29 Matching Annotations
  1. Apr 2020
    1. SDG STORIES: 1 Stories Available

      The Luis Ángel Arango Public Library send, through us the story "Bibliotecas para la paz". Previously I asked about that. Is possible published this story?

  2. Dec 2019
    1. German stories of ghosts,

      These German ghost stories were translated into French for the book Mary, Percy, and Byron read during the summer; its French title was Fantasmagoria; ou Recueil d'Histoires, d'Apparitions, de Spectres, Revenans, Fantomes, etc., translated by Jean-Baptiste Benoit Eyries in 1812.

  3. Oct 2019
    1. Its 2019 and Instagram stories have evolved in many dimensions. Brands and businesses leverage this feature to expand their reach, improve visibility and tap into unexplored market spaces. One third of the most viewed stories come from businesses, brands and companies. While 50% of businesses on Instagram worldwide create minimum one story in a typical month. Statistics and facts about the rising popularity of the Instagram app stories speak in volumes about the advantages of story ads.

      Its 2019 and Instagram stories have evolved in many dimensions. Brands and businesses leverage this feature to expand their reach, improve visibility and tap into unexplored market spaces.

      One third of the most viewed stories come from businesses, brands and companies. While 50% of businesses on Instagram worldwide create minimum one story in a typical month.

      Statistics and facts about the rising popularity of the Instagram app stories speak in volumes about the advantages of story ads.

  4. Aug 2019
    1. Note - this is only the about me section. Going to have some basic information about the organization, but clearly you'll have to dig through to get more.

    2. resources for Oregonians working to improve our shared environment.

      what other kinds of resources besides stories? Clarity if possible.

    1. the stories they produce

      I've found the work of Audrey Watters and Jennifer Binis to be essential resources for understanding the cultural and personal narratives I've encountered and (re)produced with regards to education.

  5. Feb 2019
    1. Princess Langwidere and her collection of heads for every moment; The Nome King and the horror of being turned into decorative tchotchkes, unable to tell your friends who you are; and the Wheelers.

      Come to mention it, this book really freaked me out also. I guess I suppressed it. Especially the tchotchkes bit (more than the heads, oddly).

  6. Oct 2018
  7. cloud.degrowth.net cloud.degrowth.net
    1. We will have local, regional, national and then we see what happens. -Get infiramtion, weekly newsletters etc. Getting the stories together.
    2. a fantastic website- Vikalpsangam- in terms of what stories to share. In practical terms, just creating visibility for all these experiences and then linking themup. Website should be a useful start.
  8. Aug 2018
    1. Design is inherently political, but it is not inherently good. With few exceptions, the motivations of a design project are constrained by the encompassing platform or system first, and the experiences and values of its designers second. The result is designers working in a user hostile world, where even seemingly harmless platforms or features are exploited for state or interpersonal surveillance and violence.As people living in societies, we cannot be separated from our political contexts. However, design practitioners research and implement systems based on a process of abstracting their audience through user stories. A user story is “a very high-level definition of a requirement, containing just enough information so that the developers can produce a reasonable estimate of the effort to implement it23.” In most cases, user are grouped through shared financial or biographical data, by their chosen devices, or by their technical or cognitive abilities.When designing for the digital world, user stories ultimately determine what is or is not an acceptable area of human variation. The practice empowers designers and engineers to communicate via a common problem-focused language. But practicing design that views users through a politically-naive lens leaves practitioners blind to the potential weaponisation of their design. User-storied design abstracts an individual user from a person of lived experience to a collection of designer-defined generalisations. In this approach, their political and interpersonal experiences are also generalised or discarded, creating a shaky foundation that allows for assumptions to form from the biases of the design team. This is at odds with the personal lived experience of each user, and the complex interpersonal interactions that occur within a designed digital platform.When a design transitions from theoretical to tangible, individual user problems and motivations become part of a larger interpersonal and highly political human network, affecting communities in ways that we do not yet fully understand. In Infrastructural Games and Societal Play, Eleanor Saitta writes of the rolling anticipated and unanticipated consequences of systems design: “All intentionally-created systems have a set of things the designers consider part of the scope of what the system manages, but any nontrivial system has a broader set of impacts. Often, emergence takes the form of externalities — changes that impact people or domains beyond the designed scope of the system^24.” These are no doubt challenges in an empathetically designed system, but in the context of design homogeny, these problems cascade.In a talk entitled From User Focus to Participation Design, Andie Nordgren advocates for how participatory design is a step to developing empathy for users:“If we can’t get beyond ourselves and our [platforms] – even if we are thinking about the users – it’s hard to transfer our focus to where we actually need to be when designing for participation which is with the people in relation to each other25.”Through inclusion, participatory design extends a design team’s focus beyond the hypothetical or ideal user, considering the interactions between users and other stakeholders over user stories. When implemented with the aim of engaging a diverse range of users during a project, participatory design becomes more political by forcing teams to address weaponised design opportunities during all stages of the process.
  9. Jun 2018
    1. StoryEngine is way to listen to, support, and create with the people who matter most to an organization or a cause. It can be used to do research, to monitor or evaluate a program, to generate learning, or facilitate grant reporting. StoryEngine is based in-depth interviews that get transformed into stories. These stories are assets — for communications, advocacy, and more — as well as data. Together the stories create larger dataset that can analyzed to surface insights and learning that inform decision-making.

      StoryEngine qualitative methodology.

  10. Feb 2016
    1. In his work, Alexander seeks a way to return a sense of wholeness to the buildings and environments of modern Western society. He emphasizes that the crucial process is healing. Every new construction, whether building or square or street furniture or window detail, must be made in such a way as to heal the environment, where “heal” especially means “make whole.” The obligation is that the thing built must work “to create a continuous structure of wholes around itself”

      This section really pertains to Heidegger's earlier point about people losing touch and awareness about the world around him. This passage also touches upon one of the quotes I annotated earlier about the continuities between building in dwelling. The two verbs need to be looked at as a whole in order for the environment itself to be "healed" or in other words made whole and continuous.

    2. In his explication of the floor, wall, and roof, Thiis-Evensen assumes that there are various shared existential qualities‑-insideness-outsideness, gravity-levity, coldness-warmth, and so forth‑-that mark the foundation of architecture.

      I think the point he is making here is very interesting. He is pointing out the dualities in architecture that are ultimately what make the structures harmonious and complete.

    3. Heidegger suggests that building relates to dwelling, which therefore can be said to involve a sense of continuity, community, and at-homeness

      Building relates to dwelling in the way that when one is building something, it is often for a greater purpose. I think the message to take from this sentence is that the term "to dwell" can be defined with a multiplicity of meanings, therefore these two actions are seemingly continuous because they work in tandem with each other to create a place of significance.

    4. an architect's aesthetic sense is subjective because he or she has not thoughtfully considered how architectural forms arise from and translate themselves back into shared existential qualities like motion, weight, substance, insideness, outsideness, permeability, closure, and so forth.

      does this subjectivity negate the notion of the universality of architectural expression?

    5. There will always be a certain tension, a kind of imperfection, between what we wish, do, and make. The significant questions are how do we dwell in our own particular situations and how can we shape the quality of our dwelling for better or worse?

      The act, the process of dwelling..."How can we shape the quality of out dwelling..." Taking agency in building a community/lending yourself to a space. What happens when places of dwelling are chosen for a person?

    6. the universality of architectural expression

      reminds me of the potential for universal art or universal feelings--resonates deeply with an array of different people in a way that transcends barriers like language, geography, etc.

  11. apartmentstories2016.files.wordpress.com apartmentstories2016.files.wordpress.com
    1. also means at the same time to cherish and protect, to preserve and care for, specifically to till the soil, to cultivate the vine.

      in terms of building houses, thinking of the opposite of mass tenement or high-rise production, part of the idea behind "morals" of the house/home

    2. When we speak of dwelling we usually think of an activity that man performs alongside many other activities. We work here and dwell there. We do not merely dwell-that would be virtual inactivity-we practi~e a profession, we do business, we travel and find shelter on the way, now here, now there.

      Reminds me of the allure of living in luxury apartments and taking work outside of the home, idea of compartmentalizing aspects of life, etc.

    3. Man acts as though he were the shaper and master of language, while in fact language remains the master of man.

      if language is the master of man, does man make language his master?

    4. When we speak of man and space, it sounds as though man stood on one side, space on the other. Yet space is not something that faces man. It is neither an external object nor an inner experience.

      I find this distinction really interesting because man is inevitably what creates the space, so I feel like in a way you can't look at them as separate. I think that space can be both an external object and an internal experience.

    5. Man's Being rests in his capacity to cultivate and safeguard the earth, to protect it from thoughtless exploitation and to defend it against the calumnies of the metaphysical tradition.

      I found this really interesting actually. I have never looked at man's place and purpose on earth like this and I think it is something that more people need to be aware of. I feel as though in our world today, so many people do in fact exploit their environment and forget to really take care of it. I really like this connection and I think making a conscious effort to "safeguard" your environment gives you a better relationship to it.

    6. Space is in essence that for which room has been made, that which is let into its bounds. That ~or which room is made is always granted and hence is joined, that is,_ gathered, b! virtue of a locale,' that is, by such a thing as the bndge.

      This reminds of a lot of the Yi-Fu Tuan reading. He talked a lot about the importance of space and creating boundaries. I think Heidegger mentions a really great point about something that links the two, like a bridge for example.

    7. site for t_he fourfold, a site that i~ each case ,J?.rovides for a space. The relation between locale and space lies in llie essence of these things as locales, but so does the relation of the locale to the man who lives there. Therefore we shall now try to clarify the es-sence of these things that we call buildings by the foJJowing brief consideratio

      I like how Heidegger is creating the link between how the locale and the space help to define each other. The two seem to work in tandem with one another.

  12. Aug 2015
  13. Jul 2015
    1. there were other worlds where children did not regularly fear for their bodies.

      I'm trying to remember if I, growing up in a home that thought of itself as white in a small town, ever felt this dread. I do remember fearing death as a child, but it was when I was in the back seat of a car, watching the highway rushing by. I don't remember feeling like anybody could kill me.

  14. Mar 2014
    1. Arion,

      1.24 Where else in the Mediterranean are we finding stories of a man being forced to leave the vessel and being saved by a water creature? The story of Jonah can be related to this story, which means how should we take this tale that Herodotus is telling. It is noted that there is a statue of Arion and his dolphin. But what is the overall importance of the story? How were stories at this time influencing the beliefs of people and how were they being assimilated into other societies? Why is Herodotus feel the need to write this story and not other ones?

  15. Feb 2014
    1. The Backblaze environment is the exact opposite. I do not believe I could dream up worse conditions to study and compare drive reliability. It's hard to believe they plotted this out and convened a meeting to outline a process to buy the cheapest drives imaginable, from all manner of ridiculous sources, install them into varying (and sometimes flawed) chassis, then stack them up and subject them to entirely different workloads and environmental conditions... all with the purpose of determining drive reliability.

      The conditions and process described here mirrors the process many organizations go through in an attempt to cut costs by trying to cut through what is perceived as marketing-hype. The cost differences are compelling enough to continually tempt people down a path to considerably reduce costs while believing that they've done enough due-diligence to avoid raising the risk to an unacceptable level.

    2. The enthusiast in me loves the Backblaze story. They are determined to deliver great value to their customers, and will go to any length to do so. Reading the blog posts about the extreme measures they took was engrossing, and I'm sure they enjoyed rising to the challenge. Their Storage Pod is a compelling design that has been field-tested extensively, and refined to provide a compelling price point per GB of storage.

      An anecdote with data to quantify the experience has some value sort of drawing conclusions for making future decisions-- but the temptation to make decisions on that single story is high in the face of the void quantified stories & data from other sources. What is a responsible way to collect these data-stories and publish them with disclaimers sufficient enough to avoid the spin that invariably comes along with them?

      In part the industry opens itself up to this kind of spin when the data at-scale is not made available publicly and we're all subject to the marketing-spin in the purchase decision-making process.