Yet another brief interview
I recently answered a few questions for the leading Korean architectural magazine, SPACE.
First, please state in a sentence your area of interest or expertise in the field of urban computing.
“Ensuring that to the greatest degree possible a robust conception of the right to the city is designed into networked informatic systems intended or otherwise destined for urban deployment.”
Second, an example that you use to make urban computing more readily accessible to architects is of Mark Weiser‘s concept of ubiquitous computing. How do you think functionality within the city divides from novelty or ‘art works’ of urban computing architecture? And which do you think architects can relate to more?
I think we long ago collectively transcended Weiser’s specific vision of technologized everyday life; as a matter of fact, I can tell you the precise date we did so, which was June 29th, 2007, the day on which the original iPhone was launched. What architects and urban planners now have to account for — but curiously, generally do not — is that the overwhelming majority of the human beings they’re designing spaces for are equipped with a way of knowing and making use of the city that no previous population has ever had before. We call it a “smartphone.”
What does it mean for a networked body and a networked self to move through equally networked space? And what might all of this portend for the practice of architecture, for the planning and execution of the built environment? As far as I can tell, these are questions that the disciplines involved haven’t even begun to reckon with in any particularly consistent or meaningful way.
The question about art is impossible to answer without reference to specific works or pieces or artists. Architects and urban planners might do well, in fact, to pay attention to the more thoughtful artists, or people involved in the critical making community, who have begun to interrogate the uses and consequences of information technology in a way that goes far beyond pointlessly “interactive” façades and mobile sculptures. But the kind of digital “art” installation that is generally used to apply a superficial gloss of contemporaneity or futurity to some otherwise utterly conventional commercial real-estate proposition? As far as I’m concerned it’s not even properly art, because it doesn’t satisfy the threshold condition of catalyzing some psychic or emotional change in the viewer, and of course it’s not meant to.
Your representative work Urbanflow examines the limitations of interactive media booths around cities, and looks to connect these booths while making them more behaviorally approachable. What other recent works have you been working on, and how do you feel the future of urban computing has been portrayed through this piece in terms of human behavior and adaptability to technologies?
Right now the thing I’m most interested in is designing for the future of urban mobility, for what I call “transmobility.” Unlike the transportation industry, whose rather boring, heavily capital-intensive conceptions of this future all seem to center on exotic new vehicle types or heroic infrastructures, what I’m trying to articulate is a framework allowing us to make maximum use of a city’s existing heterogeneous array of vehicles, mobility modes and options. Transmobility uses locational data and information-, interface- and service design to bind these things together in a mesh capable of providing something close to on-demand, real-time, point-to-point personal mobility to every citizen. Ultimately I think it’s a wiser, lower-cost and more practical way of achieving that end.
Urban computing is defined as “the integration of computing, sensing, and actuation technologies into everyday urban settings and lifestyles.” Yet, you register your work as belonging to the field of everyware (permeating places and pursuits, social activity, shaping relationships, as a distributed phenomenon). You mentioned that it is in need of a paradigm shift in 2011, has this happened? What is your definition for each of these concepts and how are they better suited in defining your approach in comparison to the term urban computing?
I just don’t use these terms in my work anymore. In fact I’m completely uninterested in technology, except insofar as it facilitates individual and collective self-determination, the meaningful expression of solidarity and the practice of mutual aid.
Think of it this way: networked informatic technology is simply another material we now have available to us as builders and shapers of urban space. And like any other material, it has certain inherent qualities, tendencies, properties or directionalities. But you don’t learn anything useful about these qualities by considering the material as an abstraction; the grain you’ve got to contend with as a designer only reveals itself at the local level — in technological terms, at the level of a specified device, sensor, display or API. And equally, these qualities only become important in context, when you’re designing some ensemble of networked systems in a given space, for a given population of users, to achieve a given effect.
So I try to avoid thinking in jargon, or otherwise succumbing to a uselessly generic conception of the material I’m working with, and focus my inquiry instead on actual communities in specific spatial contexts, their articulated and unarticulated concerns, the envelope of requirements and other constraints within which we work, and only finally the properties of some particular technical system.
Adam Greenfield on TwitterMy Tweets
- Can you smell what I’m cooking? 6 August 2016
- On the Master Bullshit Matrix 16 April 2016
- A brief note on “commoning” 2 April 2016
- On counter-hegemony, or: “I got it! We’ll have them write hit songs.” 24 March 2016
- Further notes on the quantified self 28 February 2016