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La Stampa (De Martin): Qui ci vuole una costituzione dei diritti digitali

by Giuseppe Futia

13.09.2012 Qui ci vuole una costituzione dei diritti digitali JUAN CARLOS DE MARTIN Gli smartphone, quei minuscoli computer che consentono anche di telefonare, stanno portando nelle tasche di milioni di persone i due pilastri della rivoluzione digitale: un computer tutto-fare in grado di elaborare qualsiasi informazione rappresentabile sotto forma di uni e di zeri e una connessione a Internet. Chi i computer già li frequenta apprezza gli smartphone perché permettono, in qualsiasi luogo e in qualsiasi momento, molte, anche se non tutte, delle operazioni tipiche di un computer. E gli altri apprezzano subito, anche grazie alle interfacce intuitive, il marchingegno che si ritrovano in tasca. La legge di Moore - quella che sancisce il raddoppio delle capacità di calcolo dei computer ogni 18 mesi - ha contribuito: gli smartphone sono sempre più potenti, veloci e versatili. Pochi anni fa, era impensabile che un dispositivo tascabile riuscisse a registrare e magari anche a montare video ad alta definizione: oggi è la norma. Così per le prestazioni fotografiche, per la navigazione stradale, per le funzioni di pagamento, in un crescendo imperialista che porta lo smartphone ad assorbire nella sua flessibile anima di computer un numero crescente di dispositivi una volta a sé stanti. [...] Continua qui: http://www.lastampa.it/_web/cmstp/tmplRubriche/editoriali/gEditoriali.asp?I…

Sept. 13, 2012

Re: [nexa] Cercando nel lavoro il futuro perduto

by J.C. DE MARTIN

grazie! jc On 12/09/12 12:40, a.dicorinto(a)uniroma1.it wrote: > Articolo interessante di Sergio Bellucci... > > > Cercando nel lavoro il futuro perduto > <http://sergiobellucci.blogspot.com/2012/09/cercando-nel-lavoro-il-futuro-pe…> > > > Il Presidente Prodi, in un importante fondo > <http://www.romanoprodi.it/articoli/italia/per-costruire-il-lavoro-di-domani…>su > Il Messaggero di qualche giorno fa, ha messo in evidenza un punto > centrale per la politica dei prossimi anni: la distribuzione della > ricchezza prodotta attraverso il lavoro. La qualità nuova > dell'innovazione tecnologica (quella introdotta dalle tecnologie > digitali specifico io) pone alla politica problemi enormi e in larga > misura tralasciati dal dibattito quotidiano. Egemonizzati dalla > cultura monetarista, tutti siamo abbagliati dall'andamento degli > indici e ci occupiamo del lavoro solo per denunciarne o la sua perdita > (come se fosse possibile con una bacchetta magica tenere aperte le > fabbriche) o la sua povertà (sia in termini di garanzia di reddito per > consumo sia in termini di realizzazione personale). Prodi sottolinea > come nei prossimi anni, a partire dalla auspicata ripresa economica > per la quale l'intera Europa discute ferocemente, il lavoro subirà una > radicale e storica trasformazione. > > http://sergiobellucci.blogspot.it/2012/09/cercando-nel-lavoro-il-futuro-per… > > ********************** > "The Net interprets censorship as damage and routes around it." > -- John Gilmore > > > _______________________________________________ > nexa mailing list > nexa(a)server-nexa.polito.it > https://server-nexa.polito.it/cgi-bin/mailman/listinfo/nexa

Sept. 12, 2012

Re: [nexa] Neelie Kroes - Copyright and innovation in the Creative Industries

by J.C. DE MARTIN

Grazie, Andrea! juan carlos On 12/9/12 11:05 AM, Andrea Glorioso wrote: > Cari tutti, > > non amo fare da megafono della Commissione Europea, ma penso che gli > iscritti a questa lista possano essere interessati al recente discorso > di Neelie Kroes all'Intellectual Property and Innovation Summit 2012 > (10 Settembre 2012). > > Alcuni passaggi significativi: > > "The world we live in is changing fast. Technology is changing. > Business models are changing. The way we consume and enjoy creative > works - music, movies, games -- is changing." > > "And here's the most important change since 1998. Back then, creation > and distribution were in the hands of the few. Now they are in the > hands of everyone: democratising innovation, empowering people to > generate and exchange ideas, supporting and stimulating huge creativity." > > "Each day we fail to respond, we are missing out. Consumers miss out > on easy, legal access to their favourite products. The creative sector > misses out on new markets, new innovations, new opportunities. We all > miss out on new ways to share, recognise, and appreciate our cultural > heritage. And our economy overall misses out on the chance of new > growth.Even today we see the consequences of that loss. The > initiatives we can't seize. The potentially high-flying ideas that get > stuck on the runway. The glory and the benefits taken by American > companies, not European. And every day that passes we put ourselves in > a yet worse position. I'm afraid Europe can't afford that, not at the > moment." > > ------- > > http://europa.eu/rapid/pressReleasesAction.do?reference=SPEECH/12/592&forma… > > Neelie Kroes > Vice-President of the European Commission responsible for the Digital > Agenda > Copyright and innovation in the Creative Industries > The 2012 Intellectual Property and Innovation Summit, The Lisbon Council > > Brussels, 10 September 2012 > > Thank you for your kind invitation to talk with you about the creative > sector. > > Today I want to talk about why, in a changing digital age, copyright > reform is the right way to support that sector. The debate on > copyright often involves extreme positions, rigid views, and emotive > arguments. > > But for me, this isn't a simple question: we need to recognise its > complexity. Not to be dogmatic, but pragmatic. Not to consider the > question as an abstract, philosophical issue: but in its context and > time. > > Let's remind ourselves of that context. The world we live in is > changing fast. Technology is changing. Business models are changing. > The way we consume and enjoy creative works - music, movies, games -- > is changing. > > And, if we want to keep the right balance, the legal framework has to > respond. > > The last major EU copyright instrument, the Copyright Directive, was > adopted in 2001. The Commission proposals it was based on date back to > 1998. > > Let's remind ourselves what's happened since then. > > In 1998, Mark Zuckerberg was 14. Today, almost one billion people > around the world actively use Facebook, to share photos, videos, and > ideas. > > In 1998, YouTube didn't exist. Today, one hour of video is uploaded > every second. > <http://www.newscientist.com/blogs/onepercent/2012/01/youtube-is-sucking-up-…> > > In 1998, most people listened to music on the radio, CD or tape. Now > digital downloads often overtake conventional sales. New technologies > allow downloading or streaming; easily, instantly, wherever you are. > Not just to passively listen, but to interact and give feedback, to > creators and friends. > > But changes are not limited to the content business, they affect all > sectors. Huge changes have taken place in the research area. Today, > new scientific discoveries don't just come from new experiments, new > drugs, new clinical trials: in fact, now, we can get new results by > manipulating existing data. Data and text-mining techniques now lie > behind a huge field of research, like human genome projects, > potentially life-saving. They could hold the key to the next medical > breakthrough, if only we freed them from their current legal tangle. > Research activities are not clearly exempted from the copyright rules > and there are many different rules in the 27 member states. > > And here's the most important change since 1998. Back then, creation > and distribution were in the hands of the few. Now they are in the > hands of everyone: democratising innovation, empowering people to > generate and exchange ideas, supporting and stimulating huge creativity. > > And now let's remind ourselves what our objectives as policymakers > should be for the creative sector. > > We should help artists live from their art. Stimulate creativity and > innovation. Improve consumer choice. Promote our cultural heritage. > And help the sector drive economic growth. > > We can' t look at copyright in isolation: you have to look at how it > fits into the real world. So let's ask ourselves: how well is the > current system achieving those objectives, in the world we live in today? > > Well for one thing, you often find that online licensing restrictions > make it impossible to buy music legally. Sometimes, for example, you > can't buy an MP3 across an EU border. > > We have already made a proposal on orphan works and recently one on > collective rights management, to make multi-territorial licensing > easier. The licensing proposal is a good step forward to make it > easier to legally access the music you love, especially across > borders. I hope legislators are able to agree it quickly. But this > tackles only one aspect of the problem. > > Because there are other problems too beyond licensing or orphan works. > That's why the June 'Compact for Growth and Jobs' makes clear we need > to focus also on substantive copyright reform. > > And quite right too. For example, I ask myself, are current copyright > rules favourable to potentially life-saving scientific research or do > they stand in its way? > > Do they make it easier or harder for people to upload and distribute > their own, new creative content? And is that the best way to boost > creativity and innovation? > > How can we expect pan-European companies to succeed, if in practice > they have to deal with 27 different sets of rules, even if based on a > supposedly common European framework? How can we expect them to > compete against American platforms that can easily market to hundreds > of millions? > > If it took the BBC years of paperwork to market a TV programme across > the EU: how does that help repay their creative investment? > > How are these restrictions improving our economy? How are they helping > cultural diversity? How are they helping artists live from their art? > How are they helping stem piracy? > > In short, the world has changed, and is changing still. The change is > rapid, it is profound, and it is a huge opportunity for the creative > sector. > > Each day we fail to respond, we are missing out. Consumers miss out on > easy, legal access to their favourite products. The creative sector > misses out on new markets, new innovations, new opportunities. We all > miss out on new ways to share, recognise, and appreciate our cultural > heritage. And our economy overall misses out on the chance of new growth. > > Even today we see the consequences of that loss. The initiatives we > can't seize. The potentially high-flying ideas that get stuck on the > runway. The glory and the benefits taken by American companies, not > European. > > And every day that passes we put ourselves in a yet worse position. > I'm afraid Europe can't afford that, not at the moment. > > I'm glad to see that change is finally coming for copyright, at many > different levels. Internationally, the World Intellectual Property > Organisation is looking into a range of new copyright exceptions and > limitations. Nationally, an increasing number of Member States are > recognising the need for reforms, and testing new ideas in this field. > But we need a common European solution, to avoid fragmentation and to > seize benefits for a European Digital Single Market. > > Now I am glad the EU is playing its part too, so that our single > market, our crown jewel, delivers for the creative sector. We have > started a process to asses whether further changes are necessary. For > this, Michel Barnier is looking at whether and how the 2001 Copyright > Directive needs to be adapted. I fully back his commitment to do that, > set out in the Commission's IPR Strategy of last year. > > During this process of assessment we should leave passion aside and > take a pragmatic view. Is our current system consistent and relevant > within the real world? > > I am open to ideas from all stakeholders: artists, consumers, > businesses, researchers. Only together we can adapt ourselves to the > future, and stimulate innovation and growth. > > The world is changing fast. Let'snot wait for ever faster technology > to be ever moreconstrained by over moreoutdated legislation. Let's not > wait for the USA to speed ahead of Europe. Let's act right now: for > artists, consumers, for our economy. > > Thank you. > > > > > -- > > -- > I speak only for myself. Sometimes I do not even agree with myself. > Keep it in mind. > Twitter: @andreaglorioso > Facebook: https://www.facebook.com/andrea.glorioso > LinkedIn: http://www.linkedin.com/profile/view?id=1749288&trk=tab_pro > > > _______________________________________________ > nexa mailing list > nexa(a)server-nexa.polito.it > https://server-nexa.polito.it/cgi-bin/mailman/listinfo/nexa

Sept. 12, 2012

la proposta ETNO una minaccia per internet

by Stefano Quintarelli

Analysys Mason: la proposta ETNO x ITU e' una minaccia per internet http://is.gd/O4lxlx -- blog.quintarelli.it -- tutelo la riservatezza della tua corrispondenza, non uso mail offerta da portali

Sept. 12, 2012

Cercando nel lavoro il futuro perduto

by a.dicorinto＠uniroma1.it

Sept. 12, 2012

La Stampa (De Martin): Uomini e macchine, tutti nella stessa infosfera

by a.dicorinto＠uniroma1.it

Sept. 12, 2012

Neelie Kroes - Copyright and innovation in the Creative Industries

by Andrea Glorioso

Cari tutti, non amo fare da megafono della Commissione Europea, ma penso che gli iscritti a questa lista possano essere interessati al recente discorso di Neelie Kroes all'Intellectual Property and Innovation Summit 2012 (10 Settembre 2012). Alcuni passaggi significativi: "The world we live in is changing fast. Technology is changing. Business models are changing. The way we consume and enjoy creative works - music, movies, games – is changing." "And here's the most important change since 1998. Back then, creation and distribution were in the hands of the few. Now they are in the hands of everyone: democratising innovation, empowering people to generate and exchange ideas, supporting and stimulating huge creativity." "Each day we fail to respond, we are missing out. Consumers miss out on easy, legal access to their favourite products. The creative sector misses out on new markets, new innovations, new opportunities. We all miss out on new ways to share, recognise, and appreciate our cultural heritage. And our economy overall misses out on the chance of new growth.Even today we see the consequences of that loss. The initiatives we can't seize. The potentially high-flying ideas that get stuck on the runway. The glory and the benefits taken by American companies, not European. And every day that passes we put ourselves in a yet worse position. I'm afraid Europe can't afford that, not at the moment." ------- http://europa.eu/rapid/pressReleasesAction.do?reference=SPEECH/12/592&forma… Neelie Kroes Vice-President of the European Commission responsible for the Digital Agenda Copyright and innovation in the Creative Industries The 2012 Intellectual Property and Innovation Summit, The Lisbon Council Brussels, 10 September 2012 Thank you for your kind invitation to talk with you about the creative sector. Today I want to talk about why, in a changing digital age, copyright reform is the right way to support that sector. The debate on copyright often involves extreme positions, rigid views, and emotive arguments. But for me, this isn't a simple question: we need to recognise its complexity. Not to be dogmatic, but pragmatic. Not to consider the question as an abstract, philosophical issue: but in its context and time. Let's remind ourselves of that context. The world we live in is changing fast. Technology is changing. Business models are changing. The way we consume and enjoy creative works - music, movies, games – is changing. And, if we want to keep the right balance, the legal framework has to respond. The last major EU copyright instrument, the Copyright Directive, was adopted in 2001. The Commission proposals it was based on date back to 1998. Let's remind ourselves what's happened since then. In 1998, Mark Zuckerberg was 14. Today, almost one billion people around the world actively use Facebook, to share photos, videos, and ideas. In 1998, YouTube didn't exist. Today, one hour of video is uploaded every second.<http://www.newscientist.com/blogs/onepercent/2012/01/youtube-is-sucking-up-…> In 1998, most people listened to music on the radio, CD or tape. Now digital downloads often overtake conventional sales. New technologies allow downloading or streaming; easily, instantly, wherever you are. Not just to passively listen, but to interact and give feedback, to creators and friends. But changes are not limited to the content business, they affect all sectors. Huge changes have taken place in the research area. Today, new scientific discoveries don't just come from new experiments, new drugs, new clinical trials: in fact, now, we can get new results by manipulating existing data. Data and text-mining techniques now lie behind a huge field of research, like human genome projects, potentially life-saving. They could hold the key to the next medical breakthrough, if only we freed them from their current legal tangle. Research activities are not clearly exempted from the copyright rules and there are many different rules in the 27 member states. And here's the most important change since 1998. Back then, creation and distribution were in the hands of the few. Now they are in the hands of everyone: democratising innovation, empowering people to generate and exchange ideas, supporting and stimulating huge creativity. And now let's remind ourselves what our objectives as policymakers shouldbe for the creative sector. We should help artists live from their art. Stimulate creativity and innovation. Improve consumer choice. Promote our cultural heritage. And help the sector drive economic growth. We can' t look at copyright in isolation: you have to look at how it fits into the real world. So let's ask ourselves: how well is the current system achieving those objectives, in the world we live in today? Well for one thing, you often find that online licensing restrictions make it impossible to buy music legally. Sometimes, for example, you can't buy an MP3 across an EU border. We have already made a proposal on orphan works and recently one on collective rights management, to make multi-territorial licensing easier. The licensing proposal is a good step forward to make it easier to legally access the music you love, especially across borders. I hope legislators are able to agree it quickly. But this tackles only one aspect of the problem. Because there are other problems too beyond licensing or orphan works. That's why the June 'Compact for Growth and Jobs' makes clear we need to focus also on substantive copyright reform. And quite right too. For example, I ask myself, are current copyright rules favourable to potentially life-saving scientific research or do they stand in its way? Do they make it easier or harder for people to upload and distribute their own, new creative content? And is that the best way to boost creativity and innovation? How can we expect pan-European companies to succeed, if in practice they have to deal with 27 different sets of rules, even if based on a supposedly common European framework? How can we expect them to compete against American platforms that can easily market to hundreds of millions? If it took the BBC years of paperwork to market a TV programme across the EU: how does that help repay their creative investment? How are these restrictions improving our economy? How are they helping cultural diversity? How are they helping artists live from their art? How are they helping stem piracy? In short, the world has changed, and is changing still. The change is rapid, it is profound, and it is a huge opportunity for the creative sector. Each day we fail to respond, we are missing out. Consumers miss out on easy, legal access to their favourite products. The creative sector misses out on new markets, new innovations, new opportunities. We all miss out on new ways to share, recognise, and appreciate our cultural heritage. And our economy overall misses out on the chance of new growth. Even today we see the consequences of that loss. The initiatives we can't seize. The potentially high-flying ideas that get stuck on the runway. The glory and the benefits taken by American companies, not European. And every day that passes we put ourselves in a yet worse position. I'm afraid Europe can't afford that, not at the moment. I'm glad to see that change is finally coming for copyright, at many different levels. Internationally, the World Intellectual Property Organisation is looking into a range of new copyright exceptions and limitations. Nationally, an increasing number of Member States are recognising the need for reforms, and testing new ideas in this field. But we need a common European solution, to avoid fragmentation and to seize benefits for a European Digital Single Market. Now I am glad the EU is playing its part too, so that our single market, our crown jewel, delivers for the creative sector. We have started a process to asses whether further changes are necessary. For this, Michel Barnier is looking at whether and how the 2001 Copyright Directive needs to be adapted. I fully back his commitment to do that, set out in the Commission's IPR Strategy of last year. During this process of assessment we should leave passion aside and take a pragmatic view. Is our current system consistent and relevant within the real world? I am open to ideas from all stakeholders: artists, consumers, businesses, researchers. Only together we can adapt ourselves to the future, and stimulate innovation and growth. The world is changing fast. Let's not wait for ever faster technology to be ever more constrained by over more outdated legislation. Let's not wait for the USA to speed ahead of Europe. Let's act right now: for artists, consumers, for our economy. Thank you. -- -- I speak only for myself. Sometimes I do not even agree with myself. Keep it in mind. Twitter: @andreaglorioso Facebook: https://www.facebook.com/andrea.glorioso LinkedIn: http://www.linkedin.com/profile/view?id=1749288&trk=tab_pro

Sept. 12, 2012

Wiki Loves Monuments, il supporto del Centro Nexa all'accordo MiBac-Wikimedia Italia

by Giuseppe Futia

Wiki Loves Monuments, il supporto del Centro Nexa all'accordo MiBac-Wikimedia Italia Url permanente di questo comunicato stampa: http://nexa.polito.it/mibac-wikimedia-italia wiki-love-monumentsTorino, 12 settembre 2012. Il Centro Nexa su Internet & Società del Politecnico di Torino <http://nexa.polito.it/> (DAUIN) è orgoglioso di aver contribuito all'importante accordo siglato tra il Ministero per i Beni e le Attività Culturali <http://www.beniculturali.it/> (MiBAC) e Wikimedia Italia <http://wiki.wikimedia.it/> in merito all'iniziativa "Wiki Loves Monuments <http://www.wikilovesmonuments.org/>", concorso fotografico internazionale che si propone di rendere disponibili su Wikipedia e progetti collegati le immagini relative al patrimonio culturale di un paese. Per la realizzazione dell'accordo è stato fondamentale l'apporto dell'avvocato Deborah De Angelis <http://nexa.polito.it/fellows#deangelis>, fellow del Centro Nexa, nell'ambito del progetto SeLiLi -- Servizio Licenze Libere <http://selili.polito.it/>. Come accaduto negli scorsi anni, a causa della peculiarità delle legge italiana sul patrimonio culturale, l'iniziativa "Wiki Loves Monuments" nel nostro paese avrebbe rischiato di non realizzarsi affatto, a causa dell'incertezza giuridica rispetto alla possibilità di riprodurre fotograficamente i nostri beni culturali. Secondo i termini dell'accordo siglato, anche grazie al supporto economico del Centro Nexa all'attività dell'avvocato De Angelis, il MiBac concede il *nulla osta a fotografare molti monumenti italiani e si impegna a sensibilizzare gli altri organi istituzionali *(come soprintendenze, regioni, comuni eccetera) affinché facciano lo stesso. "Abbiamo scelto di aderire con entusiasmo al progetto "Wiki loves Monuments" -- commenta il MiBAC - perché riteniamo sia un ottimo modo per coinvolgere attivamente i nostri connazionali nella scoperta e condivisione del nostro patrimonio storico artistico. In particolare abbiamo voluto indirizzare il progetto verso tutti quei luoghi della cultura meno noti e fuori dai grandi circuiti turistici, ma non per questo di minore bellezza e suggestione. Al giorno d'oggi *la valorizzazione dei beni culturali deve necessariamente passare anche attraverso i social media, come Wikipedia, attraverso i quali possiamo raggiungere fasce d'utenza diverse dai consueti frequentatori di musei*". Oltre a costituire un grande passo per "Wiki Loves Monuments", si tratta di un considerevole impulso alla promozione della conoscenza aperta, specie in un contesto normativo, come quello italiano, che pone tuttora significative limitazioni. Tuttavia, come sottolineato da Wiki Loves Monuments Italia <http://www.wikilovesmonuments.it/>, "la più alta istituzione preposta alla conservazione del nostro patrimonio culturale ha riconosciuto ufficialmente il ruolo fondamentale dei cittadini nella valorizzazione e diffusione delle bellezze del nostro paese". Ulteriori informazioni disponibili all'indirizzo: http://www.wikilovesmonuments.it/2012/09/laccordo-con-il-mibac/. *Su Wikimedia Italia* wikimediaAttiva dal 2005 nell'ambito dell'Open Culture in qualità di corrispondente italiana ufficiale di Wikimedia Foundation <https://wikimediafoundation.org/>, Wikimedia Italia <http://wiki.wikimedia.it/> persegue esclusivamente obiettivi di solidarietà sociale nel campo della promozione culturale, prefiggendo come scopo principale quello di contribuire attivamente alla diffusione, al miglioramento e all'avanzamento del sapere e della cultura. Come? Attraverso la produzione, la raccolta e la divulgazione gratuita di contenuti liberi che incentivino le possibilità di accesso alla conoscenza e alla formazione. L'associazione sostiene nel nostro Paese sia Wikipedia sia i progetti Wikimedia, tra i quali si annovera questo contest dedicato ai monumenti che invita tutti i cittadini a documentare la propria eredità culturale realizzando fotografie con licenza libera, nel pieno rispetto del diritto d'autore e della legislazione italiana in merito. *Sul Centro Nexa su Internet & Società del Politecnico di Torino* nexa Il Centro Nexa su Internet & Società del Politecnico di Torino-DAUIN <http://nexa.polito.it/> nasce a partire dalle attività di un gruppo di lavoro multidisciplinare -- tecnico, giuridico ed economico -- formatosi a Torino nel 2003 e che da allora ha ideato, progettato e realizzato diverse iniziative, tra cui: Creative Commons Italia (2003-presente), CyberLaw Torino (2004), Harvard Internet Law Program Torino (2005), SeLiLi, servizio di consulenza legale gratuita sulle licenze aperte per creativi e programmatori (2006-presente), COMMUNIA, la rete tematica europea costituita da 50 partner sul pubblico dominio digitale (2007-2011) e LAPSI, la rete tematica europea dedicata agli aspetti legali delle informazioni del settore pubblico (2010-2012). *Per restare aggiornati sulle attività del Centro Nexa su Internet & Società*: - Twitter: @nexacenter <http://twitter.com/nexacenter> - Facebook: http://facebook.com/nexa.center - Mailing list degli annunci Nexa: https://server-nexa.polito.it/cgi-bin/mailman/listinfo/nexa-announce * Responsabile Comunicazione* *Giuseppe Futia* NexaCenter for Internet & Society PolitecnicodiTorino DipartimentodiAutomatica e Informatica Tel: +39 011 090 7219 Mob: +39 333 1103017<tel:%2B39%20333%201103017> giuseppe.futia(a)polito.it <mailto:giuseppe.futia@polito.it> http://nexa.polito.it <http://nexa.polito.it/> Twitter: @nexacenter <http://twitter.com/nexacenter> Facebook:http://facebook.com/nexa.center <http://facebook.com/nexa.center>

Sept. 12, 2012

La Repubblica: Azioni virtuose e vecchi progetti Agenda digitale, conto alla rovescia

by a.dicorinto＠uniroma1.it

Sept. 11, 2012

La Stampa (De Martin): Uomini e macchine, tutti nella stessa infosfera

by Giuseppe Futia

11.09.2012 Uomini e macchine, tutti nella stessa infosfera JUAN CARLOS DE MARTIN Il 7 giugno 1954 moriva, in circostanze tragiche, Alan Turing, il matematico inglese considerato uno dei padri dell'informatica. Non aveva ancora compiuto quarantadue anni. A lui si devono, oltre al resto, la macchina ideale nota come «macchina di Turing», ovvero il modello concettuale alla base del computer moderno, e il «test di Turing», ovvero la riflessione che diede il via agli studi sull'intelligenza artificiale. Ma Alan Turing, secondo Luciano Floridi, filosofo a Oxford e recentissimo vincitore del premio Weizenbaum, non fu solo un grande scienziato, fu uno di quei rari pensatori capaci di rivoluzionare il modo in cui l'umanità concepisce sé stessa. [...] Continua qui: http://www3.lastampa.it/cultura/sezioni/articolo/lstp/468108/ /Vi ricordiamo che il prof. Luciano Floridi presenta il suo libro "La rivoluzione dell' informazione" (Codice edizioni) oggi a Torino, ore 18.00 presso la Feltrinelli di piazza Cln, con il prof. Juan Carlos De Martin e il prof. Ugo Pagallo./ /Vi ricordiamo inoltre che il prof. Floridi sarà ospite del 45° Mercoledì di Nexa (/http://nexa.polito.it/mercoledi-45/) domani a partire dalle ore 18.00 presso il Centro Nexa su Internet & Società./

Sept. 11, 2012