Tanto a paralisia quanto a amputação são características corporais que tendem a resultar em estigma, ou seja, a mera percepção de sua existência pode depreciar a identidade social daquele que a tem. Entretanto, o surgimento de tecnologias prostéticas que habilitam amputados a competirem em nível olímpico contra pessoas sem deficiência tem produzido reações que contrariam a regra geral segundo a qual se evita expor aquilo que causa estigma. Mais do que isso, vem ganhando cada vez mais projeção midiática a imagem de amputados estereotipados como a realização do sonho do ciborgue: o corpo orgânico potencializado pela sua hibridação com sistemas cibernéticos. No bojo desse imaginário, a tecnologia do exoesqueleto robótico, derivada da indústria bélica, emerge como a solução que promete reestabelecer os movimentos de pessoas com lesão medular. Porém, a obsessão em encapsulá-los dentro de corpos robóticos supranumerários, em detrimento de outras tecnologias e terapias, parece muito mais motivada pelo simbolismo de um bipedismo simulado, que busca apagar a diferença entre os deficientes e os normais, do que pela reabilitação efetiva. A deficiência física e as tecnologias biocibernéticas de reconstrução e reabilitação corporais expõem não só a dimensão social irredutível do corpo, como também evidenciam que mesmo na mentalidade técnico-científica opera uma lógica simbólica, disfarçada nos recortes e classificações supostamente objetivos. Não é por acaso que a restauração do bipedismo em pessoas com paralisia tenha tanta afinidade com a imagem do milagre bíblico, pois o corpo-máquina, do qual a biocibernética é a evolução, e o corpo da cosmologia cristã, oriundo da Idade Média, não são completamente excludentes. De fato, apesar de constituírem sistemas de significação antagônicos, ambas as concepções de corpo compartilham as mesmas estruturas simbólicas inconscientes e, acima de tudo, atendem ao mesmo imperativo de dar sentido a uma realidade que a razão por si só não explica na sua totalidade. É sobre estes temas que esta tese procura refletir. / Both paralysis and amputation are body characteristics that tend to result in stigma, which means, in other words, that the mere perception of their existence may depreciate the social identity of those who have these traits. However, the emergence of prosthetic technologies enabling amputees to compete at the Olympic level against people without disabilities are provoking reactions that contradict the general rule pursuant to which one usually avoids exposing characteristics that cause stigma. Moreover, amputees stereotyped images have been increasingly reaching more media exposure as a cyborg dream that comes true: the organic body enhanced through its hybridization by means of cybernetic systems. In the midst of this imagery, the robotic exoskeleton technology derived from military industry emerges as a solution that promises to reestablish the movements of persons with spinal cord injuries. However, the obsession with their encapsulation inside supernumerary robotic bodies, to the detriment of other technologies and therapies, seems more driven by the symbolism of a simulated bipedalism, which aims to erase the differences between disabled and normal person, than actual rehabilitation. The physical disability and the bio-cybernetic technologies applied to the bodys rehabilitation and reconstruction, expose, not only the irreducible social dimension of the body, but also demonstrate that even the technical and scientific thinking operates under a symbolic logic, disguised under a presumably objective selective set of scopes and classifications. It is not a coincidence that bipedal restoration of persons with paralysis is close to the biblical miracle imagery, since the body-machine from which bio-cybernetics is the evolution, and the body of Christian cosmology rooted in the Middle Age, are not completely exclusionary. In fact, although they constitute antagonistic meaning systems, both concepts of the body share the same unconscious symbolic structures and, above all, they fulfill the same imperative of giving meaning to a reality that cannot be explained in its entirety only by reason. It is to this regard that this thesis will reflect.

The affinity between the work of the Austrian economist Friedrich A. Hayek and the approach of Complexity Economics is widely recognized by the literature. In spite of this, there still is a lack of studies that seek to analyze in depth the relationship between Hayek and complexity. This dissertation is a contribution to the filling of this large gap in the literature. In the first part of the work, we analyze the various periods in the development of Hayek\'s vision of complexity, showing that this vision is strongly present in his works on knowledge, competition, methodology, evolution, and spontaneous order. In the second part, we explore how Hayek was influenced by two of the main precursors of modern complexity theory - cybernetics and general system theory - from the time he was working on his book on theoretical psychology, The Sensory Order (1952), until the end of his intellectual career. / A afinidade entre a obra do economista austríaco Friedrich A. Hayek e a abordagem da Economia e Complexidade é amplamente reconhecida pela literatura. Apesar disso, ainda há grande carência de estudos que busquem analisar de forma aprofundada a relação entre Hayek e a complexidade. Esta dissertação é uma contribuição para o preenchimento dessa grande lacuna na literatura. Na primeira parte do trabalho, os diversos períodos no desenvolvimento da visão de complexidade de Hayek são analisados, evidenciando-se como tal visão está fortemente presente em seus trabalhos sobre conhecimento, competição, metodologia, evolução e ordem espontânea. Na segunda parte, exploramos como Hayek foi influenciado por dois dos principais precursores da moderna teoria da complexidade - a cibernética e a teoria geral do sistema - desde o período em que estava trabalhando no seu livro sobre psicologia teórica, The Sensory Order (1952), até o final de sua carreira intelectual.

A tese propõe uma abordagem cibersemiótica para processos de projeto a partir da perspectiva da mediação digital e de suas relações com a arquitetura contemporânea. Apresenta uma revisão dos processos digitais de projeto, com base na constatação de que a atuação de arquitetos e designers, em função dos modos de vida contemporâneos, passa a exigir atualmente uma postura diferenciada em relação ao gerenciamento das informações, assim como uma reflexão crítica em relação ao método projetivo utilizado na arquitetura da era digital. A tese utiliza como fundamentação teórica, os principais referenciais que tratam da Cibersemiótica, conforme proposta pelo filósofo dinamarquês Søren Brier, e de suas duas bases conceituais: a Semiótica de Charles Sanders Peirce e a Cibernética de Segunda Ordem, proposta por Heinz von Foerster. A tese propõe uma estrutura (framework) para análise de projetos a partir do olhar cibersemiótico, assim como propõe também uma estrutura (framework) para os próprios processos digitais de projeto. O trabalho é dividido em duas partes. A primeira parte, aborda processos de concepção e de produção digitais e as teorias utilizadas como fundamentação. Também define o quadro contextual que compara alguns projetos selecionados no recorte proposto e propõe uma estrutura de análise cibersemiótica destas referências. A segunda parte, apresenta estratégias para projeto digitais e propõe uma estrutura cibersemiótica para processos digitais de projeto. Acredita-se que a relevância da contribuição da tese se dá na direção da expansão do paradigma teórico cibersemiótico assim como na sua capacidade de potencializar processos digitais de projeto. Se outras espacialidades e interconexões deverão surgir a partir da atualização dos níveis de comunicação estabelecidos entre os diferentes sistemas, e de novos desafios sociais e culturais, é imprescindível que os arquitetos estejam atentos à compreensão das teorias e dos processos que estão disponíveis, para a otimização de todo o seu potencial de projeto na busca por ampliar as possibilidades para a Arquitetura e Urbanismo. / The thesis explores the Cibersemiotic approach to design processes from the perspective of digital mediation and its relationship with contemporary architecture. It presents a review of existing digital design processes, based on the assumption that the practice of architects and designers, according to the contemporary modes of life, currently requires a different position in relation to the management of information, as well as a critical reflection on the design methods used in the architecture of the digital age. The thesis\' theoretical foundation is based on the Cibersimiotic work produced by the Danish philosopher Søren Brier, which unifies two important conceptual frameworks: the Semiotics by Charles Sanders Peirce and the Second Order Cybernetics proposed by Heinz von Foerster. The thesis proposes a structure (or framework) to analyze existing designs from the cibersemiotic point of view, as well as a structure (or framework) for the digital design processes themselves. The work is presented in two parts. The first examines the digital processes and production as well as the theories they are based on. This part also presents the theoretical context for the structure (or framework) used to analyse selected existing designs and introduces the framework. The second part presents strategies for digital design and proposes the cibersemiotic framework for digital design processes. It is believed the thesis contributes towards the expansion of the Cibersemiotic theoretical paradigm as well as provides a working framework for the increasingly complex processes of digital design. Assuming other spatialities and interconnections will arise from the update levels established from communication between different systems as well as new social and cultural challenges, it is essential that architects are aware of available theories and processes for optimizing design potential and expand the possibilities for Architecture and Urbanism.

Esta tese discute a ideia de máquina como Outro comunicativo. Atualizando a compreensão cibernética sobre a relação entre humanos e máquinas, pensadores como o sociólogo francês Bruno Latour propõem uma ontologia pós-humanista em que humanos e não humanos sejam nivelados do ponto de vista social. Com base nessa perspectiva, ganha força já há alguns anos na área da comunicação a ideia de que devemos atribuir a máquinas como o computador a designação de Outro comunicativo. Mas há outras interpretações possíveis para o mesmo fenômeno. Considerada precursora da maior parte das perspectivas críticas ao desenvolvimento tecnológico, a fenomenologia do filósofo alemão Martin Heidegger parece fornecer elementos também para o debate sobre essa questão. Embora situado em meados do século 20 e, portanto, anterior aos desdobramentos recentes da técnica, seu pensamento tem apoiado diversos empreendimentos teóricos que se propõem a interpretar o contexto tecnológico atual, caracterizado pelo aprofundamento da digitalização e informatização da vida humana. Diante disso, esta tese discute o seguinte problema de pesquisa: Como a ideia de máquina como Outro comunicativo deve ser compreendida à luz da fenomenologia de Martin Heidegger? A hipótese é a de que, desse ponto de vista, a atribuição da qualidade de Outro comunicativo também à máquina seja vista como uma manifestação radicalizada do reducionismo tecnológico do real em curso na história do pensamento ocidental. O objetivo do trabalho é, portanto, propor uma alternativa à interpretação cibernética com base na fenomenologia do filósofo alemão. Para tanto, a tese adotou metodologia de base exclusivamente teórica. Primeiro, apresenta as bases da perspectiva cibernética atualizada, a partir de textos fundamentais de autores como Bruno Latour e Arno Bammé e de representantes mais específicos da comunicação, como Erick Felinto, André Lemos, Massimo di Felice e David Gunkel. Em seguida, a tese introduz os conceitos básicos da fenomenologia de Heidegger, em especial a respeito do sentido do ser, com base em obras seminais do autor e em intérpretes como Karl Leidlmair, Peter Trawny, Andreas Luckner e Dieter Mersch. No passo seguinte, a tese aborda a compreensão de Heidegger sobre técnica e tecnologia, relacionando-a com a questão sobre o sentido do ser, apoiada também nas principais obras do pensador e nos intérpretes já citados, além de Günter Seubold. Com base nesses fundamentos, a tese propõe uma conceituação fenomenológica do Outro comunicativo, em diálogo ainda com as concepções de alteridade de Emmanuel Levinas e do seu intérprete Amit Pinchevsky, que discute explicitamente a relação entre o Outro e a comunicação. Por meio dessa metodologia, a tese busca apresentar uma interpretação alternativa à perspectiva cibernética para a questão da máquina como Outro comunicativo, contribuindo, assim, para o enriquecimento do debate em torno desse tema fundamental para o futuro da área da comunicação. / This thesis discusses the idea of machine as a communicative Other. Reconsidering the cybernetic understanding of the relationship between humans and machines, thinkers such as the French sociologist Bruno Latour propose a post-humanist ontology in which humans and nonhumans are socially leveled down. Based on this perspective, the idea that we should assign the designation of communicative Other to machines like the computer has recently gained strength in the field of communication. But there are other possible interpretations for the same phenomenon. Considered to be the forerunner of most of the critical perspectives of technological development, the phenomenology of the German philosopher Martin Heidegger seems to provide elements for the debate on this issue as well. Although established in the middle of the 20th century, and thus prior to the recent developments of technology, his thinking has supported several theoretical projects that aim at interpreting the current technological context, characterized by the deepening of the digitalization and computerization of human life. In view of this, this thesis discusses the following research problem: How can the idea of the machine as communicative Other be understood in the light of Martin Heidegger\'s phenomenology? The hypothesis is that, from this point of view, the ascription of the quality of communicative Other to the machine should be seen as a radicalized manifestation of the technological reductionism of the real undergoing the history of Western thought. The objective of this work is, therefore, to propose an alternative to the cybernetic interpretation based on the phenomenology of the German philosopher. In order to achieve that, the methodology adopted in this thesis is exclusively theoretical. Firstly, it presents the basics of this revised cybernetic perspective according to elementary texts by authors such as Bruno Latour and Arno Bammé and more specific representatives from the area of communication, such as Erick Felinto, André Lemos, Massimo di Felice and David Gunkel. The thesis then introduces the basic concepts of Heidegger\'s phenomenology, especially the meaning of being, based on seminal works by the author and interpreters such as Karl Leidlmair, Peter Trawny, Andreas Luckner and Dieter Mersch. In the next step, the thesis deals with Heidegger\'s understanding of technique and technology, relating it to the question of the meaning of being, supported also in the main works of the philosopher and the interpreters already mentioned, besides Günter Seubold. Based on these foundations, the thesis proposes a phenomenological conceptualization of the communicative Other, also in dialogue with the conceptions of alterity in Emmanuel Levinas and his interpreter Amit Pinchevsky, who explicitly discusses the relationship between the Other and communication. Through this methodology, the thesis aims to present an alternative interpretation to the cybernetic perspective regarding the question of the machine as communicative Other, thus contributing to the enrichment of the debate around this fundamental theme for the future of the area of communication.

A tese propõe uma abordagem cibersemiótica para processos de projeto a partir da perspectiva da mediação digital e de suas relações com a arquitetura contemporânea. Apresenta uma revisão dos processos digitais de projeto, com base na constatação de que a atuação de arquitetos e designers, em função dos modos de vida contemporâneos, passa a exigir atualmente uma postura diferenciada em relação ao gerenciamento das informações, assim como uma reflexão crítica em relação ao método projetivo utilizado na arquitetura da era digital. A tese utiliza como fundamentação teórica, os principais referenciais que tratam da Cibersemiótica, conforme proposta pelo filósofo dinamarquês Søren Brier, e de suas duas bases conceituais: a Semiótica de Charles Sanders Peirce e a Cibernética de Segunda Ordem, proposta por Heinz von Foerster. A tese propõe uma estrutura (framework) para análise de projetos a partir do olhar cibersemiótico, assim como propõe também uma estrutura (framework) para os próprios processos digitais de projeto. O trabalho é dividido em duas partes. A primeira parte, aborda processos de concepção e de produção digitais e as teorias utilizadas como fundamentação. Também define o quadro contextual que compara alguns projetos selecionados no recorte proposto e propõe uma estrutura de análise cibersemiótica destas referências. A segunda parte, apresenta estratégias para projeto digitais e propõe uma estrutura cibersemiótica para processos digitais de projeto. Acredita-se que a relevância da contribuição da tese se dá na direção da expansão do paradigma teórico cibersemiótico assim como na sua capacidade de potencializar processos digitais de projeto. Se outras espacialidades e interconexões deverão surgir a partir da atualização dos níveis de comunicação estabelecidos entre os diferentes sistemas, e de novos desafios sociais e culturais, é imprescindível que os arquitetos estejam atentos à compreensão das teorias e dos processos que estão disponíveis, para a otimização de todo o seu potencial de projeto na busca por ampliar as possibilidades para a Arquitetura e Urbanismo. / The thesis explores the Cibersemiotic approach to design processes from the perspective of digital mediation and its relationship with contemporary architecture. It presents a review of existing digital design processes, based on the assumption that the practice of architects and designers, according to the contemporary modes of life, currently requires a different position in relation to the management of information, as well as a critical reflection on the design methods used in the architecture of the digital age. The thesis\' theoretical foundation is based on the Cibersimiotic work produced by the Danish philosopher Søren Brier, which unifies two important conceptual frameworks: the Semiotics by Charles Sanders Peirce and the Second Order Cybernetics proposed by Heinz von Foerster. The thesis proposes a structure (or framework) to analyze existing designs from the cibersemiotic point of view, as well as a structure (or framework) for the digital design processes themselves. The work is presented in two parts. The first examines the digital processes and production as well as the theories they are based on. This part also presents the theoretical context for the structure (or framework) used to analyse selected existing designs and introduces the framework. The second part presents strategies for digital design and proposes the cibersemiotic framework for digital design processes. It is believed the thesis contributes towards the expansion of the Cibersemiotic theoretical paradigm as well as provides a working framework for the increasingly complex processes of digital design. Assuming other spatialities and interconnections will arise from the update levels established from communication between different systems as well as new social and cultural challenges, it is essential that architects are aware of available theories and processes for optimizing design potential and expand the possibilities for Architecture and Urbanism.

Made available in DSpace on 2016-03-15T19:42:27Z (GMT). No. of bitstreams: 1 Dangela Nunes Abiorana.pdf: 5033453 bytes, checksum: 958f187d028da26e809e10a2a1903e63 (MD5) Previous issue date: 2012-08-21 / This paper discusses, within the review of the Information Theory of Norbert Wiener, aspects concerning the relations of command and control in systems proposed in three artistic masterpieces. We conducted a clipping with their authors (artists) treat the processes involving the human body and movement, and how relations of command and control, among other aspects and issues of Cybernetics, has been reviewed and explored artistically. The analysis of each work was done at a different moment of cybernetics, and every moment was approached contextually different ways of dealing with the issues discussed. After examining the theoretical framework and analysis of works "The Ancestral Path: The Dog Monkeys journey through the amorphic Society" (1997), MacMurtrie, for the moment of cybernetics programmatic analog; "MOVOTAR" (2000), Stelarc, for the moment of cybernetics random, and "Unnamed Soundsculpture" (2012), Daniel Franke and Cedric Kiefer, for the moment cyber rhizomatic, it was revealed that the review of information theory, as proposed by Wiener, was necessary because the issue of noise has changed, has to be understood as more redundancy than as estrangement. In reviewing the laws of thermodynamics, particularly his second law, which states that the noise is inevitable and increasingly tends to increase, and so the whole system goes into chaos, it becomes clear the notion that it was necessary to do another reading about information theory, in this new context, then establishing a constant, the presence of noise. / O presente trabalho aborda, dentro das revisões da Teoria da Informação de Norbert Wiener, aspectos referentes às relações de comando e controle em sistemas propostos artisticamente em três obras de arte. Foi realizado um recorte de como os seus autores (artistas) tratam os processos que envolvem o corpo humano e o movimento, e de como as relações de comando e controle, dentre outros aspectos e questões referentes à Cibernética, vêm sendo revistas e exploradas artisticamente. A análise de cada obra foi feita em um momento distinto da Cibernética, e em cada momento foram abordados contextualmente os modos distintos de se tratar as questões discutidas. Após a análise do referencial teórico e da análise das obras The Ancestral Path: The DogMonkeysjourneythroughtheAmorphicSociety (1997), de Chico MacMurtrie, para o momento da cibernética programática analógica; MOVOTAR (2000), deStelarc, para o momento da cibernética randômica, e UnnamedSoundsculpture (2012), de Daniel Franke e Cedric Kiefer, para o momento da cibernética rizomática, foi possível perceber que a revisão da Teoria da Informação, como proposta por Wiener, era necessária, porque a questão do ruído sofreu uma alteração:ele passou a ser compreendido mais como redundância do que como estranhamento. Ao se rever as leis da termodinâmica, principalmente a sua segunda lei, que define que o ruído é inevitável e tende cada vez mais a aumentar, e assim todo sistema caminha para o caos, fica mais clara a noção de que era necessário fazer outra leitura da Teoria da Informação e, neste novo contexto, estabelecer então uma constante: a presença do ruído.

Because the first year of university education is for students a concentrated point of turbulence (in the form of failing, dropping out, changing courses or degrees, making changes in future plans and present priorities, and suffering anxieties about the same), it has been the focus of much study by education specialists, along the lines of "What are we doing wrong?" and "How can we do better?" "The teflon degree" is a metaphor derived from the image of a mess-preventing armour plating. The assumption that turbulence in the first year is naturally a bad thing fits by extension with an idea that turbulence, mess, and so on are to be avoided. Better than avoidance would be the construction of a system which would make it impossible for such things to happen. "The teflon degree" is a fantasy of a program of study that one can embark on, knowing what one will do and how one will do it, and then slide through, essentially unchanged, "augmented" by the acquisition of skills and qualifications. This thesis is a critique of the conceptual underpinnings of such an ideal. It is also an evocation of the qualities in university education which are obscured or harmed by the pursuit of such an ideal, foremost among them being love. I argue that love is not a sentimental afterthought, but an essential component of all genuine learning. This critique is carried out through the conceptual framework established by the work of Gregory Bateson in cybernetics. The empirical component of the thesis is drawn from interviews with individual students; these are intended both to illustrate and to make concrete the theoretical concerns which are its primary focus. With Bateson, both an anthropologist and a philosopher, as my central theorist, I have drawn on both anthropological and philosophical texts in the development of my argument, including Buber, Durkheim, Gaita, Hegel, Murdoch, Sartre, Serres, Simmel, and Weber.

Departing from humanist models of American intellectual history, this dissertation proposes an alternative posthumanist approach to the thought of Jonathan Edwards, Ralph Waldo Emerson, and Charles Sanders Peirce. Beginning with Perry Miller’s influential scholarship, American thought is often cast as a search for “face to face” encounters with the unaccountable God of Calvinism, a figure that eventually evolves to encompass Romantic notions of the aesthetic, imagination, or, most predominately, individual human feeling. This narrative typically culminates in the pragmatism of William James, a philosophy in which human feeling attains priority at the expense of impersonal metaphysical systems. However, alongside and against these trends runs a tradition that derives from the Calvinist distinction between a fallen material world and a transcendent God possessed of absolute sovereignty, a tradition that also anticipates posthumanist theory, particularly the self-referential distinction between system and environment that occupies the central position in Niklas Luhmann’s systems theory. After systems theory, the possibility for “face to face” encounters is replaced with the necessary self-reference of communication and observation, an attribute expressed in Edwards, Emerson, and Peirce through, respectively, the figures of “true virtue,” an absent and inexpressible grief and, in its most abstract form, Peirce’s concept of a sign. In conclusion, Edwards, Emerson, and Peirce represent an alternative posthumanist genealogy of pragmatism that displaces human consciousness as the foundational ground of meaning, communication, or semiosis.

This thesis focuses on scientists and technologies brought together around the desire to improve fallible human memory. Based on extended ethnographic fieldwork, it considers interdisciplinary collaborations among experts who design recording and archiving technologies that seek to maintain, extend, and commemorate life. How are everyday experiences translated as information, and for what purpose? How are our habits of drinking tea, talking on the phone, driving to work, and reminiscing with old photographs, turned into something that can be stored, analyzed and acted upon? How might information be used in real time to supplement the living in a recursive feedback loop? By addressing these questions, I reveal how these memory banks are inherently tied to logics of capital, of stock and storage, and to logics of the technological where, when it comes to memory, more is more. The first sections that make up this dissertation shift in scale from the micro to the macro: from historical national endeavors that turned ordinary citizens into a sensors and collectors of the mundane, to contemporary computational projects designed to store, organize and retrieve vast amounts of information. The second half of this dissertation focuses on two extreme cases of lifelogging that make use of prototypical recording technologies: Gordon Bell, who is on a quest to record his life for the sake of increased objectivity, productivity, and digital posterity, and Mrs. B, a woman who suffers from amnesia and records her life in the hopes of leading a normal life in which she can share the past with loved ones. Through these case studies, I show how new recording technologies are both a symptom of, and a cure for, anxieties about time. By focusing on the design of new objects and by addressing contemporary debates on the intentions that govern the making of recording machines, I examine how technologies take shape, and how they inform understandings of memory and the self as well as notions of human disability and enhancement. In short, I show that the past, as well as the present and the future, are always discursively, practically, and technologically informed.

In 1963, architect Cedric Price, theatre producer Joan Littlewood, and cybernetician Gordon Pask proposed a new kind of leisure centre called the Fun Palace. Though never built, the project continues to influence architecture and is the inspiration for this thesis. Known also as the “Laboratory of Fun,” the Fun Palace developed a compelling yet problematic narrative: people would have the freedom to design their own spatial experiences, but their behaviours would be monitored and probed. Innovations from the cybernetic committee had propelled the Fun Palace beyond mundane reality and into the virtual. In fact, the Fun Palace was more than a building; it was an information interface where architecture and humans were connected by cybernetic feedback. Of particular importance to this thesis is the way the Fun Palace antici- pated how digital technology would transform the world, and how it can be understood as an early prototype of the digital city. The model of space that the Fun Palace proposed shifted our understanding of architecture from autonomous and static to complex and dynamic; from an architecture of walls to an architecture of fields. This thesis is organized along three lines of inquiry. Firstly, that architecture is participatory. Secondly, that architecture is multidimensional. Thirdly, that architecture is generated by real-time transactions. The thesis concludes with a speculation called In The Fields: a mobile laboratory for co-creation in the digital city.