Since only a few years, fast spreading, participatory platforms on the web have evoked a major shift into the realm of social media. This was made possible by the convergence of free web platforms, inexpensive software that enables people to share their own media and access materials produced by others, the rapid fall in prices for professional-quality media-capture devices such as high-definition video cameras, and the addition of camera and video features to mobile phones. Social media are often discussed today in relation to Web 2.0, which refers to a number of technical, economic, and social developments. Besides social media, other important related concepts are user-generated content, network as platform, folksonomy (social indexing, tagging), syndication (web feeds make a portion of a web site available to other sites or
individual subscribers), and mass collaboration. There are two main tendencies of Web 2.0: in the past decade a majority of
internet users accessing content produced by a much smaller number of professional producers shifted to a growing number of users accessing content produced by other non-professionals. Second, if the web of the 1990s was primarily a publishing medium, ever since the 2000s, it has increasingly become a communication medium. The number of people participating in social networks, sharing media and creating user-generated content is surprising: MySpace for example claimed 300 million users in the year of 2008. What do these trends mean for culture in general and professional art practice in particular? The new social media platforms reveal the particular features of individual subcultures. Users are given nearly unlimited storage
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and plenty of tools to organize, promote, and broadcast their thoughts, opinions, behaviour and media to others. Based on these recent developments, our application proposes to develop a strategic manual for social practices-oriented design in public space. New forms of public performance and social interplay are likely to appear, if we envision them to be fed by media-rich content created in an asynchronous, remote virtual manner in the everyday of public life. One important aspect of social media companies appears to be their strategy to design flexible platforms which continually change. Most Web 2.0 companies give users the ability to customize their online lives and
to expand the functionality of the platforms themselves. Customization and participation will be taken
as key principles to initiate and enhance new self-organizing forms of public life.
As a group of artists, architects, technicians and theoreticians, we aimed to fuse varying academic resources to allow for an open productive process of creative and innovative research in the field of “space and design strategies”. Artists and architects (space&designstrategies_research, University for Arts and Industrial Design Linz) meet with technicians from the field of computer science (Institute of Computer Technology (ICT), Vienna University of Technology) and with theoreticians (Institute for Theory of Architecture, Vienna University of Technology) to distillate and interlace formerly specialized concerns of all contributing disciplines. In addition, we integrate international consultancy concerning free, innovative network technology as well as theoretical input regarding current transformative processes within the field of architecture and design. Finally, we were planning to cooperate two workshop projects with the Massachusetts Institute of Technology/MIT and the University of Pennsylvania School of Design (PENN). Our main agenda was to create a broader understanding concerning the implications of critically fast changing technological common places as supporting if not merely constituting measures of contemporary space. Since urban environments slowly start adapting to digital requirements of contemporary users, the general perception and appreciation of space is about to change. Apart from singular electronic services offered in the city, the introduction of WIFI-Networks to public areas managed to highlight the potential relevance of generated »user demand profiles«. They appear to emphasize on questions relating to how to possibly create more adaptable, and therefore more personalized public space typologies. Designers, architects as well as city planners have become aware of the importance of potentially »new« planning parameters such as user oriented profiles. But since these parameters appear to be rather instable and hardly suitable parts within a fixed program to be negotiated with clients, they have not yet been successfully integrated in many planning processes. In consequence, our main interest focused on the necessary characteristics of a future public
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sphere which gets actively informed by user behaviour and iteratively shaped by collective concern. We envisioned to support self-organizing patterns of use through the implementation of network services as well as the introduction of innovative display surfaces. The individual user as a curator of information may become operative within a dynamic urban flow chart, which then finally manages to
mirror a collective consciousness, as it is just about to transform itself. We believe that the innovative and creative implementation of technology within the urban realm, will eventually enrich social interplay, reassure individual identification with the built urban environment, and therefore stabilize areas which are to be found partially constricted by the fear
of possible assaults: Public Space 2.0.
 Adrian Chan, »Social Media: Paradigm shift?«