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Consulenza psicologica via email

Consulenza psicologica via email

Psicologo in studio – Consulenza psicologica e psicoterapia

Psicologo in studio – Consulenza psicologica e psicoterapia

Consulenza

Consulenza

La comunicazione con gli oggetti

Esiste una comunicazione reciproca fra le persone e gli oggetti. Qualunque oggetto suscita in noi un atteggiamento che possiamo idealmente scomporre in tre costituenti:

  • una componente cognitiva, che include il riconoscimento e la funzione dell’oggetto;
  • una componente affettiva, cioè un’emozione che ha a che fare con i significati soggettivi, che risponde al Principio del Piacere e che spesso si traduce in un giudizio;
  • una componente comportamentale, ovvero una disposizione ad agire in un certo modo.

Cosicchè non esiste l’oggetto astratto “sedia”, ma “quella” sedia, che mi piace o non mi piace. Il che può variare secondo le circostanze.

C’è un legame tra le persone e gli oggetti, sempre colmo di sentimenti potenti e il più delle volte inespressi, che va molto al di là delle relazioni funzionali. La gamma di sentimenti include ad esempio l’attaccamento, l’amore, la possessività, la gelosia, l’orgoglio, la curiosità, la rabbia e persino l’amicizia o un sentirsi in coppia: “Io e la mia automobile”, potrebbe dire un pilota o un tassista.

nel 21simo secolo un salto dalla centralità della funzione alla centralità del significato

nella nostra relazione con gli oggetti l’indifferenza è la peggiore offesa e la pigrizio il peggior peccato. Dotati di comportamento sempre più complessi, gli oggeti sono diventati sempre più permalosi e lunatici, il rapporto con i computer sfiora la codipendenza. Glo oggetti sono diventati interlocutori complessi e impegnativi come le persone. E’ sensato applicare alla relazione con gli oggetti le regole della comunicazione umana

Watzlawick ha sviluppato 5 assiomi sulla ocmunicazione umana. si possono applicare alla comunicazione con gli oggetti, in particolare il primo, il terzo e il quinto.

il primo “Non si può non comunicare” Qualunque gesto, comportamento, atteggiamento può essere interpretato come comunicazione, rispondere a un email subito e dicerso da non risposndere affatto
Il terzo: la natura di una comunicazione dipende dalla punteggiatura nelle procedure di comunicazione dei partners. La comunicazione è ciclica, ciascuno crede semplicemtne di rispondere all’altro; nell’era digitale molti problemi comuni dipendono dal ciclo di amplificazione e reazione che contrassegna i testi che ci scambiamo (Tone Check valuta se nel messaggio c’è troppa rabbia, tristezza o insensibilità)
IL quinto: le procedure di comunicazione interumana sono simmetriche o complementari, e dipendono se il rapporto è basato sulla parità o sulle differenze, ci ricorda che le relazioni tra persone e gli oggetti non sono sempre complementari nella proporzione attesa e quasi mai simmetriche. generazioni di pensatori si sono preoccupati per questo possibile sbilanciamento Se la macchina divent PIù INTELLIGENTE dell’uomo, diventa più potente dell’uomo. Test di Turing per determinare l’abilità di una macchina di dimostrare l’intelligenza umana, inclusa l’empatia, i poteri del caso (serendipità) della distrazione e dell’humor, la creatività, non è stato ancora superato (con buona pace delle app)

forma funzione e significato vengono ora combinate con scambio di contenuto e affettività tra user e used

Il design della ocmunicazione si focalizza sul recapitare messaggi e comprende disegno grafico, segnaletica e oggetti comunicativi di tutti i tipi, da materiale stampato a oggetti 3D a progetti digitali il design della user experience. Mappe diagrammi e strumenti di visualizzazione che filtrano e danno senso all’enorme quantità di informazione che è più ampiamente disponibile di quando mai prima

Guido Gozzano, 1907, “L’amica di nonna speranza”, descrive in dettaglio dozzine di buone cose di pessimo gusto dell’appartamento di sua nonna. Scatole di caramelle vuote, orologio a cucù. pappagallo impagliato?, scena triste, polverosa e viva, con un senso di intimità, è solo uno dei tanti esempi letterari di relazione tra persone oggetti e luoghi.
Rob walker progetto significant objects e “consumed” colonna sul nyt magazine dal 2004 al 2011 sui marchi. il movimento del design postdigitale è un’espressione estrema di questo attaccamento romantico
innocenza degli oggetti vecchio stile
sembra che la febbre per la realtà virtuale e aumentata si sia placata Talvolta il modo migliore per dirlo è ancora con i fiori.

La forma segue la funzione, clichè del 20simo secolo, è scomparso. es. dopo primo ipod nel 2001, i prodotti sono scatole belle e minimali che svolgono un gran numero di funzioni, macchine standardizzate in forme, e materiali, colori e finiture non forniscono abastanza distinzione, si è tornati a un vecchio trucco: le facce. Le interfacce – punto di contatto tra una macchina e l’uomo – degli oggetti non solo sono informazione e istruzione che hanno anche personalità. eisstevano anche da pria dell’era digitale, ad es. orologi da muro e da polso.
Alessandra Midal descrive il suo sfondamento grafico usando un puntatore e icone che si basavano su oggeti che si trovano normalmente in un ufficio cestino, scrivania, cartelle. Le interfacce rappresentano una nuova dimensione della nostra esistenza, uno spazio nel quale trascorriamo una considerevole parte della nostro tempo sulla terra. Persino i luddisti hanno a che fare con l’interfaccia di un bancomat o le venditrici automatiche di biglietti.

La tecnologia incorpora tratti istintivi e attraenti per le nostre reazioni istintive, come gli oggetti che vengono mossi su un computer da mani o dita, schermi multitouch resi famosi dal film Minority Report (2002). poi iphone (2007) ipad (2010), nintendo wii (2006). Con software dai movimenti ancora più sofisticati e riconoscimento vocale, gli oggetti vengono trasformati da strumenti in compagni

l’ardware in cui è incastonat al’interfaccia è altrettanto importane, le persone sentono maggior simpatia per ciò che somigli all’umano. le voci sono fra gli elemnti più studiati: una voce umana cattura maggior attenzione ed è importante per trasmettere urgenza e sentimento d fiducia. Ogni oggetto parlante diviene un’entità e assume un ruolo più importante. Se c’è una voc,e c’è una conversaioen.

La padronanza delle metafore di Apple sia nell’hardware che nel sofware è uno degli elemento del valido design della compgnia. l’ipad richiama l’atavico scrivere e disegnare su una tavoletta, ma anche i primi simboli, il computer sorridente, il cestino, le cartelle, i punti di domanda, la piccola bomba erano prorio quello che ci serviva per integrare confortevolemente la tecnologia in casa

Ora possiamo disegnare la faccia che vogliamo presentare al mondo, mentre un tempo dovevamo basarci sul cognome, i risultati accademici, i biglietti da vistia, l’apsetto e i successi ottenuti per aumentare i nostri nudi sè sociali, oggi abbiamo le opzioni aggiuntvie di presentarci al mondo tramite blog, siti personali, social network e avatar: con questo mezzi noi controliamo come veniamo percepiti dal mondo (anche se le cose on vanno sempre come pianificato).
Per contrasto altre applicazioni invitano a lasciar perdere tutto questo controllo e a incontrare gli altri con serendipità, ad esempio avvertendo della presenza di un altro partecipante mediante i geotag.

Le interfacce consentonoa lle persone di entrare in contatto, acquisire e scambiare informaizoni. A livello locale si possono trovare passaggi in maccchina o scambiare verdure coltivate in casa o fare nuove conoscenze e trovare compagnia. A livello globale ci sono progetti per l’aggregazione di dati e l’aumeto della consapevolezza del consumo di energia

Le città sono il terreno perfetto per questi esperimenti di comunicazione, a causa della loro densità di popolazione. La città parla ai cittadini e sicuramente i cittadini parlano alla città. Molte municipalità hanno attivato servizi di linea diretta con i cittadini, i sistemi raccolgono quelli ce sono i fastidi. Alcuni di questi sistemi sono a livello governativo, per migliorare la comuncazione con i cittadini, l’accesso a informazioni, benefit e servizi

DEsign has an entirely newe set…

What is ‘Post-digital’?

the term ‘post-digital’ can be used to describe either a contemporary disenchantment with digital information systems and media gadgets, or a period in which our fascination with these systems and gadgets has become historical – just like the dot-com age ultimately became historical
After Edward Snowden’s disclosures of the NSA’s all-pervasive digital surveillance systems, this disenchantment has quickly grown from a niche ‘hipster’ phenomenon to a mainstream position – one which is likely to have a serious impact on all cultural and business practices based on networked electronic devices and Internet services.

While a Thoreauvian-Luddite digital withdrawal may seem a tempting option for many, it is fundamentally a naïve position, particularly in an age when even the availability of natural resources depends on global computational logistics, and intelligence agencies such as the NSA intercept paper mail as well as digital communications.
such a withdrawal seems little more than a rerun of the 19th-century Arts and Crafts movement, with its programme of handmade production as a means of resistance to encroaching industrialisation. Such (romanticist) attitudes undeniably play an important role in today’s renaissance of artists’ printmaking, handmade film labs, limited vinyl editions, the rebirth of the audio cassette, mechanical typewriters, analog cameras and analog synthesisers.

the dichotomy between digital big data and neo-analog do-it-yourself (DIY) is really not so clear-cut. Accordingly, ‘post-digital’ is arguably more than just a sloppy descriptor for a contemporary (and possibly nostalgic) cultural trend. It is an objective fact that the age in which we now live is _not_ a post-digital age

‘post-digital’ can be defined more pragmatically and meaningfully within popular cultural and colloquial frames of reference. This applies to the prefix ‘post’ as well as the notion of ‘digital’.n the sense of post-punk (a continuation of punk culture in ways which are somehow still punk, yet also beyond punk); post-communism (as the ongoing social-political reality in former Eastern Bloc countries); post-feminism (as a critically revised continuation of feminism, with blurry boundaries with ‘traditional’, unprefixed feminism); postcolonialism (see next paragraph); and, to a lesser extent, post-apocalyptic (a world in which the apocalypse is not over, but has progressed from a discrete breaking point to an ongoing condition
Postcolonialism does not in any way mean an end of colonialism (akin to Hegel’s and Fukuyama’s “end of history”), but rather its mutation into new power structures, less obvious but no less pervasive, which have a profound and lasting impact on languages and cultures, and most significantly continue to govern geopolitics and global production chains. In this sense, the post-digital condition is a post-apocalyptic one: the state of affairs after the initial upheaval caused by the computerisation and global digital networking of communication, technical infrastructures, markets and geopolitics.

Google.nl image search result for ‘digital’, October 2013

The first thing we notice is how the term ‘digital’ is, still in 2013, visually associated with the colour blue. Blue is literally the coolest colour in the colour spectrum (with a temperature of 15,000 to 27,000 Kelvin), with further suggestions of cultural coolness and cleanness. The simplest definition of ‘post-digital’ describes a media aesthetics which opposes such digital high-tech and high-fidelity cleanness.
‘digital’ had long been synonymous with ‘progress’: the launch of the Fairlight CMI audio sampler in 1979, the digital audio CD and the MIDI standard (both in 1982)
Such teleologies are still prevalent in video and TV technology, with the ongoing transitions from SD to HD and 4K, from DVD to BluRay, from 2D to 3D – always marketed with a similar narrative of innovation, improvement, and higher fidelity of reproduction.
as a reaction to an age in which even camera tripods are being labelled as ‘digital’, in an effort to market them as new and superior technology.

Consider for example the persisting argument that vinyl LPs sound better than CDs (let alone MP3s); that film photography looks better than digital photography (let alone smartphone snapshots); that 35mm film projection looks better than digital cinema projection (let alone BitTorrent video downloads or YouTube); that paper books are a richer medium than websites and e-books; and that something typed on a mechanical typewriter has more value than a throwaway digital text file (let alone e-mail spam). In fact, the glitch aesthetics advocated by Cascone as ‘post-digital’ are precisely the same kind of digital trash dismissed by ‘post-digital’ vinyl listeners.

‘Digital’ simply means that something is divided into discrete, countable units – countable using whatever system one chooses, whether zeroes and ones, decimal numbers, tally marks on a scrap of paper, or the fingers (digits) of one’s hand – which is where the word ‘digital’ comes from in the first place; in French, for example, the word is ‘numérique’. Consequently, the Roman alphabet is a digital system; the movable types of Gutenberg’s printing press constitute a digital system; the keys of a piano are a digital system; Western musical notation is mostly digital, with the exception of instructions with non-discrete values such as adagio, piano, forte, legato, portamento, tremolo and glissando. Floor mosaics made of monochrome tiles are digitally composed images. As all these examples demonstrate, ‘digital’ information never exists in a perfect form, but is instead an idealised abstraction of physical matter which, by its material nature and the laws of physics, has chaotic properties and often ambiguous states.

The hipster’s mechanical typewriter, with its discrete set of letters, numbers and punctuation marks, is therefore a ‘digital’ system as defined by information science and analytic philosophy (Goodman, 161). However, it is also ‘analog’ in the colloquial sense of the word. This is also the underlying connotation in the meme image, with its mocking of ‘hipster’ retro culture. An art curator, on the other hand, might consider the typewriter a ‘post-digital’ medium.

Conversely, ‘analog’ means that the information has not been chopped up into discrete, countable units, but instead consists of one or more signals which vary on a continuous scale, such as a sound wave, a light wave, a magnetic field (for example on an audio tape, but also on a computer hard disk), the flow of electricity in any circuit including a computer chip, or a gradual transition between colours, for example in blended paint. (Goodman, 160) therefore defines analog as “undifferentiated in the extreme” and “the very antithesis of a notational system”.

The fingerboard of a violin is analog: it is fretless, and thus undivided and continuous. The fingerboard of a guitar, on the other hand, is digital: it is divided by frets into discrete notes. What is commonly called ‘analog’ cinema film is actually a digital-analog hybrid: the film emulsion is analog, since its particles are undifferentiated blobs ordered organically and chaotically, and thus not reliably countable in the way that pixels are. The combined frames of the film strip, however, are digital since they are discrete, chopped up and unambiguously countable.

The structure of an analog signal is determined entirely by its correspondence (analogy) with the original physical phenomenon which it mimics. In the case of the photographic emulsion, the distribution of the otherwise chaotic particles corresponds to the distribution of light rays which make up an image visible to the human eye. On the audio tape, the fluctuations in magnetisation of the otherwise chaotic iron or chrome particles correspond to fluctuations in the sound wave which it reproduces.

This demonstrates once again a crucial issue: unlike the colloquial meaning of the term ‘digital’ as commonly used in the arts and humanities, the technical-scientific notion of ‘digital’ can, paradoxically enough, be used to describe devices which would be considered ‘analog’ or ‘post-digital’ in the arts and humanities.

the term ‘post-digital’ in its simplest sense describes the messy state of media, arts and design after their digitisation (or at least the digitisation of crucial aspects of the channels through which they are communicated). Sentiments of disenchantment and scepticism may also be part of the equation, though this need not necessarily be the case – sometimes, ‘post-digital’ can in fact mean the exact opposite.

when printed newspapers shift their emphasis from daily news (which can be found quicker and cheaper on the Internet) to investigative journalism and commentary – like The Guardian‘s coverage of the NSA’s PRISM programme – they effectively transform themselves into post-digital or post-digitisation media.

‘Post-digital’ thus refers to a state in which the disruption brought upon by digital information technology has already occurred.

Post-digital’ describes a perspective on digital information technology which no longer focuses on technical innovation or improvement, but instead rejects the kind of techno-positivist innovation narratives exemplified by media such as Wired magazine, Ray Kurzweil’s Google-sponsored ‘singularity’ movement, and of course Silicon Valley.

Kenneth Goldsmith notes that his students “mix oil paint while Photoshopping and scour flea markets for vintage vinyl while listening to their iPods” (Goldsmith, 226). Working at an art school, I observe the same. Young artists and designers choose media for their own particular material aesthetic qualities (including artefacts), regardless of whether these are a result of analog material properties or of digital processing. Lo-fi imperfections are embraced – the digital glitch and jitter of Cascone’s music along with the grain, dust, scratches and hiss in analog reproduction – as a form of practical exploration and research that examines materials through their imperfections and malfunctions. It is a post-digital hacker attitude of taking systems apart and using them in ways which subvert the original intention of the design.

When hacker-style and community-centric working methods are no longer specific to ‘digital’ culture then the established dichotomy of ‘old’ and ‘new’ media – as synonymous in practice with ‘analog’ and ‘digital’ – becomes obsolete, making way for a new differentiation: one between shrink-wrapped culture and do-it-yourself culture.

the foundation of the contemporary ‘maker movement’. Make covers 3D printing, Arduino hardware hacking, fab lab technology, as well as classical DIY and crafts, and hybrids between various ‘new’ and ‘old’ technologies.

The 1990s / early 2000s assumption that ‘old’ mass media such as newspapers, movies, television and radio are corporate, while ‘new media’ such as websites are DIY, is no longer true now that user-generated content has been co-opted into corporate social media and mobile apps. The Internet as a self-run alternative space – central to many online activist and artist projects, from The Thing onwards – is no longer taken for granted by anyone born after 1990: for younger generations, the Internet is associated mainly with corporate, registration-only services.

The ‘maker movement’ – as manifested in fab labs, but also at zine fairs – represents a shift from the symbolic, as the preferred semiotic mode of digital systems (and of which the login is the perfect example), toward the indexical: from code to traces, and from text to context.

Our senses can only perceive information in the form of non-discrete signals such as sound or light waves. Therefore, anything aesthetic (in the literal sense of aisthesis, perception) is, by strict technical definition, analog.

The everyday colloquial definition of ‘digital’ embraces the fiction (or rather: the abstraction) of the disembodied nature of digital information processing. The colloquial use of ‘digital’ also tends to be metonymical, so that anything connected literally or figuratively to computational electronic devices – even a camera tripod – can nowadays be called ‘digital’. This notion, mainly cultivated by product marketing and advertising, has been unquestioningly adopted by the ‘digital humanities’ (as illustrated by the very term ‘digital humanities’). On the other hand, ‘post-digital’ art, design and media – whether or not they should technically be considered post-digital – challenge such uncritical notions of digitality, thus making up for what often amounts to a lack of scrutiny among ‘digital media’ critics and scholars.

This is a perfect example of a post-digital choice: using the technology most suitable to the job, rather than automatically ‘defaulting’ to the latest ‘new media’ device. It also illustrates the post-digital hybridity of ‘old’ and ‘new’ media, since the writer advertises (again, on the sign on his typewriter case) his Twitter account “@rovingtypist”, and conversely uses this account to promote his story-writing service. He has effectively repurposed the typewriter from a prepress tool to a personalised small press, thus giving the ‘old’ technology a new function usually associated with ‘new media’, by exploiting specific qualities of the ‘old’ which make up for the limitations of the ‘new’. Meanwhile, he also applies a ‘new media’ sensibility to his use of ‘old media’: user-customised products, created in a social environment, with a “donate what you can” payment model. Or rather, the dichotomy of community media vs. mass media has been flipped upside-down, so that a typewriter is now a community media device, while participatory websites have turned into the likes of Reddit, assuming the role of yellow press mass media – including mob hatred incited by wilful misrepresentation.

the analog/digital, retro/contemporary hybridisations currently associated with the term ‘post-digital’

We could metaphorically describe post-digital cultures as postcolonial practices in a communications world taken over by a military-industrial complex made up of only a handful of global players. More simply, we could describe these cultures as a rejection of such dystopian techno-utopias as Ray Kurzweil’s and Google’s Singularity University, the Quantified Self movement, and sensor-controlled ‘Smart Cities’.

And yet, post-digital subculture, whether in Detroit, Rotterdam or elsewhere, is on a fundamental level not so different from such mainstream Silicon Valley utopias. For (Van Meer), the main reason why art students prefer designing posters to designing websites is due to a fiction of agency – in this case, an illusion of more control over the medium. Likewise, ‘digital’ cultures are driven by similar illusions of free will and individual empowerment. The Quantified Self movement, for example, is based on a fiction of agency over one’s own body. The entire concept of DIY, whether non-digital, digital or post-digital, is based on the fiction of agency implied by the very notion of the self-made.

Each of these fictions of agency represents one extreme in how individuals relate to the techno-political and economic realities of our time: either over-identification with systems, or rejection of these same systems. Each of these extremes is, in its own way, symptomatic of a systems crisis – not a crisis of this or that system, but rather a crisis of the very paradigm of ‘system’, as defined by General Systems Theory, itself an offshoot of cybernetics. A term such as “post-Snowden” describes only one (important) aspect of a bigger picture:[8] a crisis of the cybernetic notion of ‘system’ which neither ‘digital’ nor ‘post-digital’ – two terms ultimately rooted in systems theory – are able to leave behind, or even adequately describe.

ci aspettiamo che gli oggetti comunichino, i bambini cercano pulsanti e bottoni

comunico perciò esisto

 

 

http://www.worldcat.org/title/talk-to-me-design-and-the-communication-between-people-and-objects/oclc/721928452/viewport

Sepolti in casa, Real Time TV

http://www.realtimetv.it/web/sepolti-in-casa/

Pazzi per la spesa, Real Time TV

http://www.realtimetv.it/web/pazzi-per-la-spesa/

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