceptions are we going to acquire? Are we able to foresee the influence of digital algorithm in our future daily life? How the new forms of expression and languages resulting from the scientists’ and artists’ task force will look like? A panel of discussion made by key personalities in these fields of practice and research will try to answer these questions.
The following position has been presented at Smart City Exhibition in Bologna, October 30 2012, during the workshop on “Smart City, Gender and Inclusivity” held and organized by Flavia Marzano. I beg your pardon if I was too lazy to translate it in english.
Architektin, Designerin, Forscherin – all das ist Sabina Barcucci. Die Italienerin, deren Fokus auf digitaler Stadtplanung liegt, siedelte sich nach beruflichen Stationen in Genua und Berlin vor einiger Zeit in Mailand an. Momentan schreibt sie für dieOnlineplattform Digicult und das französische Magazin MCD über digitale Kultur. Außerdem betreibt Barcucci den Architekturblog Betameta.
Digicult presents “THE OPEN FUTURE”, a special publication in partnership with MCD Magazine, Paris. The issue focuses on the open culture revolution applied to internet, society, audiovisual, music, architecture, design & science.
By Sabina Barcucci
The following mini-essay has been published within the Future City Lab exhibition “City in progress: Please Do
Not Disturb” in Berlin at Aedes Gallery in Berlin. The text was part of the self-printed book “Dialogue: Crowd sourcing in the future”.
In the past decades occidental mankind abused the world resources making capitalism and consumerism the only possible way to develop an economy. As a consequence, today we are forced to face several problems highly resistant to resolution because of their non-linear nature – the so-called “wicked problems”. Even if wicked problems are by definition so complex to be likely unsolvable (i.e. poverty, economical global crisis, global warming), the first rule to approach them is that we cannot solve problems from within the same mindset that originated them. Namely, the way we do things has to change together with the attempt to solve the problems they arise.
We are now in a period of unprecedented ecological, climatic and energy change on a global scale. We will have to address a number of urgent and intransigent issues like foods and water shortages as well as sustainable mobility and the necessary proliferation of energy sources.
Future Cities will have to respond to these changes and utilize their inherent opportunities to be vibrant, energy-efficient and sustainable cities. By the end of the 21st century, two-thirds of the world’s population will be living.
Yesterday – Friday 13 April 2012- I gave a lecture at the Politecnico di Milano – School of Architecture and Society, together with Bertram Niessen. The focus of the Bertram’s section is on ideologies and urban stereotypes connected with the Creative City discourse (from Landry to Florida) in the wider frame of post-fordism in western urban processes (from city branding to urban entrepreneurialism). As a designer, I following gave a closer look at the spatial consequences of such discourses.
by Sabina Barcucci & Bertram Niessen
The Canadian psychologist, Laurence J. Peter, once wrote: “Some problems are so complex that you have to be highly intelligent and well informed just to be undecided about them”.
Contemporary Design perfectly fits this definition: the consequences of Information Technology for big architectural systems have to cross huge amounts of digital data with new design methodologies and revolutionary techniques of material production. The third edition of Design Modelling Symposium, held in Berlin at the Universität der Künste Berlin (UDK) from 7th to 12th October, turned into a privileged observatory of the challenge that researchers and designers from disparate fields are facing in the attempt to control these complex systems.
During these two days of workshops, lectures and master classes the participants – led by leading representatives of institutions, firms and research groups as Autodesk, Buro Happold, Live Architecture Network, Institute for Advanced Architecture of Catalonia, Princeton University, Evolute GmbH – could experience some of the most state-of-the-art methodologies of Digital Design at first hand. In the next three days of very full lectures, we saw a string of many of the main theorists and designers of Parametric Design, such as Robert Aish (Autodesk), Enrico Dini (D-Shape), Neil Katz (SOM), Arnold Walz (Design to Production), David Rutten (Mc Neel).
Txt: Sabina Barcucci / Img: Courtesy of Co-de-iT / Eng: Stefano Avola
The universe of social networks is various and exciting. The phenomena creating inside it may produce standardized and confused chain reactions or generate strong connections, like Co-De-iT, that turn “digital friendships” into solid and productive relationships, capable of growing and structuring as long as they evolve, up to constitute an important element in a global scenario.
Co-De-iT is an independent group of research on digital and scripting-based architecture, born in Italy yet strictly connected with the rest of the world. Their activity is guided by a mission: to bring to Italy some innovations usually characterizing other most advanced international contexts. The request for innovation is clear and concrete, as confirmed by the interviews with Andrea Graziano, Alessio Erioli and Davide Del Giudice. A more and more increasing number of students and professionals rely on Co-De-iT, attracted by its hub role for all those information and projects that encounter problems in penetrating the Italian context.
Text by Federico Parolotto_Translation by Carol Razelli
The legacy of the mono-functional approach to the road network
The common element of cities around the world (with a few rare exceptions) is the car: its ubiquity is the true unifying element of distant and disparate urban settlements. Private transport in Europe continuously grew since the 60s to become a mass phenomenon in the 70s- a phenomenon that has continued to the present day.
Text by: Sabina Barcucci on Digimag 64
Images: Courtesy of SPAN ARchitects
Talking about design and architecture with Matias Del Campo (SPAN Architects, with Sandra Manninger) opens the mind toward an unexpected miscellanea of technology and romanticism.
It clarifies that the work of those that, like SPAN, are developing new paradigms in material production through architecture act in a world where the combination of technology and sensibility has yet to be questioned and investigated. As Del Campo himself states, in this field we have just scratched the surface: everything still has to be imagined, discovered and defined.
Txt: Sabina Barcucci and Bertram Niessen / Img: Courtesy of Princeton Architectural Press
Over the past ten years, the role of programming in art and design disciplines has changed profoundly. The code is no more a prerogative of informatics but it has started to concern to increasingly diverse areas because of three main phenomena: the growth of processing speed; the progressive hardware and software customization; and the trend towards convergence and intermediality.
Txt: Sabina Cuccibar / Img: LaN-Live Architecture Network / Eng: Mimi Peña
The parametric or associative design is based on the use of integrated systems of CAD/CAM (Computer-Aided Design/Computer-Aided Manufacturing). They allow a direct dialogue between the machine that models and the machine that makes the constructive elements and assembly pieces, generating a new process of ideation/production. The traditional relationships between the actors of this process change: every project can be planned out in an super-customized way and the variables, which can be immersed, enlarge exponentially. Indeed, the real innovation which the parametric design brings, is not found into the shapes or aesthetics which are usually associated to it by the commons sense. It is found into the realignment, from time to time recombinable, of roles, relationships, routes and relations between human beings and technological instruments.