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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 ...

business corporate law, communications law, computer internet law, constitutional law, copyright law, governments, international trade law, and patent law

Introduction For centuries, objects have been designed by processes involving pencil and paper drawings or the construction of physical prototypes. Beginning in the 1980s, machines, products, and components thereof have been increasingly designed mostly - if not entirely - on computers using computer aided design ("CAD") programs. 1 CAD programs are widely used by designers, engineers, and architects today to imagine and make virtual 3D models of various objects, enabling the objects to be fully digitally developed before they are physically created. 2 CAD programs offer many advantages over non-digital processes, such as the ability to easily change and refine a design, as well as a high degree of precision in defining all of the features and dimensions of the design. 3 While designs can certainly be created and manipulated in CAD programs from scratch, 3D scanning technology can also be used to make a CAD file that digitally captures and represents an existing object. 4 Once created, CAD files function as digital "blueprints" that can be used by manufacturers to make products to exact specifications in a factory setting. 5 Like other digital files, CAD files may be easily and widely distributed via any digital storage medium or network, such as the Internet. 6 Three-dimensional or "3D" printing is an emerging technology that is already having an enormous and profound impact on how products are made and sold. Just like CAD programs largely obviated the need for paper drafting and physical prototyping, 3D printing has the capability to ...

administrative law, commercial law (ucc), environmental law, governments, immigration law, international trade law, and securities law

INTRODUCTION The Employment Creation Immigrant Visa ("EB-5") is a United States Customs and Immigration Services ("USCIS") administered immigrant investor program that can and should mature into an optimized ethical financial instrument of sustainable capitalism. 3 With this evolution, EB-5 can be used to kick-start domestic investment in anticipatory design and construction of resilient "green" infrastructure. It can do this via investment in the regeneration and maintenance of a healthy environment, while creating perpetual local employment. By identifying and prototyping best practices via this application of EB-5 to federally mandated nonpoint source storm water management, the State of Vermont could serve as a model for scaling up this application throughout the U.S. The EB-5 program was conceived to grant citizenship to those with proven facility in turning capital into jobs. 4 As envisaged by Congress, EB-5 permits these investors to provide this expertise by indirection via a requisite investment, cash, or its equivalent at risk with no hedging, and arms-length policy oversight. 5 Though the program is of long standing, and well supported by Congress, it suffers from fundamental conflicts of opposing values, underutilization, and inefficiency due to lack of focus on what constitutes appropriate foreign investment in genuine domestic job growth; as well as how to measure that growth. In addition, it appears that the USCIS' expertise in immigration--administered under the auspices of the Department of Homeland Security ("DHS")--is matched by its inability to master the many, varied, and constantly evolving ways and ...

civil procedure, computer internet law, contracts law, and patent law

Introduction 3D printing is an emerging technology that is moving fast from the workshop into the home. No longer are the rapid prototyping and additive manufacturing capabilities of 3D printers reserved for engineers and researchers. Today consumers, hobbyists, and technophiles can download a computer-aided design or CAD file (a digital representation of a physical product) and additively "print" a three-dimensional product or component as simply as one can print words to a page. 1 In 2012, these digital printable items were coined as "physibles" by the notorious online piracy website The Pirate Bay. 2 This technology has wide-ranging and profound effects on intellectual property rights, particularly patents. Centuries of traditional manufacturing processes and commercial infrastructure have shaped patent law under the assumption that physical goods are traded in physical form. For example, a factory infringes a patent by "making" the patented product, a retailer infringes a patent by "selling" the patented product, and a purchaser of a product infringes a patent by "using" the patented product. 3 Because these various acts each constitute direct infringement, patent owners are generally able to enforce their patents against different entities to extinguish any harmful infringement at the source. Sometimes it can be difficult or impractical to target a direct infringer and extinguish infringement. Suppose a patented machine is only partially assembled (and thus noninfringing) 4 but is sold across the country to individuals who later assemble the entire machine (and thus infringe). 5 One could sue each ...

business corporate law, civil procedure, contracts law, environmental law, evidence, governments, healthcare law, legal ethics, and tax law

What's here Clients hire corporate lawyers to make useful products. These products are documents, such as contracts and corporate bylaws. Lawyers have good tools for making documents; standard forms and precedents from prior engagements are prime examples. But, corporate lawyers do not seem to use other tools whose employment might contribute to the utility and value of their products. These tools, employed by designers, include a focus on the reader and actual user experience, and an attention to typography, to facilitating communicative effectiveness through careful attention to the presentation of text. This paper reflects work by corporate lawyers trying to learn from designers, their work-product, and their literature, in creating legal documents for clients. The materials considered here are governance documents for nonprofit corporations. This paper notes several themes emerging from the literature study, explains why governance materials are a good vehicle for this work, characterizes typical executions of those materials, describes in detail and provides examples of the documents we developed, and makes a few observations about continuing work in the area. The work here is early-stage. As designers might say, we're doing ideation and prototyping. But, we do think the work is suggestive of how even modest awareness of design considerations can make our work-product better for our clients. The author is grateful to Jennifer Gonzalez for her research assistance and to Sean Hewens, James Lee, Kim Mitchell, Ryan Stouffer, George Triantis, and Steve Weise for their guidance and encouragement. Documents as communication projects ...

innovation, numérique, prototype, marché public, jeu sérieux, digital, public market, serious game, innovación, prototipo, mercado público, and serious games

Par l’étude de cas du jeu sérieux Fabric Game, cette contribution étudie les mécanismes de mise en marché de l’innovation pédagogique. À l’occasion « d’expérimentations » en classe organisée par les pouvoirs publics dans les académies scolaires, le jeu y est maintenu au stade de prototype en développement. En s’appuyant sur quatre ans d’ethnographie aux côtés des concepteurs du jeu, l’analyse identifie l’activité durant ces expérimentations comme une activité de « prototypage » : une activité collective et expérimentale qui vise à tester et améliorer Fabric Game. Ce faisant, le prototypage consiste à produire des connaissances sur le jeu, mais aussi à l’insérer dans l’échange, et donc à l’évaluer à l’aune des intérêts parfois contradictoires de chacun. La déconstruction du rôle et des actions des acteurs impliqués montre la façon dont le prototype sert à mettre en marché l’innovation pédagogique : en produisant les médiations sociotechniques entre concepteurs et usagers, les acteurs publics les enrôlent dans les canaux de financement et de distribution de l’innovation pédagogique.
This paper uses the case of the serious game Fabric Game to study the process of marketing pedagogical innovation. Public authorities organize classroom "experiments" in school districts, where the game is kept at a prototype stage. Based on a four-year ethnography alongside the game designers, our study identifies the activity during these experiments as "prototyping": a collective and experimental activity designed to test and improve Fabric Game. In doing so, prototyping consists in producing knowledge about the game, but also in evaluating it in order to be exchanged, according to the sometimes contradictory testers' interests. The deconstruction of actors' roles and actions shows how the prototype serves to market pedagogical innovation: by producing sociotechnical mediations between designers and users, public actors enroll them in the channels for the financing and distribution of pedagogical inventions.
Este artículo utiliza el caso del juego serio Fabric Game para estudiar el proceso de comercialización de la innovación pedagógica. Las autoridades públicas organizan «experimentos» en las aulas de los distritos escolares, donde el juego se mantiene en fase de prototipo. Basándonos en una etnografía de cuatro años junto a los diseñadores del juego, nuestro estudio identifica la actividad durante estos experimentos como «prototipado»: una actividad colectiva y experimental diseñada para probar y mejorar Fabric Game. Al hacerlo, el prototipado consiste en producir conocimiento sobre el juego, pero también en evaluarlo para ser intercambiado, según los intereses a veces contradictorios de los probadores. La deconstrucción de los roles y acciones de los actores muestra cómo el prototipo sirve para comercializar la innovación pedagógica: al producir mediaciones sociotécnicas entre diseñadores y usuarios, los actores públicos los inscriben en los canales de financiación y distribución de las invenciones pedagógicas.