User:Colm/Thesis/2016 11 09 Thesis-outline0.2: Difference between revisions
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Title: Thesis outline 0.2 | Title: Thesis outline 0.2 Date: 09/11/2016 | ||
Date: 09/11/2016 | |||
== Thesis outline == | |||
===== standing outline for Thesis Graduate Seminar deadline 2016_11_09 after 10am meeting with Marloes. ===== | |||
Central research question: How do visual production software technologies transfer the knowledge and skills of the craft they virtualise? | Central research question: How do visual production software technologies transfer the knowledge and skills of the craft they virtualise? | ||
<blockquote> | <blockquote> | ||
''Technology is typically seen as a problem-solver, and well-designed technology '''is supposed to follow an according aesthetic of efficiency''', ease and—ultimately—automation.'' | |||
</blockquote> | </blockquote> | ||
<small>To Save Everything, Click Here — Evgeny Morozov, ch 9</small> | <small>To Save Everything, Click Here — Evgeny Morozov, ch 9</small> | ||
= Introduction: = | |||
* Central research question | * Central research question | ||
* What is visual production software? | * What is visual production software? | ||
| Line 18: | Line 19: | ||
* Physical tangible actions are what visual production software virtualises. | * Physical tangible actions are what visual production software virtualises. | ||
= Chapter 1: = | |||
Temp title: | |||
Temp title: ''Defining craft'' | |||
What is modern digital craft? Is it the same as old crafts with different tools and different outcomes? Is it still cultural production? | What is modern digital craft? Is it the same as old crafts with different tools and different outcomes? Is it still cultural production? | ||
| Line 25: | Line 27: | ||
tangible material, virtual material, manipulation techniques, expertise, experts, professionnals, tools, manual tools, virtual tools, progression of craft | tangible material, virtual material, manipulation techniques, expertise, experts, professionnals, tools, manual tools, virtual tools, progression of craft | ||
= Chapter 2: = | |||
Temp title: | |||
Temp title: ''Efficiency'' | |||
Can we say that a well-designed technology is one that is efficient and easy? What is the criterium for well-designed visual production software? Outside of visual production software, we can say that virtualisation of certain processes has made them more efficient, is this also true for digital visual production? What is the cost of this efficiency? | Can we say that a well-designed technology is one that is efficient and easy? What is the criterium for well-designed visual production software? Outside of visual production software, we can say that virtualisation of certain processes has made them more efficient, is this also true for digital visual production? What is the cost of this efficiency? | ||
= Chapter 3: = | |||
Temp title: | |||
Temp title: ''The user'' http://contemporary-home-computing.org/art-and-tech/not/ | |||
but if I mak a mistaque? | but if I mak a mistaque? | ||
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the doer, the producer, the craftsman, the professional, specialisations, comforts | the doer, the producer, the craftsman, the professional, specialisations, comforts | ||
= Chapter 4: = | |||
Temp title: | |||
Temp title: ''multiple interfaces'' | |||
In the movement enabling larger sets of users to produce visuals digitally, what happens when the software is declined to function on other types of interfaces and devices? Firstly tablets and phones, but also web apps. | In the movement enabling larger sets of users to produce visuals digitally, what happens when the software is declined to function on other types of interfaces and devices? Firstly tablets and phones, but also web apps. | ||
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> Now, e-mail, there’s always been a better way to find stuff. You don’t keep your e-mail on your file system, right? The app manages it. And that was the breakthrough, as an example, in iTunes. You don’t keep your music in the file system, that would be crazy. You keep it in this app that knows about music and knows how to find things in lots of different ways. Same with photos: we’ve got an app that knows all about photos. And these apps manage their own file storage. […] | > Now, e-mail, there’s always been a better way to find stuff. You don’t keep your e-mail on your file system, right? The app manages it. And that was the breakthrough, as an example, in iTunes. You don’t keep your music in the file system, that would be crazy. You keep it in this app that knows about music and knows how to find things in lots of different ways. Same with photos: we’ve got an app that knows all about photos. And these apps manage their own file storage. […] | ||
--> | --> | ||
>[...] And eventually, the file system management is just gonna be an app for pros and consumers aren’t gonna need to use it. | <blockquote>[...] And eventually, the file system management is just gonna be an app for pros and consumers aren’t gonna need to use it. | ||
</blockquote> | |||
<small>Steve Jobs on the file system; video transcription [ | <small>Steve Jobs on the file system; video transcription [https://oleb.net/blog/2012/06/steve-jobs-on-the-file-system/ from here]</small> | ||
coming full circle, Apple Pencil, Adobe rulers, even the place where the computer tool runs becomes blurry. The cloud. Solutions to file handeling. | coming full circle, Apple Pencil, Adobe rulers, even the place where the computer tool runs becomes blurry. The cloud. Solutions to file handeling. | ||
= Conclusion: = | |||
A place to recap, repeat some aspects faster, and elude back to the central question. | A place to recap, repeat some aspects faster, and elude back to the central question. | ||
Hope to find place in conclusion to explain how a contributive software model answers some if the issues raised above, displacing the user and calling upon a larger context of knowledge | Hope to find place in conclusion to explain how a contributive software model answers some if the issues raised above, displacing the user and calling upon a larger context of knowledge and intelligence. | ||
--- | |||
----- | |||
My intention is to provide context to better understand certain contemporary movement in digital services that seem to focus on efficiency. This risks the further diminishing the cultural relevance and importance of digital practices and crafts, and in the case of the most recent implementations in alternate interfaces and web apps: blurring the lines between service and production. | My intention is to provide context to better understand certain contemporary movement in digital services that seem to focus on efficiency. This risks the further diminishing the cultural relevance and importance of digital practices and crafts, and in the case of the most recent implementations in alternate interfaces and web apps: blurring the lines between service and production. | ||
= Key texts = | |||
* to save everything click here — Evgeny Morozov<br> | * to save everything click here — Evgeny Morozov<br> | ||
* La société automatique: Tome 1, L'avenir du travail — Bernard Stiegler | * La société automatique: Tome 1, L'avenir du travail — Bernard Stiegler | ||
* Adverserial Design - Carl DiSalvo<br> | * Adverserial Design - Carl DiSalvo<br> | ||
* Chantal Mouffe<br> | * Chantal Mouffe<br> | ||
* Terry Winograd & Fernando Flores — Understanding Computers and Cognition<br> | * Terry Winograd & Fernando Flores — Understanding Computers and Cognition<br> | ||
Latest revision as of 11:07, 30 November 2016
Title: Thesis outline 0.2 Date: 09/11/2016
Thesis outline
standing outline for Thesis Graduate Seminar deadline 2016_11_09 after 10am meeting with Marloes.
Central research question: How do visual production software technologies transfer the knowledge and skills of the craft they virtualise?
Technology is typically seen as a problem-solver, and well-designed technology is supposed to follow an according aesthetic of efficiency, ease and—ultimately—automation.
To Save Everything, Click Here — Evgeny Morozov, ch 9
Introduction:
- Central research question
- What is visual production software?
- There is no visual production software that does not mimic a physical tangible action, something I believe to be a craft.
- Physical tangible actions are what visual production software virtualises.
Chapter 1:
Temp title: Defining craft
What is modern digital craft? Is it the same as old crafts with different tools and different outcomes? Is it still cultural production?
tangible material, virtual material, manipulation techniques, expertise, experts, professionnals, tools, manual tools, virtual tools, progression of craft
Chapter 2:
Temp title: Efficiency
Can we say that a well-designed technology is one that is efficient and easy? What is the criterium for well-designed visual production software? Outside of visual production software, we can say that virtualisation of certain processes has made them more efficient, is this also true for digital visual production? What is the cost of this efficiency?
Chapter 3:
Temp title: The user http://contemporary-home-computing.org/art-and-tech/not/
but if I mak a mistaque?
Is the visual production software user automatically a craftsman? Do all users mean to attain craft, or is the software designed for a broader set of users?
the doer, the producer, the craftsman, the professional, specialisations, comforts
Chapter 4:
Temp title: multiple interfaces
In the movement enabling larger sets of users to produce visuals digitally, what happens when the software is declined to function on other types of interfaces and devices? Firstly tablets and phones, but also web apps.
Comment on this quote:
[...] And eventually, the file system management is just gonna be an app for pros and consumers aren’t gonna need to use it.
Steve Jobs on the file system; video transcription from here
coming full circle, Apple Pencil, Adobe rulers, even the place where the computer tool runs becomes blurry. The cloud. Solutions to file handeling.
Conclusion:
A place to recap, repeat some aspects faster, and elude back to the central question.
Hope to find place in conclusion to explain how a contributive software model answers some if the issues raised above, displacing the user and calling upon a larger context of knowledge and intelligence.
My intention is to provide context to better understand certain contemporary movement in digital services that seem to focus on efficiency. This risks the further diminishing the cultural relevance and importance of digital practices and crafts, and in the case of the most recent implementations in alternate interfaces and web apps: blurring the lines between service and production.
Key texts
- to save everything click here — Evgeny Morozov
- La société automatique: Tome 1, L'avenir du travail — Bernard Stiegler
- Adverserial Design - Carl DiSalvo
- Chantal Mouffe
- Terry Winograd & Fernando Flores — Understanding Computers and Cognition