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--- fictiewerk [2008/03/12 11:37] – femke
+++ fictiewerk [2017/02/09 13:23] (current) – external edit 127.0.0.1
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 Fictie is onontbeerlijk om de verveelvoudiging van profielen, de sporen die we nalaten en verzamelen te kunnen hanteren. Wanneer we ze opvatten als identiteits-scenario's die we naleven, welke verhalen vertellen we dan? Welke realiteitsficties produceren we wanneer we liegen in een formulier of wanneer we een werkelijkheid 'arrangeren'? Hoe visualiseren we het parcours dat onze profielen afleggen door databanken?
 ====== La fiction comme outil ======
-Comment pouvons-nous utiliser la fiction dans un monde qui est dominé par l'idée de l’historicité ?
+//Comment pouvons-nous utiliser la fiction dans un monde qui est dominé par l'idée de l’historicité ?//
 La fiction est un atelier, une méthode et des outils pour relier les mots et les termes qui ne sont pas supposés aller ensemble. En introduisant des langues artificielles ou du code dans un contexte de musée, ou en utilisant de la science-fiction comme moyen d’enseignement pour les chercheurs en sciences sociales, nous pouvons mettre en contact des mondes très différents à l'aide de l'imaginaire.
@@ Line 25: / Line 28: @@
 La fiction est indispensable pour pouvoir manipuler la multiplication des profils, les traces que nous laissons et rassemblons. Si nous les interprètons en tant que scénarios d’identité que nous respectons, que racontons-nous alors ? Quelles fictions de réalité produisons-nous si nous mentons dans un formulaire ou si nous ‘arrangeons’ une réalité ? Comment nous faisons-nous une idée claire du parcours que nos profils suivent par les bases de données ?
+====== Notities ======
+[[http://data.constantvzw.org/future/documents/fictie-werktuig.pdf | Notes en Cadavre Exquis (PDF document)]]
+Pierre, Peter, Kris, Wendy, Nicolas, Nicolas, Michel, Femke
+Peter introduces.
+Rode draad of fil rouge?
+Le livre d'or
+beginnen met voorstellen van projecten verbonden aan fictie als werktuig
+wendy stitch zand split
+utiliser le imagination and fiction als manier om te reflecteren op de huidgie tijd beinvloedt,
+in antwerpen spraken we over aliens, maar daardoor konden we ook spreken over wie er buitenstaannder is in antwerpen,
+dus een eufemisme,
+not only fiction as a possible different problems solutions,
+Kris: why constant was invited to participate in gent; department of education:
+fiction as a tool is central in the progra=m
+reflection, general, reflection on social issues
+narrative,
+studnets are used to making papers,
+desire for structure, frame, clear methodology
+constant proposed to rework reality into fiction,
+they wrote a science fiction scenario based on their own background as social workers,
+het departement werkt veel met fictie
+:een project over schoolfilms,
+nu werken ze veel met theater: Wunderbaum,
+can you implement fiction in system
+how do you test / measure the effect?
+discussion groups / qualitative research
+telling personal stories based on thje fiuctions thjey see;
+reflectie verslagen,
+n: what difference is there when students shift from learning to making?
+difficult to say:
+from de-constructing to constructing
+the students are not expected to be creative
+uncunsciously they are always constructing narratives,
+but making it real is different
+A: jeanne v H did a project in hospital where they created a soap in which the hospital and its patients featured,
+what was done:
+how to construct a story / plot
+select a contemporary problem, think about a future in which this problem was solved. Deus ex machina and pills were not an option;
+example: communication with an alzheimer patient (problem) solution: a robot was invented
+focus on technology; science and social work: technoloation and medicalisation of social work were put forward because it is somethoing they encounterin their daily work
+W: Workshop with foam is about future and technology but there was no mention of fantasy or fiction
+F: why do we connect fiction and computers?
+yoogle and profiles and stitch and split relate?
+yoogle born out of uncritical absorption of web 2.0
+who owns? correlation?
+enthousiasm about everyone being able to publish -- privacy? paranoia?
+reverse engineering: we needed a game
+a paranoia fiction. If it is a game ... something must be real
+test out a dynamic you can learn from
+google histories...
+if you type something... social control is much stronger than letting google know what you are looking for
+F: is fiction a carrier? A way to guild the bitter pill?
+N: the game is a way to discover, to build more interesting hypothesis.
+It is only interesting when we want to be educated to.
+Tool + fiction: what kind of instrumentalism
+Werktuig als fictie?
+K: the metaphor is a tool -- can be good and bad
+in education ... stories are supposed to be GOOD -- it can be confusing too
+how can you really learn from a narrative (it can be limiting, but opening up too)
+fiction as a tool... you need to look critically at this relation too
+"what is the added value" ... how to answer that? It gives more values!
+The tool is never neutral. The way the advertisement is constructed, is not neutral
+what is a fiction?
+does an advertiser write fiction? Or do we make fiction out of it?
+P: popular stories that have a hidden or culturally determined story?
+data is fiction? The queries you make are already a narrative ... if you produce profiles ... the data is raw material for creating fiction
+S: a form where you fill in to tell you who you are and than it would tell you: thank you for your data
+N: web 2.0 ... people are strategic about it, but not all elements are visible / transparant
+It was exciting for me when AOL released a part of their date. The idea was that it would help to make things better. But they could reconstruct persona's from it through datamining; the first thing they did was to construct narratives from it.
+A: narrative vs fiction?
+P: you can narrate something 'real'
+fiction and truth are always blurred
+A: is the intention the difference?
+K: naturally occuring narratives vs. provoked narratives
+the core of a narrative or an account -- it is a thin line but
+precausality of a narrative -- how did a startingpoint effect the way a story evolved.
+when do you talk about a story / narrative?
+and a statement
+Na: you need links between facts to make a narrative
+Narratives that work, and those that don't -- what conditions; scientific narratives: speculation, stories are conditions to produce working conditions.
+writing a dossier
+A: the idea that you can create fiction from data --
+we interviewed commuters and people hang around. I was asked to write a story about it. I took patterns and wrote a fairy tale with it. It works very well when you have a lot of data.
+archetypes (templates) -- profiles
+Na: the effect of fiction
+a difference between a bottle not responding to the story while you, listener will change as a result.
+The meaning matters -- who you are talking to and about who are you talking to
+words are tools
+narrative words are different kinds of tools
+K: logical, mathematical knowledge vs narrative knowledge
+Pi: Humans are tools to effect bottles ;-)
+how do stories challenge a overfactual world
+you need to be careful not to want to make everything a narrative. It needs to be next to each other ... you need some sort of standardisation. But not a single story!
+narratives and fiction can be an antidote, but they do not need to take over
+P: what kind of stories -- story as a medium
+if everything is fiction we can maybe change things. is everything rhetoric? By looking at rhetoric we can start to see what stories mean
+rhetoric as internal 'efficace'
+histories are stories = fiction
+how can you think about history as fiction, you give the key to see that it is a construction
+everything is a tool > there is always something in a story; we can enjoy a story we are not agreeing with.
+can you influence views by influencing stories
+stitch and split ... otherness
+rethoriek = woordenkramerij. it is a persuasion -- more ethical. You can make yourself and others aware
+manufactured tools do not help me to construct other tools
+what kind of construction, empowering
+being a strategical user... are you empowered?
+being transformed by a fiction ... in some sort of stable way ... how it is empowering
+Na: i was not thinking of GB but I was thinking of Brico...
+W: we are fictionalizing fiction.
+Pi: theory is about storyte"lling, when writing you dont think anymore, working on a workshop fiction writing for radio, wanting to engage radiomakers to revalidate fiction
+ni: fictions that work and fictions that do not work, fictions are sometimes inside the wrong genre,
+when do they dis / appear, you are talking about all kinds of aspects when thinking about disappearing media .....
+attention,
+is radio drama moved elsewhere, or is it no/somewhere?
+when we talk about tools we have to talk about their re-configuration,
+an: opening the box doesn't make you constructive / creative
+open source tools ?
+fe: spreekt over notaties van an in boeken die ze leest, daarin is een aandacht besloten die haar niet duidelijk is maar die intrigeert
+ni: when we speak about bookmarks it is a good moment to change to shiftspace,
+an: i wrote a fictional story through shiftspace post=its, people can leave comments, thepos-its are on urls, placed in the context of wenbpages,
+next phase includes thinking about the software as a tool for net-native writing
+organise two workshops ... with volunteers
+by following the trails ... temporality
+precise narration
+A: one criteria was, that it should be fiction, not just narrative. but it can be associative.
+when you talk about the project ... you don't mention what the story is about.
+Ni: i would like to know more about the story
+A: I was curious about how you make a novel, was caught by it. I had the desire to make one myself, but the context of the classic novel needed another kind of context
+i am curious about co-authorship
+but i have a story to tell
+Ni: if the meeting point for the story is the structure but not the story itself
+Oulipo is a safe game
+strategies for collaborative writing are often distant.
+collaborative projects in literature... ask long term investment
+free jazz and stories are not exclusive?
+groups that all together write software
+how is that different from writing a novel
+Ni: the difference is that code can be benchmarked... you can reach a consensus based on "it works better"
+the level of consensus is much higher
+we don't want to have the same tools as we had before
+collaborative writing
+all stories are already written
+Na: An, is your idea of participative collaborative digital writing constrained by tools -- or is it a  way to feed, learn the way you are learning.
+when you write a story it is difficult to make decisions -- to deal with all the possibilities you have
+participative writing can help to give some material constraints, that are not external but part of the process
+if you don't define the type of advantages you expect... can produce anything
+problem with free collaborative projects... over time, people come in to say hello and than spammers...
+Na: experimentations are always done in precise ways... you try to create a device
+MIT ... a teacher assigned characters to people
+who decides the structure ;-) you need limitations
+W: science of future studies
+structured speculation
+what is under collaborative discussion and what not
+if it is important to give different perspectives... but on what?
+there is a movie... la valse (sliding doors), constructed around a meeting