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Le Fonds stratégique d'investissement (FSI) va apporter 7,5 millions d'euros à Dailymotion, comme l'a annoncé le site du Figaro ce jeudi matin. Un investissement réalisé dans le cadre d'une augmentation de capital totale de 17 millions d'euros. Le reste provient des actionnaires historiques du site : les fonds Advent Venture Partners, AGF Private Equity, Atlas Venture et Partech International.

you said: “Especially given the by-now-clichéd recognition that we’ve decisively become an urban species”

It is indeed very interesting to think about urban systems design given there was a major move toward cities. That said I have the feeling that this move comes with, at least, three issues:

1. access to the “thought” urban environment,

2. the space left where 50% of the population is still living,

3. the space of this growth

There are many areas in the world where the growth of the cities is made by people without access or a limited access to the thought urban environment. Poor people living in slums or just in a space which is not part of the work of urban planner per say. In a recent exhibition about slums I went, it was very interesting to see that the organic structure of the slums was making possible for the individuals to create a rich and meaningful space, driving sometimes to less criminality than more traditional areas of the city. The slum is a forced collective creative space for survival.

The rest of the population, the 50% living in deserted areas are the forgotten of this story. It’s indeed more “fun”, interesting for researchers, sociologists to observe and think about the density in urban space (richness of interactions) more than the low level of activities in the “countryside”. Though there are equal challenges there in terms of design and space organization, access to services, etc.

Finally, is it really cities which are growing? What we call urban space often relates to the city center, but I have the feeling that the growth is happening in the in-between space (suburbs), which is again a complete disaster in terms of design, even more so in rich countries. The private space is becoming a space of non-creativity, dead areas of non activities. Someone, who wants to start a small business in between two buildings on the grass of a random suburb of a rich city, will not last for very long. Complete different dynamic than the slum where unregulated areas give the opportunity of creative solutions for surviving or living.

After yesterday's first part of my report on Parrworld. The Collection of Martin Parr, here's a quick (and very sloppy i'm afraid) focus on his private collection of photographs. The artist's interest in social themes finds an echo in these documentary photographs. I'm going to leave aside the international part of this collection and concentrate only on the images from Great Britain.

Et si l’on essayait d’y voir clair ?

Je vous propose donc une première typologie des «clouds», en quatre familles :

• Public Cloud, ou «Nuages publics».
• Private Cloud, ou «Nuages privés».
• VPC, Virtual Private Cloud, ou «Nuages privés virtuels».
• Hybrid Cloud ou «Nuages hybrides»

Your telephone may know more about your private life than you do, according to a new study of mobile phone calls. The insight opens the door to mining massive data sets from mobile phone call logs, which should allow researchers to test theories for how relationship networks make or break businesses, shape the flow of information, and even affect the course of epidemics.

Diary of a Shinjuko Thief, which equates artists with thieves (each appropriators) tells us that filmmaking, in its ways, undermines a tyrannical order of reality: the filmmaker claims reality for himself, a private reconfiguration and perversion, distortion of it, and shows it from a single perspective as good as any other.

Guido Castagnoli was born in Turin, Italy in 1976. After receiving a degree in Advertising Graphics and Communication he began his professional career as an art director of a prominent advertising agency in Milan. His interest in photography began when he shot his first images using an old family-owned Leica. During the following years he left his position at the advertising firm to devote himself entirely to photography. His works have been exhibited in public and private institutions in U.S.A., Italy, Germany, England and Japan. Since 2001 he work as freelance photographer in advertising and editorial assignments.