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robertogreco : openended   7

The Playful City: From the 1960s Strive for Spontaneity to Today’s Space of Entertainment - Failed Architecture
"The unscripted play advocated by the Eventstructure Research Group has over the last few decades been lost to increasingly consumption-oriented spaces, encouraging prescribed entertainment and leisure."



"Leisure and entertainment, or play?
Half a century later, the same ideas developed by the Eventstructure Research Group now provide the theme for the Dutch Pavilion at the 2018 International Venice Architecture Biennale: work, body, leisure. The exhibition addresses the spatial configurations, living conditions, and notions of the human body resulting from ongoing transformations in the ethos and the conditions of labour. How will these changes affect the relationship between work, body and leisure, and which possible scenarios could we design accordingly? The main theme and the questions raised all seem derived from Constant’s thinking, and are also in line with the philosophy of the Situationists and that of the Eventstructure Research Group. An important difference, however, is that leisure seems a less powerful term than play. In contemporary usage, leisure is a passive term, associated with holidays and relaxation–a temporary break from day-to-day working life. This is merely the opposite of work, a calculated part of economic logics, while the aim of the Situationists was actually to transform work into play, in such a way that work, play and the body eventually would become one.

The Situationists considered their contemporary city of the late 1950s to be one of boredom, and wished to change it into a city of stimulation. Today, one could now argue that our own physical city is not one of boredom: 24-hour shopping, multiplex cinemas, game consoles, texting, and whatever other myriad possibilities are available to entertain us day and night – an ongoing stream of information, impulses and encouragements for active consumption. Eat now! Drink now! Exercise now! Drive now! Play now! The present-day city is one of continuous (over)stimulation. Is this the city the Situationists had in mind? Probably not. We may also ask, are all these forms of play really that effective in eliminating our boredom? Sandi Mann, author of The Upside of Downtime: Why Boredom Is Good, argues quite the opposite: “The more entertained we are the more entertainment we need in order to feel satisfied. The more we fill our world with fast-moving, high-intensity, ever-changing stimulation, the more we get used to that and the less tolerant we become of lower levels.”

The Situationists’ idea of play is quite different from the 21st century, entertainment-driven idea of play. Their idea of play strived for true spontaneity. It aimed to be active, non-conformist, anti-capitalistic and therefore critical. Today’s non-critical ‘play’ is about passive consumption, over-stimulation and intellectually apathy.

Additionally, the Situationists aimed to restructure the modern aesthetic experience by rejecting functionalism, instead favouring and celebrating complexity. Present-day cities have become exactly that: a complex of layered physical infrastructures, roads, waterways, air-routes, tubes, electricity lines, antennas, digital highways and so on. The near future will most likely see a steady-increase of the complexity of this infrastructure, with drone-like postal services, personal air transportation and more virtual landscapes added to the city. Complex infrastructure – and entertainment – is all that surrounds us. The city the Situationists imagined is there, but more than that. It has stepped up, pushed the fast-forward button and gone into overdrive.

This complex and fast-paced modern city however did not make citizens more critical towards capitalism. Today’s modern city is a largely scripted complexity of abundance, but with little place for disorder. The excess and the abundance of stimulation in the city today would make an action like Pneutube nothing more than a side note in the daily high-speed routine. People would probably shrug their shoulders, look up from their smartphones for a few moments and then continue their day. If architecture nowadays is capable at all of stimulating critical and non-conformist thinking, it can only do that through much more radical interventions. The ambitions of the ERG could be adopted, but a different output will have to be found to make an actual difference in today’s society.

What would be considered a radical architectural intervention today? Does architecture have the power to disrupt the dominant system? If this seemed possible in the past, with buildings such as the Centre Pompidou, today’s architecture seems to have lost its revolutionary potential. Not many buildings today are capable of surprising us because of the ideas that fuelled them, and not just because they are bigger, larger, or taller than their neighbours. In order to be truly radical, an architectural intervention today should be capable of criticizing the domination of technology and the authority of the algorithm. As the capitalist society that ERG was trying to dismantle does not look so different from today’s market economy in which citizens walk, travel, and even vote according to Google, Airbnb, or Facebook. Can contemporary architecture provide critical reflection on that?"
consumerism  commercialism  jornkonijn  2018  play  openended  entertainment  leisure  situationist  architecture  markets  capitalism  society  cities  urban  urbanism  functionalism  complexity 
10 weeks ago by robertogreco
Toca Boca’s Apps: The Best iPad Games for Kids? : The New Yorker
"Toca Tea Party is also a multiplayer, interactive experience: you can sit three kids around the iPad, and each one gets a drink and a plate, a chance to pour, spill, and wipe up. In Hanna Rosin’s recent Atlantic cover story, “The Touch-Screen Generation,” she describes the iPad as functioning “like a tea table without legs.” At the end, when the last doughnut is eaten (tap, tap, tap on the plate), a basin of water pops up and everyone can put their dishes in the sink. “We got feedback saying, ‘We want to do more dishes!,’ ” Jeffery says. “No adult has said that ever. Kids just want to participate, and housework is an environment they are familiar with.” Toca House offers much more virtual cleaning: mopping, laundry, dishwashing, and (my personal favorite) ironing that never ends in scorching or ironed-in wrinkles. Jeffery says they have gotten a lot of response from parents of children with autism on Toca House, which they can use to practice everyday tasks—without real-world frustration.

Although the praise from the autism community was unexpected, a frictionless play environment was part of Toca Boca’s mission from the start. Toca Boca apps have no levels, no rewards, no beginning, middle, and end. They also have almost no words, because much of their target market can’t read. Why frustrate the kids with written instructions? And why pay to have those instructions translated into the languages of the hundred and forty-six countries where the apps are sold?

“If you look at what’s available in the App Store, almost everything is in the learning category, only books and games,” says Jeffery. “That’s how adults play. Read a book, play Angry Birds on your phone. But you would rarely pick up a doll… which is a shame.” What Toca Boca is trying to do is open up the digital experience, let kids make mistakes, figure it out as they go along—without getting eaten by a zombie, or pigeonholed as a princess."
alexandralange  2013  applications  children  iphone  ipad  ios  tocaboca  design  rewards  play  openended 
march 2014 by robertogreco
My student asked me a question | Gardner Writes
"What I always try to do, whenever I teach, is to arrange the class as a shared project. We’re making a movie together. We’re making a record together. We’re building a house together. The whole meta-team idea was an extreme version of something I now recognize I’d been doing for decades. The idea of the course as a series of meetings, all self-contained, has always been boring to the point of hysteria for me. I’d have a similar reaction (have had, in fact) to a PowerPoint presentation full of inane and obvious bullet points and nothing else–no images, no video, no sound, nothing out of the ordinary. Same thing. All inert lists.

Over time, inert lists have come to be expected by many students, maybe even most students. They actually come to prefer it, very often. Inert lists make everything so much more manageable. Stuff in stacks. I didn’t want stuff in stacks. I wanted art or mystery or eureka or games or symphonies or laboratories or studios.

So when I teach, I try to convey, in every way I can imagine, that this is not going to be an experience of stuff in stacks. And every time I sense a student is going along with the idea of no-stuff-in-stacks, I try to reward that right away with attention and commitment and equal blends of zaniness and intensity. When one fishes, there’s an art to landing the fish: the line has to be taut, but not so taut that it snaps or the fish gets away somehow. It takes a lot of patient back-and-forth and an art of the line as subtle as how a violinist holds her bow to make the strings sing. (Not to worry: I’m a catch-and-release kind of fisherman, though I do eat fish, I will confess.)

What’s never worked, in my experience, is making 90% of the experience stuff-in-stacks and making 10% “freedom to learn,” because the 90% just overwhelms the 10%. Truth to tell, “stuff-in-stacks” can overwhelm “freedom to learn” even at the 5% level. Stuff-in-stacks is a poison and it doesn’t take much to kill the learning.

I don’t know if any of that is helpful. All I can say this morning is that I try as hard as I can to help nudge the class forward in its journey, its project, its writing-itself-into-being. I try as hard as I can to let the class nudge me forward, too, because I’m also in it for the learning. And I try to do this with an absolute minimum, as close to zero as I can make it, of stuff-in-stacks. This is one of the reasons I love the internet. The web, at least so far, is full of what Walt Whitman calls “barbaric yawps.” These yawps can be like throwing a window wide open in the early spring, just before it’s really warm enough to do so, but just when you really want to because the stale inside winter air is just too stifling. So we shiver some, and we take in the cold air, and we smell some of the mud and early growth of just-spring, and our brains clear and our hearts beat faster for just a little while. And sometimes that’s enough to get everyone over the school-as-stuff-in-stacks hump and we can get another magic moment and recapture that feeling of determined yes.

I don’t mind syllabi or semesters. I kind of like final exams. I love projects and highly refined and purposeful zaniness. When creative thinking and critical thinking marry and have a child, the child’s name is joy–it’s the same child born to Cupid and Psyche in the old tale by Apuleius.

You’re working very hard to push a huge rock up a steep hill. When I teach, I have the opportunity to frame the whole encounter very differently. You don’t have that opportunity. But you do have extraordinary shining eyes and a heart for adventure and a mind for keen insight. So I’d say you should talk with the students, heart to heart, and tell them what your dreams are for this experience, and then see if anyone responds. If anyone does, then find a way to celebrate that, and keep on hoping that the response will catch on."
gardnercampbell  canon  teaching  howweteach  2014  via:audreywatters  stacks  freedomtolearn  learning  howwelearn  engagement  lcproject  tcsnmy  cv  openstudioproject  creativity  criticalthinking  content  openended  collaboration  cooperation 
march 2014 by robertogreco
5 Things Video Games Do Better Than Any Other Forms of Art | Cracked.com
"Whoa, whoa -- video games are an art form now? Well, here's the thing: The first rule of art is "art is subjective," and the second rule of art is "ART IS SUBJECTIVE" (the third rule: "If this is your first day at art club, you have to art"), and thus the tiresome argument that video games aren't art is rather moot indeed. Oh, and video games are an output of drawings, writing, and music put together by skilled humans in a manner designed to entertain/enliven, so there's that, too.

So with that out of the way, being on the verge of a new console generation feels like a good time to file something of a progress report on the art form in question (if only to desperately justify those 147 hours I poured into Saints Row: The Third). So what the hell can games do that books and interpretive dance can't?"
videogames  gaming  srg  edg  play  art  games  empathy  openended  linearity  worldbuilding  narrative  storytelling  understanding  systemsthinking  perspective  linear 
august 2013 by robertogreco
Scientific Studies Explain the Best Ways to Talk to Children
"When the children are older, they've learned not to take close-ended questions as literally as younger children do. They are closer to adults, who understand close-ended questions as invitations to tell a narrative. But for most children, close-ended questions will elicit the shortest answer possible. More than that, close-ended questions may even get a child to tell you things they know aren't true. They feel pressured to answer close-ended questions."



"When talking with kids, stay away asking about time. Chances are that they won't be able to tell you when something happened."



"Other Things You Can Do To Make a Child Talk (And Things Not To Do!)

Here are a few other things that studies have shown encourage a child to speak:

• Using the child's name (Hershkowitz, 2009)

• "Back-channel" facilitators like "Uh-huh" and "Oh" (Cautilli et al., 2005)

And a few things not to do:

• unclear invitations like just saying "Tell me more" (Hershkowitz, 2011) or even "Tell me more about that" (Walker, 1993)

• Invitations as questions. This is a huge one for those of us from California. The invitations "You said X. Tell me more about X." can become "You said X?" with the right inflection. That turns it into a yes/no question and will pretty much stop a kid's narrative. (Evans & Roberts, 2009; Evans et al., 2010)"
time  children  interviewing  interviews  taching  parenting  communication  conversation  2013  openended 
june 2013 by robertogreco
Subject, Theory, Practice: An Architecture of Creative Engagement on Vimeo
“Tell me to what you pay attention and I will tell you who you are.” José Ortega y Gasset

A 'manifesto' for the curious architect/designer/artist in search of depth, but in love with plenty, in the saturated world of the 21st Century.

"In a world where grazing is the norm, in which the bitesize is the ideal that conflates ease of consumption with value, where yoghurts are increased in sales price by being reduced in size and packaged like medicines, downed in one gulp; in a world where choice is a democratic obligation that obliterates enjoyment, forced on consumers through the constant tasting, buying and trying of ever more gadgets; a world in which thoughts, concepts -entire lives- are fragmented into the instantaneous nothings of tweets and profile updates; it is in this world, where students of architecture graze Dezeen dot com and ArchDaily, hoovering up images in random succession with no method of differentiation or judgement, where architects -like everyone else- follow the dictum ‘what does not fit on the screen, won’t be seen’, where attentions rarely span longer than a minute, and architectural theory online has found the same formula as Danone’s Actimel (concepts downed in one gulp, delivered in no longer than 300 words!), conflating relevance with ease of consumption; it is in this world of exponentially multiplying inputs that we find ourselves looking at our work and asking ‘what is theory, and what is practice?’, and finding that whilst we yearn for the Modernist certainties of a body of work, of a lifelong ‘project’ in the context of a broader epoch-long ‘shared project’ on the one hand, and the ideas against which these projects can be critically tested on the other; we are actually embedded in an era in which any such oppositions, any such certainties have collapsed, and in which it is our duty –without nostalgia, but with bright eyes and bushy tails untainted by irony- to look for new relationships that can generate meaning, in a substantial manner, over the course of a professional life.

This film is a short section through this process from May 2012."

This montage film is based on a lecture delivered by Madam Studio in May of 2012 at Gent Sint-Lucas Hogeschool Voor Wetenschap & Kunst.

A Madam Studio Production by Adam Nathaniel Furman and Marco Ginex

[via: https://twitter.com/a_small_lab/status/310914404038348800 ]
via:chrisberthelsen  joséortegaygasset  theory  architecture  cv  media  dezeen  archdaily  practice  nostalgia  actimel  marcoginex  2013  tcsnmy  understanding  iteration  darkmatter  certainty  postmodernism  modernism  philosophy  relationships  context  meaningmaking  meaning  lifelongproject  lcproject  openstudioproject  relevance  consumption  canon  streams  internet  filtering  audiencesofone  film  adamnathanielfurman  creativity  bricolage  consumerism  unschooling  deschooling  education  lifelonglearning  curation  curating  blogs  discourse  thinking  soundbites  eyecandy  order  chaos  messiness  ephemerality  ephemeral  grandnarratives  storytelling  hierarchies  hierarchy  authority  rebellion  criticism  frameofdebate  robertventuri  taste  aura  highbrow  lowbrow  waywards  narrative  anarchism  anarchy  feedback  feedbackloops  substance  values  self  thewho  thewhat  authenticity  fiction  discussion  openended  openendedstories  process 
march 2013 by robertogreco

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