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Posts Tagged ‘Open Source’


July 3, 2008, 9:19 pm

code_swarm, para visualizar la vida de una Comunidad Open P2P

Categories: Complejidad

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Massimo Menichinelli

code_swarm. An experiment in organic software visualization es una aplicación desarrolada por Michael Ogawa con Processing, que recoge los dados a cerca de la historia de una comunida open source / free software y les visualiza en un video. Aquí hay el video del proyecto Python:


code_swarm – Python from Michael Ogawa on Vimeo.

I’ve been studying software projects for a while now. Not the programming, but the people — the way they interact with each other through collaboration and communication.

This visualization, called code_swarm, shows the history of commits in a software project. A commit happens when a developer makes changes to the code or documents and transfers them into the central project repository. Both developers and files are represented as moving elements. When a developer commits a file, it lights up and flies towards that developer. Files are colored according to their purpose, such as whether they are source code or a document. If files or developers have not been active for a while, they will fade away. A histogram at the bottom keeps a reminder of what has come before.

En este proyecto la visualización de la complejidad de la comunidad no viene de dados recogido por usuarios, software o instrumentos y herramientas, sino de dados ya recogido automáticamente acerca del comportamiento de los usuarios al utilizar unos software en un red. En esta manera podemos visualizar la dedicación de cada usuario a la actividad colectiva y la historia del sistema.

El software utiliza los dados que vienen desde los commit que los usuarios hacen modificando del codigo compartido utilizando:

[...]version control systems for source code such as Subversion or Concurrent Versions System. A commit in the context of these version control systems refers to submitting the latest changes of the source code to the repository, and making these changes part of the head revision of the repository. Thus, when other users do an UPDATE or a checkout from the repository, they will receive the latest committed version, unless they specify they wish to retrieve a previous version of the source code in the repository. Version control systems also have similar functionality to SQL databases in that they allow rolling back to previous versions easily. In this context, a commit with version control systems is not as dangerous as it allows easy rollback, even after the commit has been done.

Code_swarm puede ser utilizado en aquellas comunidades que utilizan estos softwares para auto-organizars. Además, el codigo ha sido publicado de manera gratuita y libre bajo de una licencia GPL v3 license en Google Code. Entonces podemos utilizarlo también en nuestros proyectos, para visualizar la vida/historia de las Comunidades Open P2P: podemos modificar el codigo para poderlo utilizar también con las herramientas y los softwares especificos que cada comunidad utiliza para comunicar y auto-organizarse.

via | Ossblog

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, 9:19 pm

code_swarm, per visualizzare la vita di una Comunità Open P2P

Categories: Complessità

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Massimo Menichinelli

code_swarm. An experiment in organic software visualization è un’applicazione creata da Michael Ogawa con Processing, che raccoglie i dati riguardanti la storia di una comunità open source / free software e li visualizza in un video. Ecco il video riguardante il linguaggio di programmazione Python:


code_swarm – Python from Michael Ogawa on Vimeo.

I’ve been studying software projects for a while now. Not the programming, but the people — the way they interact with each other through collaboration and communication.

This visualization, called code_swarm, shows the history of commits in a software project. A commit happens when a developer makes changes to the code or documents and transfers them into the central project repository. Both developers and files are represented as moving elements. When a developer commits a file, it lights up and flies towards that developer. Files are colored according to their purpose, such as whether they are source code or a document. If files or developers have not been active for a while, they will fade away. A histogram at the bottom keeps a reminder of what has come before.

Qui la visualizzazione della complessità della comunità deriva non da dati raccolti da utenti o da software o attrezzature varie, ma da dati già raccolti automaticamente provenienti dal comportamento degli utenti nell’utilizzo di determinati strumenti software in una rete. In questo modo possiamo visualizzare l’impegno di ogni partecipante nella attività collettiva e il percorso di sviluppo, la storia, del sistema.

Il software basa il suo funzionamento sui commit eseguiti dagli utenti, cosa che avviene quando si contribuisce del codice ad un progeto comune utilizzando:

[...]version control systems for source code such as Subversion or Concurrent Versions System. A commit in the context of these version control systems refers to submitting the latest changes of the source code to the repository, and making these changes part of the head revision of the repository. Thus, when other users do an UPDATE or a checkout from the repository, they will receive the latest committed version, unless they specify they wish to retrieve a previous version of the source code in the repository. Version control systems also have similar functionality to SQL databases in that they allow rolling back to previous versions easily. In this context, a commit with version control systems is not as dangerous as it allows easy rollback, even after the commit has been done.

Code_swarm è una applicazione che può essere utilizzata per quelle comunità che usano questi software per auto-organizzarsi. Inoltre, il codice è stato rilasciato liberamente e gratuitamente sotto una licenza GPL v3 su Google Code. Quindi possiamo usarlo anche nei nostri progetti, per poter visualizzare la vita/storia delle Comunità Open P2P: possiamo anche modificare il codice per poterlo eseguire con gli strumenti di comunicazione e auto-organizzazione specifici di ogni comunità.

via | Ossblog

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April 3, 2008, 10:10 pm

openp2pdesign.org @crumbweb.org mailing list

Categories: openp2pdesign.org @es

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Massimo Menichinelli

Os anuncio que he sido invitado como guest contributor a la mailing list de crumbweb para este mes, April 2008.

This list is intended for those involved in curating, exhibiting, archiving or interpreting new media art (including net.art, interactive installations, digital video etc.) It’s for discussion of issues specifically related to new media art curating, because although there is much material concerning new media art, new media theory, and new media as ‘education’ in museums, there is little to help curators deal with the challenges of new media art.

It is the discussion list of the CRUMB web site (Curatorial Resource for Upstart Media Bliss http://www.crumbweb.org). The site includes: CRUMB INTERVIEWS, SEMINARS and LINKS. Visit often … leave crumbs of knowledge.

Y la razón es que este mes habrá un debate en la mailing list sobre el tema “Open Source and Open Systems”.

Theme of the Month April 08
Open Source and Open Systems

The relationship between Open Source production methods, and other kinds of production methods, or social systems, is in hot debate. The debate is informed by politics, ethnomethodology, social systems as well as art, but as Felix Stalder points out, “The openness in open source is often misunderstood as egalitarian collaboration”.

In April 2006 the CRUMB list discussed art and activism in relation to systems, but can we further explore this in relation to practical experiences of art projects? What are the practical differences between Open Source systems and analogue social systems? What are the practical differences between interaction, participation and collaboration?

This month’s theme is hosted by Dominic Smith, doctoral researcher with CRUMB, and co-founder with Sneha Solanki of the Polytechnic organisation <http://ptechnic.org/>

Reference:
Stalder, Felix (2006) “On the difference between Open Source and Open Culture.” In: Marina Vishmidt with Mary Anne Francis, Jo Walsh, and Lewis Sykes (eds.) Media Mutandis: a NODE.London reader. Surveying art, technologies and politics. London: NODE/Mute. 194.

Invited respondents include:

Ele Carpenter has just completed her PhD with Crumb, and is currently facilitating the Html Patchwork, an Open Source Embroidery project to be exhibited at HTTP Gallery, Furtherfield, London in May 2008. http://www.elecarpenter.org.uk www.open-source-embroidery.org.uk

Ruth Catlow – Furtherfield, and NODELondon – http://wiki.nodel.org/index.php/Ruth’s_Script_and_Slides

Janet Hawtin. Trained in graphic design, Janet works in community volunteering and education focused roles. http://lucychili.net http://lucychili.blogspot.com

Katie Hargrave is an artist interested in the production of memory and place through the active writing of history and the participation of citizens to construct a distinct, if lopsided narrative. She never works alone and hopes to create discursive spaces between art, activism, anthropology, and history. http://www.katiehargrave.us

Hideous Beast is a collaborative effort between two artists, Josh Ippel and Charlie Roderick. Through organizing structured participatory events they attempt to encourage cultural activity outside the bounds of mainstream entertainment and fabricated desire. http://www.hideousbeast.com

Aymeric Mansoux http://goto10.org

Armin Medosch is a writer, artist and curator working in the field of media art and network culture. He is currently doing a practice based PhD at Goldmiths in Arts and Computing.

Massimo Menichinelli, designer, studies how design can enable communities and complex systems, learning from Open Source and Peer-to-Peer. http://www.openp2pdesign.org

Gabriel “salsaman” Finch is main developer of LiVES (http://lives.sourceforge.net), a Free Software tool for real time and non-realtime manipulation of video.

Sal Randolph is an artist who works with gift economies, social architectures and one-on-one interactions. She is the founder of Opsound ( http://opsound.org ), an open sound exchange of copyleft music. http://salrandolph.com

Sneha Solanki is an artist, media trainer / teacher. Solanki also co-manages open source projects for Polytechnic {ptechnic.org}. http://electronicartist.net/solanki

Felix Stalder teaches media economy at the University of Applied Sciences and Arts Zurich (New Media Department) and works as an independent researcher/organizer with groups such as the Institute for New Cultural Technologies (t0) in Vienna. Co-moderator of nettime. http://felix.openflows.com

Marloes de Valk http://no.systmz.goto10.org

Simon Worthington http://www.metamute.org/

Os aconsigo de subscribir esta mailing list aquí ¡porqué ya los primeros contenidos son muy interesantes!

…¡y pronto os anunciaré más buenas noticias!

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, 10:10 pm

openp2pdesign.org @crumbweb.org mailing list

Categories: openp2pdesign.org @it

Tags: ,

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Massimo Menichinelli

Sono felice di di annunciarvi che sono stato invitato come ospite a contribuire alla crumbweb mailing list per questo mese, Aprile 2008.

This list is intended for those involved in curating, exhibiting, archiving or interpreting new media art (including net.art, interactive installations, digital video etc.) It’s for discussion of issues specifically related to new media art curating, because although there is much material concerning new media art, new media theory, and new media as ‘education’ in museums, there is little to help curators deal with the challenges of new media art.

It is the discussion list of the CRUMB web site (Curatorial Resource for Upstart Media Bliss http://www.crumbweb.org). The site includes: CRUMB INTERVIEWS, SEMINARS and LINKS. Visit often … leave crumbs of knowledge.

La ragione di questo invito è che questo mese verrà discusso, all’interno della mailing list, il tema “Open Source and Open Systems”.

Theme of the Month April 08
Open Source and Open Systems

The relationship between Open Source production methods, and other kinds of production methods, or social systems, is in hot debate. The debate is informed by politics, ethnomethodology, social systems as well as art, but as Felix Stalder points out, “The openness in open source is often misunderstood as egalitarian collaboration”.

In April 2006 the CRUMB list discussed art and activism in relation to systems, but can we further explore this in relation to practical experiences of art projects? What are the practical differences between Open Source systems and analogue social systems? What are the practical differences between interaction, participation and collaboration?

This month’s theme is hosted by Dominic Smith, doctoral researcher with CRUMB, and co-founder with Sneha Solanki of the Polytechnic organisation <http://ptechnic.org/>

Reference:
Stalder, Felix (2006) “On the difference between Open Source and Open Culture.” In: Marina Vishmidt with Mary Anne Francis, Jo Walsh, and Lewis Sykes (eds.) Media Mutandis: a NODE.London reader. Surveying art, technologies and politics. London: NODE/Mute. 194.

Invited respondents include:

Ele Carpenter has just completed her PhD with Crumb, and is currently facilitating the Html Patchwork, an Open Source Embroidery project to be exhibited at HTTP Gallery, Furtherfield, London in May 2008. http://www.elecarpenter.org.uk www.open-source-embroidery.org.uk

Ruth Catlow – Furtherfield, and NODELondon – http://wiki.nodel.org/index.php/Ruth’s_Script_and_Slides

Janet Hawtin. Trained in graphic design, Janet works in community volunteering and education focused roles. http://lucychili.net http://lucychili.blogspot.com

Katie Hargrave is an artist interested in the production of memory and place through the active writing of history and the participation of citizens to construct a distinct, if lopsided narrative. She never works alone and hopes to create discursive spaces between art, activism, anthropology, and history. http://www.katiehargrave.us

Hideous Beast is a collaborative effort between two artists, Josh Ippel and Charlie Roderick. Through organizing structured participatory events they attempt to encourage cultural activity outside the bounds of mainstream entertainment and fabricated desire. http://www.hideousbeast.com

Aymeric Mansoux http://goto10.org

Armin Medosch is a writer, artist and curator working in the field of media art and network culture. He is currently doing a practice based PhD at Goldmiths in Arts and Computing.

Massimo Menichinelli, designer, studies how design can enable communities and complex systems, learning from Open Source and Peer-to-Peer. http://www.openp2pdesign.org

Gabriel “salsaman” Finch is main developer of LiVES (http://lives.sourceforge.net), a Free Software tool for real time and non-realtime manipulation of video.

Sal Randolph is an artist who works with gift economies, social architectures and one-on-one interactions. She is the founder of Opsound ( http://opsound.org ), an open sound exchange of copyleft music. http://salrandolph.com

Sneha Solanki is an artist, media trainer / teacher. Solanki also co-manages open source projects for Polytechnic {ptechnic.org}. http://electronicartist.net/solanki

Felix Stalder teaches media economy at the University of Applied Sciences and Arts Zurich (New Media Department) and works as an independent researcher/organizer with groups such as the Institute for New Cultural Technologies (t0) in Vienna. Co-moderator of nettime. http://felix.openflows.com

Marloes de Valk http://no.systmz.goto10.org

Simon Worthington http://www.metamute.org/

Vi consiglio di registrarvi a questa mailing list qui, perché i primi contenuti pubblicati sono davvero molto interessanti!

…e presto vi annuncerò altre buone notizie!

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, 10:10 pm

openp2pdesign.org @crumbweb.org mailing list

Categories: openp2pdesign.org

Tags: ,

2 comments

Massimo Menichinelli


I’m so happy to tell you that I have been invited as a guest contributor to the crumbweb mailing list for this month, April 2008.

This list is intended for those involved in curating, exhibiting, archiving or interpreting new media art (including net.art, interactive installations, digital video etc.) It’s for discussion of issues specifically related to new media art curating, because although there is much material concerning new media art, new media theory, and new media as ‘education’ in museums, there is little to help curators deal with the challenges of new media art.

It is the discussion list of the CRUMB web site (Curatorial Resource for Upstart Media Bliss http://www.crumbweb.org). The site includes: CRUMB INTERVIEWS, SEMINARS and LINKS. Visit often … leave crumbs of knowledge.

The reason is that this month there will be a debate bout the theme “Open Source and Open Systems”.
(more…)

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March 14, 2008, 12:53 am

¡El primero producto open source para todos, de verdad!

Categories: Open P2P Design @es

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Massimo Menichinelli

Openmoko: Neo1973

Podemos decir que en estos días el primer producto de masa totalmente open source ha sido distribuido. Por lo tanto, este es el primer ejemplo de un verdadero Open Design, no vinculados a distintos experimentos o nichos de mercado (aunque sean muy importantes): el primer ejemplo de cómo la filosofía Open Source, del código abierto, pueda ser adoptada no sólo en ámbitos diferentes de aquellos de la programación y producción de contenidos, sino también en una producción de bienes físicos, bienes rivales
Me refiero a la organización Openmoko, un proyecto que tiene por objeto el diseño de un smartphone completamente de código abierto, en primer lugar por su software, y ahora también para su hardware y diseño.

Openmoko: Neo1973

Podemos decir que esto es el primero, verdadero, producto de masa de codigo abierto, como que los ejemplos anteriores no han aplicado completamente la filosofía Open Source, o porque han tenido resultados limitados, o, por último, porque el contexto no estaba listo para propuestas de este tipo.

Thinkcycle, que es el primero y más desarrollado ejemplo (por lo menos hasta ahora), fue un experimento destinado a nichos de mercado, y por esta razón debe merecer aún más importancia debido a que fue destinada a ayudar a los contextos desfavorecidos, pero aún limitado en los resultados y en la influencia en el mundo del diseño, y también porqué estaba delante de la propagación en la sociedad de la conciencia de las oportunidades del Open Source.
La iniciativa Ronen Kadushin, aunque digna, representa sólo un solitario experimento sin un amplio exíto y desarrollo.
La propuesta de Martí Guixé toma el Open Source como una metáfora y trata de adoptar algunos de sus aspectos colaterales, en el sentido de que busca algunos de los efectos de la codigo abierto que puedan ser aplicables también a los productos, pero en el fondo no es una verdadera iniciativa de código abierto.

La iniciativa Openmoko (en su primera versión, Neo1973, producido por FIC) es tan importante, porque su adopción de la filosofía Open Source no es un experimento, sino una verdadera iniciativa comercial. Hemos pasado entonces desde la etapa de inspiración y experimentación para el Open Design, a una fase en que todo eso se ponga ahora en práctica. Por supuesto, la experimentación no ha terminado y debe seguir, pero ahora estamos hablando de un producto que el público en general va a ver en las tiendas y que se encuentra en competencia con uno de los productos más esperados del momento, el Apple iPhone. Y todo esto se refiere a la libertad de elección de que esta apertura puede dar al usuario, asì como viene desde la filosofía del Software Libre:

If you can’t open it, you don’t own it. Our first key unlocked the software, unleashing the community to recraft the code. Now, we free the case and share the keys to Industrial Design. Developers who want to re-craft the case are set free.

No es algo raro que haya una versión advanced que se pueda comprar, que lleva todo lo necesario para abrir y modificar el movil, lo que permite su hacking con el fin de personalizar y aprender de él al mismo tiempo.

Openmoko: Neo1973 Advanced Kit

La distribución de los archivos de diseño, que se celebró hace unos dias, es por lo tanto, una consecuencia lógica; los ficheros (IGES, STEP, ProE), se han publicado bajo licencia Creative Commons ShareAlike en esta dirección: http://downloads.openmoko.org/CAD/

Openmoko: Neo1973 Source Code

El hecho que sea un teléfono móvil de nueva generación (un smartphone) el primer verdadero producto de código abierto, hace que el evento sea aún más importante. ¿Por qué? Por que los teléfonos móviles representan un enorme potencial para el desarrollo de servicios colaborativos basados en comunidades. Una herramienta que nos permitirá en el futuro a explotar, mejorar y difundir con mayor facilidad la inteligencia colectiva, ya que tendremos la capacidad de ofrecer servicios más accesibles, a medida que más personas tienen acceso a los teléfonos móviles y se sienten más cómodos con ellos que con ordenadores y la World Wide Web.

Por lo tanto, con una metodología de diseño Open P2P podríamos diseñar con/para una comunidad, sus teléfonos moviles, su software y sus servicios, de acuerdo a sus necesidades específicas. Estamos entonces en condiciones de co-diseñar con una comunidad sus servicios colaborativos y las herramientas que permiten su despliegue, incluso para los pequeños contextos.

via | core77

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, 12:53 am

Il primo prodotto open source per il grande pubblico!

Categories: Open P2P Design @it

Tags: , , , , ,

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Massimo Menichinelli

Openmoko: Neo1973

Possiamo dire che in questi giorni è stato distribuito il primo prodotto di massa completamente open source. E quindi il primo effettivo esempio di Open Design, non legato a singoli esperimenti o mercati di nicchia (seppure molto importanti): il primo esempio di come l’open source possa prendere piede non solo in altri ambiti oltre all’informatica e alla produzione di contenuti, ma anche in un contesto di produzione di beni fisici, di beni rivali.
Si tratta dell’associazione Openmoko, un progetto di telefono cellulare di tipo smartphone completamente open source, prima per quanto riguarda il suo software, ed ora anche per quanto riguarda il suo hardware e progetto di design.

Openmoko: Neo1973

Possiamo dire che sia questo il primo, vero, prodotto di design di massa, poiché gli esempi precedenti o non hanno perseguito sino in fondo la filosofia Open Source, oppure perché hanno avuto risultati limitati o, infine, perché il contesto non era pronto per iniziative di questo tipo.
Thinkcycle, che è il primo ed il più sviluppato esempio (almeno fino ad ora), ha rappresentato un esperimento rivolto a mercati di nicchia; per questo anche più meritevole, perché rivolto ad aiutare contesti svantaggiati, ma pur sempre limitato nei risultati e nell’influenzare il mondo della progettazione perché troppo in anticipo rispetto alla diffusione della consapevolezza sull’Open Source all’interno della società.
L’iniziativa di Ronen Kadushin, sebbene meritevole, rappresenta solo un esperimento solitario, senza grande seguito e sviluppo.
La proposta di Martí Guixé prende l’Open Source come una metafora e cerca di adottare alcune sue caratteristiche “collaterali”, nel senso che ricerca alcuni effetti dell’open source ma nella sostanza non è open source.

L’iniziativa Openmoko (e la sua prima incarnazione, Neo1973 prodotta dalla FIC) è importante perché l’adottazione della filosofia Open Source avviene da un prodotto che viene presentato nel mercato e venduto: si tratta quindi non di un esperimento ma di una reale iniziativa. Siamo passati quindi dalla fase di ispirazione e sperimentazione dell’Open Design a quella della messa in pratica. Certo, la sperimentazione non è finita e va portata avanti ulteriormente, ma ora stiamo parlando di un prodotto che il grande pubblico vedrà nei negozi e che si trova in competizione con il prodotto più atteso del momento, l’iPhone della Apple. E questo facendo riferimento alla libertà che questa scelta di apertura può dare all’utente, richiamandosi alla filosofia del Free Software:

If you can’t open it, you don’t own it. Our first key unlocked the software, unleashing the community to recraft the code. Now, we free the case and share the keys to Industrial Design. Developers who want to re-craft the case are set free.

Non a caso, è in vendita anche una versione advanced, corredata di tutto ciò che è necessario per poter aprire e modificare il cellulare, fare il suo hacking per poterlo personalizzare e apprendere allo stesso tempo.

Openmoko: Neo1973 Advanced Kit

La distribuzione dei file del progetto di design, avvenuta in questi giorni, non rappresenta quindi che una logica e coerente conseguenza; i file del progetto (IGES, STEP, ProE), sono stati pubblicati sotto licenza Creative Commons ShareAlike a questo indirizzo: http://downloads.openmoko.org/CAD/

Openmoko: Neo1973 Source Code

Il fatto che sia un telefono cellulare di nuova generazione (uno smartphone) ad essere il primo vero prodotto open source, rende l’evento ancora più importante. Perché? Perché i telefoni cellulari rappresentano un enorme potenziale per lo sviluppo di servizi collaborativi su base comunitaria. Uno strumento, insomma, che ci permetterà, in futuro, di sfruttare e valorizzare l’intelligenza collettiva con maggiore facilità e diffusione di quanto non si possa fare ora, perché ha la capacità di abbattere ulteriormente le barriere all’accesso del servizio, dato che molte più persone hanno accesso e familiarità con telefoni cellulari rispetto a computer e World Wide Web.

Quindi, con una metodologia progettuale Open P2P potremmo progettare, con/per una comunità, i telefoni cellulari, il loro software e i loro servizi, in base alle loro esigenze specifiche. Siamo quindi in grado di co-progettare con una comunità i loro servizi collaborativi e gli strumenti che ne permettono l’implementazione, anche per piccoli contesti.

via | core77

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, 12:53 am

The first open source product for the masses, ever!

Categories: Open P2P Design

Tags: , , , , ,

4 comments

Massimo Menichinelli

Openmoko: Neo1973

We can say that these days the first mass product completely open source has been distributed. Therefore, this is the first example of a real Open Design, not tied to individual experiments or niche markets (albeit very important): the first example of how open source philosophy can be adopted not only in areas different from programming and production of contents, but also in a production of physical goods, rival goods.
I am talking about the Openmoko organization, a project aimed at the design of a smartphone completely open source, first for its software, and now also for its hardware and design.

Openmoko: Neo1973

We can say that this is the first, true, open source mass product design, as the previous examples have not pursued completely the Open Source philosophy, or because they have had limited results, or, lastly, because the context was not ready for actions of this type.

Thinkcycle, which is the first and most developed example (at least so far), was an experiment aimed at niche markets, and for this reason should deserve even more importance because it was aimed at helping disadvantaged contexts, but still limited in the results and in influence on the world of design as too ahead of the spread of Open Source awareness in society.
The initiative Ronen Kadushin, although worthy, represents only a solitary experiment without broad appeal and development.
Martí Guixé’s proposal takes the Open Source as a metaphor and try to adopt some of its collateral features, in the sense that look for certain effects of the open source that can apply to products too, but in substance it is not open source.

The Openmoko initiative (in its first incarnation, Neo1973, produced by FIC) is so important because the adoption of the Open Source philosophy is not an experiment but a real initiative. We then passed the stage of inspiration and experimentation for Open Design, to a stage where it is put into practice. Of course, experimentation is not over and should be pursued further, but now we are talking about a product that the general public will see in stores and that is in competition with the most expected product of the moment, the Apple iPhone. And this referring to the freedom that this choice of opening may give the user, just like the philosophy of the Free Software:

If you can’t open it, you don’t own it. Our first key unlocked the software, unleashing the community to recraft the code. Now, we free the case and share the keys to Industrial Design. Developers who want to re-craft the case are set free.

It is by no coincidence that an advanced version can be bought, bearing all that is needed to open and edit the phone, enabling his hacking in order to customize and learning from it at the same time.

Openmoko: Neo1973 Advanced Kit

The distribution of the design files, which took place recently, is therefore a logical consequence; the files (IGES, STEP, ProE), were published under license Creative Commons ShareAlike at this address: http://downloads.openmoko.org/CAD/

Openmoko: Neo1973 Source Code

The fact that a mobile phone of new generation (a smartphone) is the first true open source product, makes the event even more important. Why? Because mobile phones represent a huge potential for the development of community-based collaborative services. A tool that will enable us in the future to exploit, enhance and more easily spread the collective intelligence, because it has the ability to further break down barriers of the service, as many more people have access to mobile phones and feel more comfortable with them than with computers and the World Wide Web.

Therefore, with an Open P2P design methodology we could design with/for a community, mobiler phones, their software and their services, according to their specific needs. We are then able to co-design with a community their collaborative services and the tools that allow their deployment, even for small contexts.

via | core77

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December 8, 2007, 12:24 am

Ciudad, Diseño… y la Catedral y el Bazar

Categories: Open P2P Design @es

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Massimo Menichinelli

He dicho antes que Open Source y Peer-to-Peer podrian ser aplicados a proyectos para localidades… y Matías Echanove y Rahul Srivastavache estan intentando a adaptar los principios del Bazar descritos por Eric Raymond al planeamiento urbano.

  1. La necesidad es la madre de la invención. ¿Qué necesitan los vecinos? No son los planificadores los que deben adivinarlo, son los vecinos quienes tienen que decirlo.
  2. No se necesita reinventar de nuevo la rueda. Veamos lo que funciona aquí y en otras partes y desarrollémoslo.
  3. No entiendes realmente el problema hasta que no empiezas a implementar las soluciones. No tenemos por qué tenerlo todo pensado, podemos empezar poco a poco, "en pequeño", y crecer construyendo conocimiento de un modo continuo.
  4. Con la actitud correcta, surgirán cuestiones interesantes (e inesperadas) que mejorarán nuestros planes y el proceso de desarrollo urbano.
  5. Déjalo ir. No te sientas propietario del plan o, aún mejor, deja que la gente se sienta también propietaria. Nuestro objetivo común es alcanzar la solución mejor / óptima y todo el mundo tiene algo que aportar.
  6. Los residentes deberían ser co-planificadores y co-desarrolladores. Ellos son los mayores activos de los planificadores por lo que se debería dedicar mucho tiempo y atención a cultivar su participación activa. No necesitamos ser genios del diseño y la planificación, necesitamos encontrar la major forma de activar la inteligencia colectiva de los residentes.
  7. El plan debería ser público y accesible tanto en internet como localmente en el área que se está planeando, e ir incorporando las actualizaciones casi en continuo (cada pocas semanas) de modo que la gente pueda reaccionar de modo inmediato. Escucha lo que la gente, cualquier persona, tiene que decir e incorpóralo. Siempre puede ser modificado sobre la marcha.
  8. Si tenemos a suficiente gente inspeccionando diferentes aspectos del plan, los problemas se reconocerán y resolverán rápidamente: Encontrar los fallos es el mayor reto. Una vez los detectamos, alguien tendrá una idea acerca de cómo resolverlo.
  9. Encontrar un modo eficiente para que la gente pueda aportar ideas es más importante que las aportaciones por sí mismas.
  10. Si los residentes se tratan como el recurso más valioso del plan, se convertirán de hecho en el recurso más valioso del plan.
  11. Ser capaz de reconocer las buenas ideas de otros es (casi) mejor que tener buenas ideas por uno mismo.
  12. Entender que nuestros conceptos son erróneos puede dar lugar a las soluciones más innovadoras y sorprendentes.

Por otra parte, dado que gestionar ciudades y territorios consiste en realidad en gestionar personas, es si cabe más importante que en el caso del software que el proceso se desarrolle de un modo colaborativo dando participación a los propios usuarios que de este modo pueden convertirse en actores del proceso. Ciertamente, la planificación actual, por ejemplo en España, está muy alejada de estas ideas, pero deberíamos pensar por las razones de esta discrepancia. Posiblemente estén más en los fallos del sistema actual que en la supuesta utopía del paradigma del bazar.

(via | Juan Freire)

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, 12:24 am

City, Design… and the Cathedral and the Bazaar

Categories: Open P2P Design

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Massimo Menichinelli

I said that Open Source and Peer-to-Peer could be applied to design for a locality…and Matías Echanove and Rahul Srivastavache are trying to adapt the principles of the Bazaar described by Eric Raymond to urban planning.

  1. Necessity is the mother of invention: What do residents need? It is not for planners to guess, but for them to say.
  2. No need to reinvent the wheel again: Lets see what works in here and elsewhere and expand on it.
  3. You don’t really understand the problem until after you start implementing the solutions: It doesn’t have to be an all out “redevelopment”, we can start small and keep building knowledge from that.
  4. With the right attitude interesting (and unexpected) issues will come up and make the plan & development better.
  5. Letting go: Lets not feel proprietary about the plan, or rather let other people feel proprietary about it as well. Our common goal is to have the BEST/optimal solution, and everyone has something to contribute.
  6. Residents should be co-planners and co-developers: They are the biggest assets of planners and a lot of time and attention should be spent to cultivate their active participation. We don’t need to be design or planning genius, but rather to find the best way to activate the collective intelligence of the residents.
  7. The plan should be publicly accessible on the web and in the planned area itself: with updates every weeks so people are part of it and can react immediately. Listen to what people (everybody) have to say and immediately incorporate it. It can always been modified along the way.
  8. If we have enough people looking at different aspects of the plan, any issue can be recognized and addressed quickly: Finding the issues is the biggest challenge. Once we found it someone will have an idea about how to solve it.
  9. Finding an efficient way to get people’s input is more important than input itself.
  10. If residents are treated as the most valuable resource of the plan, they will become the most valuable resource of the plan.
  11. Being able to recognize good ideas from others is (almost) better than having good ideas oneself.
  12. Realizing that our concepts are wrong might lead to the most striking and innovative solutions.

Por otra parte, dado que gestionar ciudades y territorios consiste en realidad en gestionar personas, es si cabe más importante que en el caso del software que el proceso se desarrolle de un modo colaborativo dando participación a los propios usuarios que de este modo pueden convertirse en actores del proceso. Ciertamente, la planificación actual, por ejemplo en España, está muy alejada de estas ideas, pero deberíamos pensar por las razones de esta discrepancia. Posiblemente estén más en los fallos del sistema actual que en la supuesta utopía del paradigma del bazar.

(via | Juan Freire)

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