Liquid stream processing on the web: a JavaScript framework

The Web is rapidly becoming a mature platform to host distributed applications. Pervasive computing application running on the Web are now common in the era of the Web of Things, which has made it increasingly simple to integrate sensors and microcontrollers in our everyday life. Such devices are of great in- terest to Makers with basic Web development skills. With them, Makers are able to build small smart stream processing applications with sensors and actuators without spending a fortune and without knowing much about the technologies they use. Thanks to ongoing Web technology trends enabling real-time peer-to- peer communication between Web-enabled devices, Web browsers and server- side JavaScript runtimes, developers are able to implement pervasive Web ap- plications using a single programming language. These can take advantage of direct and continuous communication channels going beyond what was possible in the early stages of the Web to push data in real-time. Despite these recent advances, building stream processing applications on the Web of Things remains a challenging task. On the one hand, Web-enabled devices of different nature still have to communicate with different protocols. On the other hand, dealing with a dynamic, heterogeneous, and volatile environment like the Web requires developers to face issues like disconnections, unpredictable workload fluctuations, and device overload. To help developers deal with such issues, in this dissertation we present the Web Liquid Streams (WLS) framework, a novel streaming framework for JavaScript. Developers implement streaming operators written in JavaScript and may interactively and dynamically define a streaming topology. The framework takes care of deploying the user-defined operators on the available devices and connecting them using the appropriate data channel, removing the burden of dealing with different deployment environments from the developers. Changes in the semantic of the application and in its execution environment may be ap- plied at runtime without stopping the stream flow. Like a liquid adapts its shape to the one of its container, the Web Liquid Streams framework makes streaming topologies flow across multiple heterogeneous devices, enabling dynamic operator migration without disrupting the data flow. By constantly monitoring the execution of the topology with a hierarchical controller infrastructure, WLS takes care of parallelising the operator execution across multiple devices in case of bottlenecks and of recovering the execution of the streaming topology in case one or more devices disconnect, by restarting lost operators on other available devices

Jeunes, bibliothèques, numérique et territoire : vers de nouvelles interactions

Cette étude s\u27intéresse aux interactions entre les jeunes, les bibliothèques, le numérique et le territoire. Elle s’inscrit dans la continuité de précédents travaux réalisés sur le thème de l’information des jeunes et internet, en physique et en ligne, dans différents contextes : école, information jeunesse, éducation populaire, bibliothèques et réseaux sociaux

Looking for truth in absurdity: humor as community-building and dissidence against authoritarianism

What makes humor an honest and a direct communication tool for people? How do social networking and digital media transmit user- generated political and humorous content (Pearce and Hajizada, 2014: 70)? Our research argues that the way that humor is deployed through digital media during protest action allows protestors to assert humanity and sincerity against dehumanising political manipulation frameworks. Humorous content, to this extent, enables and is indicative of independent thinking and creativity. It causes contemplation, confronts the hegemonic power of the oppressor, and challenges fear and apathy (Lynch, 2002 in Pearce and Hajizada, 2014: 73). In order to conduct this research, we collected and analysed tweets shared during the Gezi Park protests. Gezi Parkı was chosen as the keyword since it was an unstructured and neutral term. Amongst millions of visual images shared during the protests, we concentrate on those that depict humor both in photography and video formats

VISM. Il museo virtuale, immersivo, partecipativo (e flessibile). Un work in progress

Le tecnologie hanno reso possibile uno stadio ulteriore della virtualizzazione, favorendo un veloce spostamento del “motore” culturale del digital heritage. Le sfide non sono più solo quelle dell’accesso ai patrimoni, della partecipazione, e della ricercabilità entro grandi masse di dati; le prime tre fasi del web hanno consolidato le precondizioni per la 4.0, che sul terreno della comunicazione dei beni culturali consiste nell’ibridazione di luoghi e realtà virtuali (“transluoghi”) ma anche e soprattutto nella produzione di ambienti immaginati, dove vari attori (individui, community, istituzioni, industrie) compiono esperienze di ri/mediazione attraverso interazioni audio visuali→tattili e testuali. Esperienze che si affiancano e si integrano, dove la creatività - e le competenze tipiche del lavoro creativo - diventano centrali. L’ibridazione che sta avvenendo nei musei fisici – i visitatori entrano in contatto diretto con gli oggetti in spazi “aumentati” mediante tecnologie che offrono sollecitazioni esperienziali e sussidi per l’interpretazione – è gradualmente trasferibile nei musei virtuali. Ma questi, pur privi della possibilità di “sentire” lo spazio e le opere con la profondità non ripetibile del contatto fisico, sono destinati a conoscere sviluppi eccezionalmente più rapidi e versatili. Il progetto VISM (Virtual Immersive and Shared Museum), lanciato e sperimentato dal DigiLab della Sapienza , in continuo sviluppo e attualmente applicato in collaborazione tra Sapienza e Mibact per il Museo virtuale delle aree terremotate nell’agosto 2016, include soluzioni avanzate sulle tre principali direttrici individuate dagli autori di questo contributo per i musei virtuali (VM), sulla base del benchmarking internazionale e di un approccio teorico originale

An examination of the physical and temporal parameters of post-physical printmaking practice: exploring new modes of collaboration, distribution and consumption resulting from digital processes and networked participation.

This research was initiated by questions raised from the researchers professional activities in fine art printmaking and examines, through contextualised artistic practice and critical enquiry, redefinitions in the physical and temporal parameters of digitally mediated fine art printmaking caused by developments in digital media; specifically the impact of digital culture, Web2.0, social networking, augmented and virtual reality. Grounded on critical contextual review the research explores, through contextualised research probes, the notion of post-physical practice and the impact of new modes of collaboration, distribution and consumption on contemporary printmaking. It includes the findings of an international, digitally mediated, participatory and collaborative exchange survey of contemporary digital print, developed through direct enquiry using social media as a research tool. Philosophical questions about the impact of eculture, post-physical working and new modes of print-based artistic practice were examined, as well as the indexicality of the print itself in augmented and virtual contexts. The research employs dynamic triangulation between critical contextual review and direct qualitative and practice-based research; to develop a taxonomy framing the contextual precedents of digital printmaking, pinpointing key markers of transition between traditional and new printmaking. It uses post-studio methods and explores the conception, production, editioning, collection and ownership of print in an increasingly networked digital age, providing proof of concept and exploring virtual immersive surfaces in printmaking. These lead to the development of new models for a second generation of printmaking practice or Printmaking2.0 expressly founded in post-physical practice in a poststudio context and embracing the lingua franca of contemporary digital practice in the production of born digital virtually imprinted forms. In both, the technical practice of post-physical printmaking and the significant artistic implications resulting from the cultural shifts following digital participation and post-physical embodiment

Promouvoir la création numérique amateur en bibliothèque territoriale

Mémoire de fin d\u27étude du diplôme de conservateur, promotion DCB 20, portant sur la création numérique amateur dans les bibliothèques territoriales