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--- fictiewerk [2008/05/15 17:33] – femke
+++ fictiewerk [2017/02/09 13:23] (current) – external edit 127.0.0.1
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 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 ?
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 ====== Notities ======
+[[http://data.constantvzw.org/future/documents/fictie-werktuig.pdf | Notes en Cadavre Exquis (PDF document)]]
 Pierre, Peter, Kris, Wendy, Nicolas, Nicolas, Michel, Femke
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 enthousiasm about everyone being able to publish -- privacy? paranoia?
-reverse engineering
+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
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