User:Kiara/Research/draft thesis outline - Revision history

Kiara at 13:22, 20 November 2025

2025-11-20T13:22:34Z

← Older revision		Revision as of 15:22, 20 November 2025
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	\| — Thesis Outline		\| — Thesis Outline
	[[../draft_thesis_outline\|——— Drafts]]<br>		[[../draft_thesis_outline\|——— Drafts]]<br>
	[[../~~thesis_outline_~~\|——— Final]]		[[../thesis_outline_final\|——— Final]]
	\|-		\|-
	\| — (more or less) Rapid Prototypes		\| — (more or less) Rapid Prototypes

Kiara at 13:21, 20 November 2025

2025-11-20T13:21:27Z

← Older revision		Revision as of 15:21, 20 November 2025
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	\| — Thesis Outline		\| — Thesis Outline
	[[../draft_thesis_outline\|——— Drafts]]<br>		[[../draft_thesis_outline\|——— Drafts]]<br>
	[[../~~thesis_outline~~\|——— Final]]		[[../thesis_outline_\|——— Final]]
	\|-		\|-
	\| — (more or less) Rapid Prototypes		\| — (more or less) Rapid Prototypes

Kiara at 13:10, 20 November 2025

2025-11-20T13:10:56Z

← Older revision		Revision as of 15:10, 20 November 2025
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	\| — Project Proposal		\| — Project Proposal
	[[../draft_project_proposal\|——— Drafts]]<br>		[[../draft_project_proposal\|——— Drafts]]<br>
	~~<!--~~ [[../project_proposal\|——— Final]] ~~-->~~		[[../project_proposal\|——— Final]]
	\|-		\|-
	\| — Thesis Outline		\| — Thesis Outline
	[[../draft_thesis_outline\|——— Drafts]]<br>		[[../draft_thesis_outline\|——— Drafts]]<br>
	~~<!--~~ [[../thesis_outline\|——— Final]] ~~-->~~		[[../thesis_outline\|——— Final]]
	\|-		\|-
	\| — (more or less) Rapid Prototypes		\| — (more or less) Rapid Prototypes

Kiara: /* references */

2025-11-20T12:30:42Z

references

← Older revision		Revision as of 14:30, 20 November 2025
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	* Bartoli, M and Moussard, C. (2019) [https://objetpapier.fr/op-release/op007-print-it ''OP007 Print-it, à la découverte d’Internet !'']		* Bartoli, M and Moussard, C. (2019) [https://objetpapier.fr/op-release/op007-print-it ''OP007 Print-it, à la découverte d’Internet !'']
	* Berners-Lee, T. (2025) ''This is for everyone'', London Macmillan		* Berners-Lee, T. (2025) ''This is for everyone'', London Macmillan
			* Cardon, D. (2019) ''Culture Numérique'', Paris Presses de Sciences-Po (Les petites humanités)
	* Dukes, R. (2000) ''SSOTBME Revised: An Essay on Magic'', Great-Britain El-Cheapo Books		* Dukes, R. (2000) ''SSOTBME Revised: An Essay on Magic'', Great-Britain El-Cheapo Books
	* Haute, L. O. (2016) [https://lucilehaute.fr/cyberwitches-manifesto/index.html ''Cyberwitches manifesto'']		* Haute, L. O. (2016) [https://lucilehaute.fr/cyberwitches-manifesto/index.html ''Cyberwitches manifesto'']
	* Maudet, N.; Beignon, A. and Thibault, T. (2025) [https://arxiv.org/pdf/2508.08672 ''Imposing AI: Deceptive design patterns against sustainability'']		* Maudet, N.; Beignon, A. and Thibault, T. (2025) [https://arxiv.org/pdf/2508.08672 ''Imposing AI: Deceptive design patterns against sustainability'']


	= selected bibliography =		= selected bibliography =

Kiara: /* How will that story be told? (form and mode of address) */

2025-11-20T12:22:23Z

How will that story be told? (form and mode of address)

← Older revision		Revision as of 14:22, 20 November 2025
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	The text should reflect detective investigation and sort-of-sociological approach without falling in an academic "take my word for a fact" tone.		The text should reflect detective investigation and sort-of-sociological approach without falling in an academic "take my word for a fact" tone.

	One inspiration on the relationship form/content is Objet Papier's ''OP007 Print-it'': combining small essays to games such as crosswords and horoscopes, all linked to the theme of the zine. I like that playful aspect and would like to use it, nuanced enough so that the importance (seriousness) of the topic is not diluted into some kind of joke.		One inspiration on the relationship form/content is Objet Papier's ''OP007 Print-it, à la découverte d’Internet !'': combining small essays to games such as crosswords and horoscopes, all linked to the theme of the zine. I like that playful aspect and would like to use it, nuanced enough so that the importance (seriousness) of the topic is not diluted into some kind of joke.

	I would also want to reflect some sort of non-linearity, as I see both the web and magic as unbound by the laws of chronology or order: if some magic practices deal with numbers and physical objects, it seems that they rarely rely on time itself as a precise unit of measurement<ref>One might argue that astrology and rituals to the Sun and Moon are time-bound, yes, but not precisely (as in accurate detail precision)!</ref>. They also don't seem to particularly advocate for chronology or logic (scientific/mathematical logic, opposed to intuition/instinct). Regarding the web, Kendal Beynon highlights how hard it is to date precisely what was born online. The only "time" constraint that I can think of relating to the web is the way JavaScript is linearly read and interpreted by browsers. Moreover, the concept of hyperlinks itself is challenging time: a constant back and forth, visiting and revisiting pages, linking to the past or to a possible future.		I would also want to reflect some sort of non-linearity, as I see both the web and magic as unbound by the laws of chronology or order: if some magic practices deal with numbers and physical objects, it seems that they rarely rely on time itself as a precise unit of measurement<ref>One might argue that astrology and rituals to the Sun and Moon are time-bound, yes, but not precisely (as in accurate detail precision)!</ref>. They also don't seem to particularly advocate for chronology or logic (scientific/mathematical logic, opposed to intuition/instinct). Regarding the web, Kendal Beynon highlights how hard it is to date precisely what was born online. The only "time" constraint that I can think of relating to the web is the way JavaScript is linearly read and interpreted by browsers. Moreover, the concept of hyperlinks itself is challenging time: a constant back and forth, visiting and revisiting pages, linking to the past or to a possible future.

Kiara: /* selected bibliography */

2025-11-20T12:22:04Z

selected bibliography

← Older revision		Revision as of 14:22, 20 November 2025
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	<small><references /></small>		<small><references /></small>

			= references =
			* Bartoli, M and Moussard, C. (2019) [https://objetpapier.fr/op-release/op007-print-it ''OP007 Print-it, à la découverte d’Internet !'']
			* Berners-Lee, T. (2025) ''This is for everyone'', London Macmillan
			* Dukes, R. (2000) ''SSOTBME Revised: An Essay on Magic'', Great-Britain El-Cheapo Books
			* Haute, L. O. (2016) [https://lucilehaute.fr/cyberwitches-manifesto/index.html ''Cyberwitches manifesto'']
			* Maudet, N.; Beignon, A. and Thibault, T. (2025) [https://arxiv.org/pdf/2508.08672 ''Imposing AI: Deceptive design patterns against sustainability'']


	= selected bibliography =		= selected bibliography =

Kiara: /* selected bibliography */

2025-11-20T12:03:04Z

selected bibliography

← Older revision		Revision as of 14:03, 20 November 2025
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	= selected bibliography =		= selected bibliography =
	* [https://~~lucilehaute~~.fr/~~cyberwitches~~-~~manifesto~~/~~index~~.html ''~~Cyberwitches manifesto~~'']~~, Lucile Olympe Haute (2017)~~		* Bastide, R. (2025) [https://raphaelbastide.com/etre-script/en.html ''being a script'']
	* ~~[https://thisisforeveryone.timbl.com/about~~-~~the-book~~.~~html~~ ''This is for everyone''], ~~Tim Berners-Lee~~ (~~2025~~)		* Berners-Lee, T. (2025) ''This is for everyone'', London Macmillan
	* ''SSOTBME Revised: An Essay on Magic'', ~~Ramsey Dukes~~ (~~2000~~)		* Dukes, R. (2000) ''SSOTBME Revised: An Essay on Magic'', Great-Britain El-Cheapo Books
	* [https://~~raphaelbastide~~.~~com~~/~~etre~~-~~script~~/en.html ''~~being a script~~'']~~, Raphaël Bastide (2025)~~		* Haute, L. O. (2016) [https://lucilehaute.fr/cyberwitches-manifesto/index.html ''Cyberwitches manifesto'']

	= extras =		= extras =

Kiara: /* 2.1 AI is the new stage magic */

2025-11-19T09:39:01Z

2.1 AI is the new stage magic

← Older revision		Revision as of 11:39, 19 November 2025
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	====== 2.1 AI is the new ''stage'' magic ======		====== 2.1 AI is the new ''stage'' magic ======
	A focus on GenAI as "the new magic" and why it is a problem: western history hints that magic is mostly tied to oppression (only men magicians wouldn't be chased and banished for it, but praised - see image), yet when GenAI is dressed up as a magical entity it seems to be looked upon as a good thing, while solely being magical in that we cannot quite grasp what it does and how it works. Leaving behind any reference to intention, intuition, emotion and most importantly oneself<ref>see Limites Numériques' [https://limitesnumeriques.fr/travaux-productions/ai-forcing article (french)] or this Institute of Diagram Studies' [https://www.are.na/institute-of-diagram-studies/ai-the-new-aesthetics-of-fascism Arena channel]</ref>.		A focus on GenAI as "the new magic" and why it is a problem: western history hints that magic is mostly tied to oppression (only men magicians wouldn't be chased and banished for it, but praised - see image), yet when GenAI is dressed up as a magical entity it seems to be looked upon as a good thing, while solely being magical in that we cannot quite grasp what it does and how it works. Leaving behind any reference to intention, intuition, emotion and most importantly oneself<ref>see Limites Numériques' [https://limitesnumeriques.fr/travaux-productions/ai-forcing article (french)] or this Institute of Diagram Studies' [https://www.are.na/institute-of-diagram-studies/ai-the-new-aesthetics-of-fascism Arena channel]</ref>.
	[[File:witchVSwizard.png\|~~left~~\|thumb\|<small>witch VS wizard: the term witch itself derives from a meaning that bears negativity, wickedness and evil. On the contrary, wizards "might" be evil but are mostly good and wise. In fact, the definition here proposed for witch does not give much matter to understand what a witch is, and doesn't even link to the wiki page of witchcraft... While the definition for wizard is more complete and example oriented.</small>\|770x770px]]		[[File:witchVSwizard.png\|center\|thumb\|<small>witch VS wizard: the term witch itself derives from a meaning that bears negativity, wickedness and evil. On the contrary, wizards "might" be evil but are mostly good and wise. In fact, the definition here proposed for witch does not give much matter to understand what a witch is, and doesn't even link to the wiki page of witchcraft... While the definition for wizard is more complete and example oriented.</small>\|770x770px]]

	===== 3. Take the power back (2000) =====		===== 3. Take the power back (2000) =====

Kiara: /* 2. The descent into oblivion seamlessness (2000) */

2025-11-19T09:38:48Z

2. The descent into oblivion seamlessness (2000)

← Older revision		Revision as of 11:38, 19 November 2025
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	First, I will turn towards cultural appropriation and glamorisation: the way through which power leaders turn alternative practices into "the norm" by erasing the struggles leading to those practices. That is also a way to make the original practitioners lose their resisting power. <br>		First, I will turn towards cultural appropriation and glamorisation: the way through which power leaders turn alternative practices into "the norm" by erasing the struggles leading to those practices. That is also a way to make the original practitioners lose their resisting power. <br>
	Glamorisation leads to the idea of seamlessness, both in the web (smoothing user interfaces, preventing user intervention on the functioning, etc.) and in magic (creation of aesthetics and trends<ref>cinematographic examples have a special spot here, they also allowed for online trends on TikTok or Instagram/Pinterest</ref>).		Glamorisation leads to the idea of seamlessness, both in the web (smoothing user interfaces, preventing user intervention on the functioning, etc.) and in magic (creation of aesthetics and trends<ref>cinematographic examples have a special spot here, they also allowed for online trends on TikTok or Instagram/Pinterest</ref>).
	[[File:Interrelations.png\|~~left~~\|thumb\|740x740px\|<small>Left: a correlation drawn by Kendal Beynon on how aesthetics are insturmentalised by capitalistic systems. Right: a correlation I draw on how alternative practices (magic) are instrumentalised by capitalistic systems.</small>]]		[[File:Interrelations.png\|center\|thumb\|740x740px\|<small>Left: a correlation drawn by Kendal Beynon on how aesthetics are insturmentalised by capitalistic systems. Right: a correlation I draw on how alternative practices (magic) are instrumentalised by capitalistic systems.</small>]]
	For that, I will focus on GenAI as the main example of that seamless glamorisation; using a metaphor of GenAI as a stage magician.		For that, I will focus on GenAI as the main example of that seamless glamorisation; using a metaphor of GenAI as a stage magician.

Kiara: /* 1. The web is not dying, its alchemy is just in the wrong hands (1500) */

2025-11-19T09:38:01Z

1. The web is not dying, its alchemy is just in the wrong hands (1500)

← Older revision		Revision as of 11:38, 19 November 2025
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	To start off, I intend to look into the similarities I personally find between alchemy and the web. <br>		To start off, I intend to look into the similarities I personally find between alchemy and the web. <br>
	In a nutshell alchemy is a transmutation-focused form of magic<ref>[https://www.themystica.com/alchemy/ themystica.org] mentions: "Aristotle said all matter was made from a basic substance that could appear as fire, air, water, or earth. Alchemists thought that by changing these elements, they could change one substance into another." <br> Merriam Webster defines alchemy as: "a power or process that changes or transforms something in a mysterious or impressive way" and "an inexplicable or mysterious transmuting". <br> In the manga ''Fullmetal Alchemist'', the characters explain that alchemy needs to be an equivalent exchange: if you are trying to create something using alchemy, you must give something equally valuable (like, in a very shortcut way, "an eye for eye").</ref>, requiring high focus and intention. <br>		In a nutshell alchemy is a transmutation-focused form of magic<ref>[https://www.themystica.com/alchemy/ themystica.org] mentions: "Aristotle said all matter was made from a basic substance that could appear as fire, air, water, or earth. Alchemists thought that by changing these elements, they could change one substance into another." <br> Merriam Webster defines alchemy as: "a power or process that changes or transforms something in a mysterious or impressive way" and "an inexplicable or mysterious transmuting". <br> In the manga ''Fullmetal Alchemist'', the characters explain that alchemy needs to be an equivalent exchange: if you are trying to create something using alchemy, you must give something equally valuable (like, in a very shortcut way, "an eye for eye").</ref>, requiring high focus and intention. <br>
	Similarly, the web is constantly shape-shifting in the hands of its users/actors, creating a website demands attention and intention. I plan on digging deeper into that similarity to draw a proper connection between alchemy and the mutations of the web. For that, I will dive into Kendal Beynon's research work, take examples from Dominique Cardon's ''Culture Numérique'' (2019) and quote some excerpts from my conversation with Miriam Suzanne about magic and the web. <br>		Similarly, the web is constantly shape-shifting in the hands of its users/actors, creating a website demands attention and intention. I plan on digging deeper into that similarity to draw a proper connection between alchemy and the mutations of the web. For that, I will dive into Kendal Beynon's research work, take examples from Dominique Cardon's ''Culture Numérique'' (2019) and quote some excerpts from my conversation with Miriam Suzanne (member of the CSS working group) about magic and the web. <br>
	I'd also like to verify the possible correspondence(s) between hyperlinks and sigils (magic symbols).		I'd also like to verify the possible correspondence(s) between hyperlinks and sigils (magic symbols).