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design, utopia, alteration, prototyping, progetto, and alterazione

The purpose of this paper is to re-explore the relationship between utopia and architecture, trying first and foremost to challenge the way utopia has been conceived by architectural thought: i.e., as the prefiguration of a future seen as an ‘otherness’ distinct from the present, as far as the totality of its spatial, social, and political dimensions are concerned. Such vision – as we will argue – turns out to be deeply linked to a design logic of ‘projection’ and ‘prescription’; this, however, is not the only possible logic of design. Through a reflection upon some contemporary architectural practices, we will try to highlight a new horizon for design action, in which even utopia abandons its traditional ‘projective’ role and takes on a new meaning: rather than being the non-place of a possible future, utopia stands for what doesn’t have place in the present but can emerge from its alteration. Such notion of utopia as a form of ‘situated critique’, in a concrete space and time, helps to dig more deeply into the political potential of many contemporary forms of architectural and urban design.
Il proposito di questo contributo è tornare a esplorare la relazione tra utopia e architettura, cercando innanzitutto di mettere in questione il modo in cui l’utopia è stata concepita tradizionalmente nel pensiero architettonico: vale a dire, come la prefigurazione di un futuro concepito come alterità rispetto al presente, nella totalità delle sue dimensioni spaziali, sociali e politiche. Tale visione - come si cercherà di illustrare - è intimamente legata a una certa logica “proiettiva” e “prescrittiva” che, tuttavia, non è l’unica logica possibile del progetto. Attraverso una riflessione su alcuni modi del progetto di architettura contemporaneo, si cercherà infatti di mettere in evidenza una nuova logica progettuale, in cui anche l’utopia abbandona il suo carattere proiettivo tradizionale per acquisire un nuovo senso: non più il non-luogo di un futuro possibile, bensì ciò che non ha luogo nel presente e che può tuttavia emergere dalla sua alterazione. Questa nozione di utopia come “critica situata” concretamente in uno spazio e in un tempo aiuta a comprendere più in profondità il potenziale politico di molte delle forme contemporanee di progetto architettonico e urbano.

Créativité, responsabilité, interaction laser-matière, prototypage rapide, fabrication additive, Creativity, responsibility, interaction between laser and matter, rapid prototyping, and additive manufacturing

L’émergence de procédés de fabrication additive au travers de la stéréo-lithographie laser sert de fil conducteur à cet article. Quand la situation de liberté des chercheurs le permet, la créativité peut conduire à des innovations technologiques. La pression liée à la compétitivité est un stimulant pour la fabrication additive mais tous les champs applicatifs ne sont pas couverts et de nombreux progrès sont encore à faire sur un thème où la créativité et l’interdisciplinarité sont à soutenir. Mais est-ce possible avec le « New Public Management » ?
The emergence of additive manufacturing processes through laser stereo - lithography is the central theme of this paper. When researchers’ freedom allows , creativity can act as a catalyst for additive manufacturing but the scope for its application has not yet been exhausted and there is still room for progress to be in a field that demands creativity and interdisciplinary action. But is that possible with the Frances’s conception of "New Public Management"?

rhétorique de la science-fiction, théorie de la science-fiction, design fiction, science fiction prototyping, science fiction rhetorics, and science fiction theory

Cet article propose l’idée selon laquelle la science-fiction est en fait un sous-genre d’un genre d’histoires représentant des futurs imaginaires, un genre bien plus large, indifférent aux médiums, et qu’en examinant les choix et les stratégies employés pour produire ces histoires, nous pouvons obtenir une bonne idée de la façon dont elles donnent forme aux futurs qu’elles représentent. Le cadre analytique repose sur une matrice 2x2 dans laquelle deux continuums de stratégies narratives se croisent : la première dichotomie porte sur les modes diégétique et narratif, et la seconde sur les logiques dramatique et spectaculaire. En plaçant un texte sur cette carte typologique, il devient possible de prédire de manière assez large le cadrage rhétorique dans lequel le futur de ce récit est représenté.
This essay proposes that science fiction is actually a subgenre of a far larger, medium agnostic genre of stories that portray imagined futures, and that by looking at the choices and strategies used during the production of these stories, we can get an insight into the way they frame the future they present. The framework is based in a 2x2 matrix in which two continua of narrative stragegy are entangled : the first dichotomy is that between the diegetic and mimetic modes, and the second is that between the dramatic and spectacular logics. By positioning a given text on this typological map, it becomes possible to broadly predict the rhetorical frame in which that narrative’s future is presented.

communications law, computer internet law, copyright law, education law, evidence, and trademark law

I. Introduction Three-Dimensional printing (sometimes called "additive manufacturing" 1 or "rapid prototyping" 2 ) will transform our economy and culture in dramatic ways. 3D printers can already make a wide variety of things: shoes, clothes, car parts, toys, guns, human body parts, and much more. 3 Their capabilities will only continue to improve. Traditionally, most sculptures and other three-dimensional art started with a block of solid material from which the artist removed unwanted pieces until she formed the sculpture. 3D printing turns this idea on its head: complex shapes and sculptures will no longer require removal of material from a unitary block; rather, the printer will build the object up layer-by-layer. All you need to print almost anything is a printer, "ink," and computer files detailing the item being printed. The confluence of 3D printing, 3D scanning, and the Internet will commingle the physical world and the digital world and will bring millions of laypeople into intimate contact with the full spectrum of intellectual property laws. 4 One of the areas most affected by 3D printers will be three-dimensional art. This Article begins the work of identifying and responding to the effects of 3D printing technology on copyright law. After introducing the technology in Section II, this Article analyzes three ways in which 3D printing (together with 3D scanning and the Internet) will affect the creation, delivery, and consumption of art. First, Section III discusses how 3D printing will bring the fields of ...