Tout sur la géolocalisation et les médias géolocalisés, Nicolas Nova

Couv-Media-Geo
Les médias géolocalisés, le livre de référence sur la géolocalisation, les GPS et leurs enjeux

256 pages

Juin 2009

ISBN-13: 978-2916571201

Collection : Innovation

23,90 euros TTC

 

Dans toutes les conversations distantes, la question « t’es où ? » est devenue aussi importante que la raison de l’appel. Mais très vite, d’autres questions sont apparues : « où suis je exactement ? Qu’est ce qu’il y a à proximité ? Qui ? »
La localisation est devenue un enjeu majeur, à la fois technologique, économique, et même social et politique, au travers de ce qui s’appelle désormais les médias géolocalisés. Mais ceux-ci provoquent des attentes démesurées quant aux changements qu’ils peuvent réellement entraîner…

Et les acteurs de ce secteur nous promettent des nouveaux usages supposés améliorer notre quotidien de façon spectaculaire : en cas d’accident, les secours pourront immédiatement localiser un blessé ; le promeneur ou un automobiliste égaré retrouveront leur chemin ; un SMS indiquera la présence d’un ami dans le quartier où l’on passe sa soirée ; nous serons guidés vers les places de parking disponibles à proximité de notre prochain rendez-vous ; au cours d’une randonnée la nature se transformera en encyclopédie vivante et chaque ruine, chaque vestige, seront identifiés, leur histoire sera racontée via notre mobile qui nous permettra aussi visualiser en direct les déplacements de nos enfants et les escapades de nos animaux domestiques…
Depuis les années 2000, nous avons ainsi vu se succéder des annonces de services nous promettant de révolutionner notre rapport aux autres et à l’espace. Mais ces nouveaux usages sont le plus souvent retardés ou très limités par des problèmes tant techniques que sociaux.
Au-delà des discours formatés, l’auteur – reconnu internationalement pour ses recherches sur les usages de la technologie – répond sans détour, de façon claire, complète et abordable à toutes les questions et les problématiques que soulèvent les médias géolocalisés.
Il identifie, révèle et permet de comprendre les implications que ces technologies auront véritablement dans notre quotidien, en expliquant comment et pour qui. Il propose des pistes concrètes et réalistes pour des usages encore inexplorés.

Nicolas Nova est chercheur, consultant et prospectiviste pour Lift Lab, et mène des recherches sur l’ergonomie et les usages des technologies. Après une formation en sciences cognitives et en interaction homme-machine, il a réalisé une thèse à l’EPFL (École polytechnique fédérale de Lausanne) sur le thème des médias et services géolocalisés. Nicolas Nova est également responsable éditorial de Lift, conférence internationale sur l’innovation et les changements technologiques

 


"How you can hack your blood pressure implant to provide fake and healthy data to an insurance company" - Wed, 24 Sep 2014

Intriguing:

"how biomedical data sent wirelessly from a human body, might be re-appropriated by services other than the remote healthcare. This discussion about data monitoring was developed in Nelly Ben Hayoun’s project Cathy the Hacker. Hayoun designed props and made short films documenting “how you can hack your blood pressure implant” to provide fake, healthy data to an insurance company that is monitoring the fictional Cathy’s lifestyle in order to make decisions on the premium she should pay on her health insurance. Through an interview and follow up conversations with Murphy, Hayoun devised hacks which included attaching a sensor to an energetic pet cat, in order to generate a surrogate data set, while “The closing spin cycle of the washing machine also does a good job”

Find in: Kerridge, T. (2009). Does speculative design contribute to public engagement of science and technology? Proceedings of Swiss Design Network Symposium‘09, Lugano.

Why do I blog this? A good example of a phenomenon that may or may not happen in the near future.

Networked lingerie for book reading - Tue, 23 Sep 2014
Paris, 2014.

Paris, 2014.

Some people are never short of good ideas, so to say. I run across this ad in Paris the other day. The notion of a networked pyjama seems slightly odd (slightly in the sense of "everything's can be connected to the network these days I'm not surprised). So I typed different combinations of keywords into a common search engine and I discovered that Etam – a French lingerie company – decided to create a weird contraption: a QR-code-enabled (this is the "networked" bit) panty/nuisette/pyjama that allows the owner to read short stories on a smartphone. Because yes, it's the rentrée littéraire these days in France (the period of the year in which more than 600 books are released) and people may find it fun to read stuff by scanning underwear... which is why this is the first collection of networked PJs. This thing is designed by Smartnovel, a company focused on new reading experiences.

Why do I blog this? Well, I didn't expect this kind of networking ability, I originally thought this would be some sort of huggable pyjamas but it seems far weirder. It would intriguing to know who actually used it this way (a common question with QR codes these days) and whether anyone conducted a focus group to ask what people may think about when told they can have a connected piece of lingerie. What's next? I mean, the kind of stuff we've put in the TBD catalog is definitely not far-fetched compared to this.

Futures? a short interview with Bruce Sterling - Fri, 19 Sep 2014
Bruce Sterling at HEAD – Genève / Photo by Emily Bonnet.

Bruce Sterling at HEAD – Genève / Photo by Emily Bonnet.

 

This is the second interview of the series I started last week, based on my recent book about future, sci-fi and design fictions. After Warren Ellis, here's Bruce Sterling (whose blogging have moved to this wonderful tumblr called 'Wolf in Living Room':

NN: In your opinion, as a science-fiction writer, how to you perceive this difficulty to go beyond the standard visions of "the Future" (from flying cars to humanoid robots)?

BS: At SXSW 2014 I was on a panel with Warren Ellis, Joi Ito and Daniel Suarez where an interesting atemporal design-fiction issue came up.  We science fiction writers were discussing the problem of inventing something far-fetched, satirical, extrapolative or socially critical and then discovering that it was already commercially available on the shelves of Wal-Mart.  This was immediately called the "Wal-Mart Problem."

Atemporally speaking, it’s clearly possible to write a form of "futuristic" science fiction in which all the "sci-fi gadgets" are already real objects in Wal-Mart. No science-fiction reader can possibly know the entire Wal-Mart catalog, so it might be possible to write a thing like this without anybody realizing it, as in recent William Gibson books where the weirdest and most far-out things -- airborne fish, giant Ekranoplans and so forth, are all existent technologies.  

Now that social crowdfunding is available it will probably be impossible henceforth for any journalist, critic or historian to determine if a gadget ever "really existed," or for how long, or in what precise circumstances.  So the apparent lines between designs and design fictions will get more and more blurred.

Daniel Suarez, who is a rather literal-minded guy with a lot of engineers and coders in his readership, is quite worried about the "Wal-Mart Problem," he feels it hurts his credibility. My own feeling is that it’s not a "problem" but a condition which will get bigger and bigger.  I even wonder if it’s possible to LIVE in the Wal-Mart problem deliberately, like literally furnish an apartment with items of these kinds.

NN: Sure it hurts SciFi writers’ credibility (and probably scientists’ credibility as well) but – I would say – what can he do ? The only tech realms where this problem might vanish corresponds to hard science like quantum physics, hyperchord/string theory and/or crazy neuroscientific exploration… simply because this type of science can be unlegible to normal humans. But what can he do? 

BS: He can write fantasy about alien planets, vampires, zombies and flying dragons, of course. That’s where the genre in fact went, as a commercial enterprise. Nobody fusses about the Wal-Mart problem in GAME OF THRONES.

I’ll pose you this puzzle: if there’s a "critical design" that’s brilliantly illuminating as design fiction, and it turns out that it once really existed among a small group of Belgians in the period 1998-2001, does that make it any better or worse as an act of critical design?  Why is that even a criterion of success in the first place?  The Near Future Laboratory video "Corner Convenience" has caffeine in Jack Daniels, but anybody can put caffeine in Jack Daniels, you just pour some whiskey into your coffee.  That doesn’t dilute the conceptual impact of that diegetic prototype within the space of the Near Future Lab video.

Of course this "Wal-Mart Problem" mostly applies nowadays to modest gadgets of the Makerspace and Wal-mart shelf variety, nobody is going to Kickstarter for a nuclear power plant any time soon. 

NN: You have an interest in the role of new media artists and designers in exploring future scenarios. Do you think it can be considered as a good follow-up work to what sci-fi writers used to do?

BS: Yeah, the means of production and distribution in the early days of science fiction and design were much cruder and more folksy, and characters like Ford, Edison and Marconi, were very much weird, self-educated tinkerers. Hugo Gernsback’s early radio experimentation magazines were hugely similar to MAKE magazine nowadays, and "Popular Mechanics" is so much like Makers that the latest issue of Popular Mechanics is all about Makers.  Design and science fiction were emerging out of the same print-cultural compost heap of the pre-radio, pre-TV 1920s.

However, when you point out that design has "taken away the baton from Sci-Fi,"  it would be more accurate to say that the baton has been taken away from all forms of print media, including journalism and history. Only search engines have that baton now.  They don’t hold that baton very well at all.

The "Wal-Mart Problem" isn’t so much a problem as a new historical sensibility.  In my book SHAPING THINGS I was postulating that we might get to a space where nobody really cares if a "real" object really "exists" at all; a spime can probably be made to exist if enough energy is thrown at it, and the real social issue is figuring out how to get rid of them, not to invent them or conjure them up.

I’m always happy when my pet interests in dead media, atemporality, network society, ubiquity and augmentation reveal some deeper unities.  There’s a metaphysical issue there: how do we know what we know that we know? -- and if the media mechanisms by which we build canons of futurity and history are in disruption, then atemporality must be the order of the day, it seems to me. In that Transmediale speech I was urging people not to fear this prospect but to creatively experiment with it, and "design fiction" seems to me to be properly suited to do that; more so than science fiction, which is always trying to sneak into the literary dignity of paper book covers and proclaim, look at me, I’m a classic for the ages now, just like Wells and Verne.

Futures? a short interview with Warren Ellis - Sun, 14 Sep 2014

Few weeks ago I published a new book about the kind of topic we deal with at the Near Future Laboratory: the disappearance of "big futures", design fictions, the role of science-fiction, etc. The book is only in French, but some of the interviews I've conducted when preparing it are in English (I translated some of them in the book itself). In the next few days, I'm going to publish this material here on the blog. Some interviews are pretty short, others are longer but they are quite insightful.

The first one features Warren Ellis, the English author of comics, novels, and television.

NN : If the future is dead, if we didn’t get the future that we were promised, it does not mean that the present, the here and now isn’t curious. In a talk you gave few years ago at Improving Reality in Brighton, you coined the term "sci-fi condition", what did you mean by that?

WE : I don’t know if I coined it, to be honest.  But I think it’s important to look at the present moment with clear eyes and understand the wonder of a contemporary context where we can see the glass lakes of Titan and satellites orbiting the sun can report to our phones.  Or even that several thousand years of developing communication technology means that I can type this right now and you’ll see it in seconds.  We tend not to see it.  We’re conditioned to see the present moment as "normal," with all the banality that implies.  This is not a banal moment.  It’s the sort of intense, chaotic moment, full of strange things, that we previously only found in science fiction.  "Right now" feels like all of science fiction happening at once, and needs to be considered in that context -- that  we’re living in that promised world of miracles and wonder, and that we’ve been trained by the culture not to see it.

NN : What kinds of situations/examples/technologies do you have in mind to refer to this awkward condition?

Sometimes it’s the things that seem simplest.  Networked maps on phones.  If you’re in the Western world and in a context of relatively low-level privilege, you will never be lost again.  You could draw up your own list of things that would seem completely alien to someone from 1984.  Or things that would simply seem science-fictional, like public internet kiosks.  

NN : In this context, what’s the importance of science-fiction according to you?

WE : In lab-testing the potential pressures of all possible futures.  And in universalising the poetry of science, which is the machinery of the world.

 

Algorithms+reverse engineering - Wed, 03 Sep 2014

Everyone interested in software studies and research about algorithms should read this piece by Nick Seaver called "On reverse engineering: Looking for the cultural work of engineers". Based on TheAtlantic's investigation of Netflix's tagging system, the author discusses the consequences of reverse engineering for how we think about the cultural lives of engineers.

Some excerpts that attracted my attention:

"reverse engineering, as both a descriptor and a research strategy, misses the things engineers do that do not fit into conventional ideas about engineering. In the ongoing mixture of culture and technology, reverse engineering sticks too closely to the idealized vision of technical work. Because it assumes engineers care strictly about functionality and efficiency, it is not very good at telling stories about accidents, interpretations, and arbitrary choices. It assumes that cultural objects or practices (like movies or engineering) can be reduced to singular, universally-intelligible logics. It takes corporate spokespeople at their word when they claim that there was a straight line from conception to execution. [...] The risk of reverse engineering is that we come to imagine that the only things worth knowing about companies like Netflix are the technical details hidden behind the curtain. In my own research, I argue that the cultural lives and imaginations of the people behind the curtain are as important, if not more, for understanding how these systems come to exist and function as they do. Moreover, these details are not generally considered corporate secrets, so they are accessible if we look for them. Not everything worth knowing has been actively hidden, and transparency can conceal as much as it reveals."

Why do I blog this? Because it's an interesting argument and practical recommendation for researchers working on such topics. Being interested in the interplay between technical constraints and cultural/imaginary elements, I quite appreciate the point Seaver makes here.

Les Médias Géolocalisés

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