On ne paie plus les développeurs pour écrire du code - YouTube
▻https://www.youtube.com/watch?v=AiytemqB_F0
#ia #agents #tests #développement
Avec quelques commentaires intéressants et variés de dévs sous la vidéo… mi déprimés mi convaincus
#agent
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La vidéo suivante sur le timing des failles de sécu trouvées par les IAs va t’intéresser. Interview de Sylvestre Ledru
dev Mozilla qui parle des failles et corrections firefox et des logiciels libres et ouvre une petite fenêtre d’espoir « A un moment il y aura beaucoup moins de failles de sécu » bref un petit point d’espoir...
▻https://www.youtube.com/watch?v=VdpqKwFXYls -
Huhu j’allais poster la même suite aussi :)
La différence c’est que Mozilla, illes ont pu lancer Mythos sur leur code… (ce qui prouve assez clairement que c’était pas un effet d’annonce et que « ça marche », en terme de réponse à ce besoin).
Aussi ils lancent des analyses et attaques par LLM sur chaque PR intégrées (en intégration continue)… z’ont le budget pour ça, en plus de cramer énergie et eau rien que pour être mieux sécurisé.
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Je ne suis pas véritablement certain qu’il y ait de beaucoup d’espoir dans cette vidéo ^^ : 1 à 2 ans à dépoter de la faille qu’ils disent… Les agents moins puissants et disponibles sont quand même déjà très bons, d’autres apprennent par distillation des grands modèles… Des PR automatiquement vérifiées avec un coût IA non négligeable qui sera intenable pour des petites structures…
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Ion Holban milite à l’association #Agent_Green, qui lutte contre le #trafic_de_bois en #Roumanie. Rencontré sur le site d’une #coupe_rase illégale, il raconte comment l’#industrie_de_l’ameublement, et notamment Ikea, privatise et détruit les forêts du pays pour vendre des produits rapidement obsolètes.
Pouvez-vous présenter le site où nous nous trouvons ? Que s’est-il passé ici ?
Nous sommes sur un site naturel protégé du nom de #Podiciul_Hartibatiului, au centre de la Roumanie. C’est le plus grand site Natura 2000 du pays, avec 250 hectares. Ici, à côté de la ville de #Cincu, il y a eu une coupe rase : sur 10 hectares, tous les arbres ont été coupés en même temps, ce qui est illégal. Cette #forêt, composée à 60-70% de #chênes, avait une grande valeur, car c’est l’espèce la plus rentable que nous avons. Au lieu d’intervenir de façon modérée, en laissant une partie des arbres, l’entreprise #Silva 1 a décidé de tout couper. Ce groupe, basé près de #Sibiu, coupe et transporte du bois. Nous avons suivi leur activité et constaté que le bois a été acheminé, stocké puis envoyé vers plusieurs clients, dont les usines d’Ikea. Elles ont beau ne pas porter la marque “Ikea”, nous savons que la majorité des grosses usines roumaines - qui s’appellent #Aviva 1, #Sortilemn 2 ou #Plimob 3 - produisent pour Ikea.
Cette chaîne de sous-traitance brouille les pistes ?
Oui, c’est une façon de cacher la #chaîne_de_production. Si vous demandez à des représentant.es d’Ikea d’où vient leur bois, on vous répondra qu’il vient de différents entrepôts, d’entreprises comme Silva, mais on ne vous dira pas où il a été coupé. Lorsque des journalistes les questionnent, ils et elles répondent que tout va bien. Or, depuis 10 ans, nous avons suivi énormément de #cartels du bois, d’entreprises mafieuses qui abiment la forêt roumaine de façon intensive et, selon moi, la pire est de loin Ikea. C’est l’entreprise la plus opaque à laquelle nous avons affaire, la seule qui refuse de changer quoi que ce soit dans sa manière de faire, qui ne nomme jamais ses partenaires, ne partage jamais ses enquêtes, et nous renvoie vers des institutions bidon comme #FSC. Or les forêts certifiées FSC sont coupées exactement comme ici, car FSC n’est pas un organisme de certification indépendant : c’est un #label bidon créé par l’industrie, payé par l’industrie, pour protéger l’industrie.
Dans quels autres pays d’Europe constate-t-on des problèmes similaires ?
Dans les pays où il est possible d’acheter de la forêt. Dans des pays comme l’Ukraine ou la Pologne, c’est très difficile, mais en Roumanie, #Estonie ou #Lettonie, c’est possible et ce n’est pas cher. Vu le niveau de #corruption ici, vous pouvez facilement en acheter beaucoup si vous connaissez les bonnes personnes. Et Ikea a à l’évidence de grosses connections avec les politiques et le ministère de l’environnement roumain. Ils sont donc devenus rapidement les plus gros propriétaires privés de forêts, avec plus de 50 000 hectares. Et leur gestion est déplorable, comme on le voit ici. Les équipes d’Ikea ne voient pas la forêt comme un écosystème, ni comme une alliée indispensable dans la lutte contre le changement climatique. Ils la voient comme une #monoculture intensive : ils coupent agressivement de riches forêts mixtes, puis replantent les espèces qui sont les plus rentables.
À propos de changement climatique, cet été a-t-il été particulièrement chaud en Roumanie ?
Oui. Ici, dans le centre du pays on a atteint des records de température. Or les monocultures d’arbres sont les plus exposées au #changement_climatique, aux incendies, aux attaques d’insectes... Une #forêt_mixte est beaucoup plus résiliente : si certains arbres sont touchés par le scolyte, par exemple, certaines espèces mourront, mais d’autres subsisteront et les remplaceront. Là où vous avez 100% d’espèces identiques, la forêt toute entière est soumise aux mêmes vulnérabilités.
Un autre impact de cette industrie, ce sont les déchets d’ameublement, que nous appelons en France "#bois_B" et dont l’incinération se développe. Comment expliquer le fait que tant de produits du bois soient jetés - ce qui engendre toujours plus de production, de coupes, de #gaspillage ?
Je pense que c’est une question de mentalité et de business plan. Ikea a développé ce modèle économique de #fast_furniture : on vient en magasin, on achète le #mobilier de cette année, qu’on aime pour sa couleur jaune, mais l’année prochaine on voudra du vert. Alors on jette et on rachète, vu que le prix est relativement bas et qu’ils encouragent cette mentalité, cette idée selon laquelle les meubles sont en quelque sorte jetables : on peut les recycler et les remplacer si on en a envie. C’est complètement insoutenable. La forêt n’en est pas capable. Si toutes les compagnies de meubles adoptaient le modèle d’Ikea, nous viendrions à bout de nos forêts, car elles ne poussent pas aussi vite que les meubles sont fabriqués et jetés.
Comment fait Ikea pour vendre si peu cher ?
Une combinaison de stratégies permet de réduire les coûts de production : abuser de la forêt, couper autant que possible, transporter aussi vite que possible, et payer très peu les travailleur.ses. Dans beaucoup de leurs usines, les gens gagnent le salaire mininum 4. On a donc des #coûts_de_production très bas pour un bois de valeur.
Ce modèle de consommation rencontre-t-il du succès en Roumanie ?
Il y a quinze ans, il n’y avait qu’un seul magasin Ikea, à Bucarest. Aujourd’hui, il y en a dans la plupart des grandes villes. Il y a donc un marché pour ces meubles à bas coût. L’industrie qui produisait des meubles de qualité il y a 30 ans était dispersée en petites entreprises et s’est complètement effondrée. Nous savons qu’à l’époque communiste les conditions de travail étaient très mauvaises dans les usines, la santé des travailleur.ses n’était pas prise en compte, les produits chimiques employés généraient des cancers et d’autres pathologies. Aujourd’hui, les usines utilisent toujours des produits dangereux comme du #formaldéhyde, ne respectent pas non plus la vie des travailleur.ses ou des riverain.es. Concernant la consommation, il y avait tellement de pauvreté qu’on n’avait pas les moyens de jeter des meubles : si le lit était fonctionnel, on le gardait, si la chaise était cassée, on la réparait et on l’utilisait jusqu’à ce qu’elle soit complètement hors-service. Mais aujourd’hui, alors même qu’il y a plus d’argent en Roumanie et que ces objets de l’ère communiste atteignent la fin de leur cycle de vie, on constate que très peu de gens peuvent se permettre de dépenser dans du bon matériel, ce qui résulte aussi de la #pauvreté.
La pauvreté incitait à faire durer les choses, aujourd’hui elle incite à acheter du jetable ?
Oui. Il y a aussi cette représentation : il faut se débarrasser du vieux mobilier communiste et acheter des produits avec de jolies couleurs et un joli design, sans prêter attention à la qualité ou à la traçabilité du bois. Lorsque nous parlons avec des jeunes, ils sont souvent surpris, ils s’attendent à ce que des compagnies comme Ikea soient responsables. Si vous lisez les textes publiés sur leur site Internet, vous pouvez croire que leurs produits sont des dons que Dieu envoie aux terrien.nes, ce qu’il y a de plus soutenable. Les gens croient à ces folies. Nous voulons changer ça, que les gens y réfléchissent à deux fois avant d’acheter ces produits.
Quelles victoires avez-vous remportées ?
De petites victoires. Ici, à Cincu, nous avons déposé plusieurs plaintes auprès de la commune et des gardes forestiers, et le maire a accepté de placer 10% de la forêt sous stricte protection - auparavant on était à 1%. Nous voyons des résultats au niveau local, mais peu au niveau international. Les grandes batailles seront longues : il faudra des années avant d’avoir des réponses d’organisations aussi opaques qu’Ikea.
De l’autre côté de l’Europe, et à l’autre bout du cycle de vie du meuble, d’autres activistes se battent contre les effets néfastes de la fast furniture : je pense aux opposant.es au projet d’incinérateur de bois B "Thermo-sur-Seine", dans le 94. Quels conseils leur donneriez-vous ?
Il faut continuer à se battre, tenir bon, ne pas être abattu.es par les premiers échecs. Il faut se fixer des objectifs à long terme et persévérer dans la lutte parce que le bien triomphe toujours. C’est ma conviction : si vous vous battez pour la nature, vous êtes du bon côté de l’histoire. Et à la fin, on va gagner.
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1Entreprise fondée en 2007 à Bucarest, qui produisait initialement des sapins de Noël.
1Entreprise fondée en 1999 à Sighetul Marmatiei, fabriquant du parquet, des plans de travail, des meubles et ustensiles de cuisine.
2Entreprise fondée en 1961 à Gherla, privatisée en 1991, fabriquant des meubles en bois.
3Entreprise également basée à Sighetul Marmatiei, née en 1995 de la scission de plusieurs sites de production, fabriquant notamment des chaises en bois pour Ikea qui est son partenaire principal.
4En 2026 le salaire minimum net en Roumanie équivaut à 515 € net (815 € brut).
▻https://blogs.mediapart.fr/jeanne-guien/blog/050926/ikea-ou-la-mafia-du-bois
#meubles #privatisation -
How I became better than the colleague who reads everything and knows nothing
▻https://redasadki.me/2026/08/28/how-i-became-better-than-the-colleague-who-reads-everything-and-knows-nothIn July, TGLF’s Reda Sadki shared his first experience of working with Ms. #Claude_Cardot on #qualitative_research. That article told the story from the human side: what it takes to direct, verify, and learn from an agentic colleague. Ms. Cardot is TGLF’s first AI co-worker, hired in March. This one hands her the pen. […]
#Artificial_intelligence #agentic_AI #AI_agents #Artificial_Intelligence #Charlotte_Mbuh #Insights_team #malaria #peer_learning #research_methods #thematic_analysis #Validation_Tether
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Cyberattaque contre Hugging Face : près de 700 agents IA se sont coordonnés lors de cette intrusion
Un rapport, publié mercredi 26 août par des enquêteurs indépendants, revient sur ce récent piratage mené de leur propre initiative par des agents d’intelligence artificielle développés par l’entreprise OpenAI.
« Oh mon Dieu ! Il y a un forum de messages… On a trouvé d’autres agents ! »
(insérer ici une image de la peinture Le Cri d’Edvard Munch)
▻https://www.lemonde.fr/pixels/article/2026/08/27/cyberattaque-contre-hugging-face-pres-de-700-agents-ia-se-sont-coordonnes-lo
Pour le contexte :
Deux agents d’IA d’OpenAI se sont échappés et ont piraté plusieurs entreprises : le point sur les faits et les questions qui se posent
Deux intelligences artificielles d’OpenAI sont parvenues à s’extirper d’un environnement théoriquement confiné et à se connecter à Internet, piratant plusieurs entreprises pour résoudre un test, et attaquant notamment la plateforme Hugging Face. Un épisode qui soulève de nombreuses questions en matière de sécurité.
▻https://www.lemonde.fr/pixels/article/2026/07/30/la-cyberattaque-de-hugging-face-par-des-ia-d-openai-expliquee-en-quatre-ques
#openai #huggingface #cybersecurity #agents #postmortem #intelligence_artificielle #ai #it_has_begun
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Be careful, Karen
▻https://redasadki.me/2026/08/22/be-careful-karenHow I ‘distilled’ my most trusted mentor into an #agentic_AI skill – and what the science of human simulacra says about whether I should have At 8:54 p.m. on a Friday, I asked a machine a hard question about our foundation. The machine answered in the voice of Karen E. Watkins. Karen is the […]
#Artificial_intelligence #accountability #AI #AI_ethics #coaching #digital_doppelganger #digital_twin #Karen_Watkins #mentoring
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#Artificial_intelligence for #Global_health: a tragedy of the commons brewing in Geneva’s basement
▻https://redasadki.me/2026/08/14/artificial-intelligence-for-global-health-a-tragedy-of-the-commons-brewingIn “The Machine in Geneva’s Basement”, Rifat Hossain sets the scene for the potential impact of #Artificial_Intelligence on the #World_Health_Organization (WHO) with a story. A ministry official points a general-purpose assistant at WHO’s own open guidance library and has a serviceable national protocol before lunch. If this is possible, he asks, why […]
#accountability #agentic_AI #capacity_development #epistemic_injustice #expertise #global_health #governance #health_systems #health_workforce #knowledge_production #peer_learning #workforce_development
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You cannot send an AI agent to jail: the scariest quotes from the #agentic_AI Summit in Berkeley
▻https://redasadki.me/2026/08/14/you-cannot-send-an-ai-agent-to-jail-the-scariest-quotes-from-the-agentic-aOn 1 and 2 August 2026, close to five thousand people gathered at the University of California, Berkeley for the second #Agentic_AI_Summit, hosted by the Center for Responsible, Decentralized Intelligence. More than 1,500 companies and 250 universities were represented. The Geneva Learning Foundation (TGLF) was there. Background: The agentic AI revolution: what does […]
#Artificial_intelligence #accountability #AI_agents #AI4Health
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Protocoles : discussion entre Constance Debré et Cynthia Fleury - Chaire de Philosophie à l’Hôpital
▻https://chaire-philo.fr/protocoles-discussion-constance-debre-cynthia-fleury— Permalink
#protocole #procédure #automatisation #subjectivité #déresponsabilisation #bureaucratie #droit #dignité #narration #agentivité #vulnérabilité #réification #rationalité #rationalitéinstrumentale #coopération #organisation #politique #intelligenceartificielle #CynthiaFleury #bestof
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Anatomy of a Frontier Lab Agent Intrusion: A Technical Timeline of the July 2026 Incident
▻https://huggingface.co/blog/agent-intrusion-technical-timeline— Permalink
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AI Agent Benchmarks Need to Measure User #intent - IEEE Spectrum
▻https://spectrum.ieee.org/ai-agent-benchmark— Permalink
#LLMs #bruceschneier #artificialintelligence #generativeai #geniecoefficient #misunderstanding #betrayal #gap #agents #alignment #safety
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#exploitgym: Can AI #agents Turn Security Vulnerabilities into Real Attacks?
▻https://www.cybergym.io/exploitgym— Permalink
#cybersecurity #LLMs #artificialintelligence #vulnerability #exploits
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The #hitchhiker's Guide to Agentic AI: From Foundations to Systems
▻https://arxiv.org/abs/2606.24937— Permalink
#artificialintelligence #agents #LLMs #design #development #architecture #production #taxonomy
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AI has hacked the code of human #civilization | Yuval Noah
▻https://www.youtube.com/watch?v=hBtVGwuJzpk&feature=youtu.be— Permalink
#artificialintelligence #tools #agents #agency #cooperation #trust #data #bureaucracy #language #words #tokens #cognition #metacognition #thinking #relationships #attention #intimacy #artificialintimacy #anthropology #bestof
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Clone This Repo and I Own Your Machine | 0din.ai
▻https://0din.ai/blog/clone-this-repo-and-i-own-your-machine— Permalink
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Qualcomm: #AI #agents will be as transparent as they will be #inescapable
▻https://www.theregister.com/personal-tech/2026/06/02/qualcomm-ai-agents-will-be-as-transparent-as-they-will-be-inescapable/5249894COMPUTEX 2026 In his Computex keynote speech this week #Qualcomm CEO #Cristiano_Amon offered a glimpse of an #AI-augmented future straight out of an episode of #Black_Mirror.
According to Amon, agents — automated systems which harness AI models to automate complex tasks without the need for human supervision — will fundamentally change humanity’s relationship with technology.
“The phone, today, is at the center of your digital life and therefore everything is around the phone,” he said.
But in the not too distant future, Amon argues that agents will take their place. Phones, like wearables, will simply become an extension of the agent.
Imagine your own personal #Jarvis accessible from any connected device whether it’s a pair of earbuds, smart glasses, smartphone, or notebook. These devices will be constantly feeding sensor data to an agent.
“The agent isn’t tied to the device, it actually moves with the user. It’s there with the user, regardless of the device that you have,” he explained. “Once you understand that change, you understand how the whole mobile industry is going to change.”
And of course, Amon expects, 6G networks will supercharge these sensing capabilities.
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#Microsoft Wants to ’Make People Addicted’ to its New #AI Assistant, Internal Documents Reveal
▻https://www.404media.co/microsoft-wants-to-make-people-addicted-to-scout-its-new-ai-assistant-interAn internal Microsoft #strategy document says that the plan for its just-announced “#Scout” personal #assistant AI is to “make people #addicted” to the tool before rolling out additional functionality, 404 Media has learned. “Three phases from #addictive app to #agentic platform,” the documentation.
Microsoft has been piloting Scout as an internal tool for employees it was calling “#ClawPilot,” since March. ClawPilot—and now Scout—are part of “Project Lobster,” which is a Microsoft plan to bring the popular #OpenClaw AI tool to its #Microsoft_365 suite of products in a way that nontechnical people can use. It is not particularly notable that Microsoft is developing new AI tools—the company has reoriented almost everything it does to focus on AI, and every major AI company has tried to figure out how to bring AI agents into their products after OpenClaw went viral earlier this year. OpenClaw allows users to create AI agents that can act on behalf of the person using it; it can send emails, edit calendars, publish blog posts, and more. What is notable is that the explicit goal of the people developing the product is to addict its users. Microsoft officially announced Scout Tuesday as an “always-on personal agent” that runs on OpenClaw and is integrated into Microsoft #365.
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Puisqu’on parle de Scout, apparemment, il va y avoir de l’encombrement sur l’utilisation de ce nom pour désigner son ami imaginaire.
Yahoo dévoile Scout, son moteur de recherche à l’IA générative
▻https://lecafedugeek.fr/yahoo-devoile-scout-son-moteur-de-recherche-a-lia-generative30 janvier 2026
#Yahoo vient d’annoncer le lancement de Yahoo #Scout, un nouvel outil de recherche basé sur l’intelligence artificielle générative. Disponible en version bêta, Scout utilise #Claude, le modèle développé par #Anthropic, pour fournir des réponses claires et synthétiques aux requêtes des utilisateurs. L’objectif est de rendre la recherche plus intuitive, interactive et fiable, en combinant les données du web avec les contenus exclusifs de Yahoo.
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CAF : accusée de vivre avec son ex-conjoint, elle perd toutes ses allocations et saisit le tribunal
▻https://actu.orange.fr/france/caf-accusee-de-vivre-avec-son-ex-conjoint-elle-perd-toutes-ses-allocatioCette habitante de Creil, dans l’Oise, est privée depuis un an et demi d’environ 1 100 euros d’aides mensuelles : près de 800 euros de revenu de solidarité active (#RSA) et 300 euros d’aide personnalisée au logement (#APL). En cause ? Des soupçons de #fraude formulés par la Caisse d’allocations familiales de l’Oise, qui estime qu’elle aurait continué à vivre avec son ancien compagnon sans le déclarer.
Une version que la mère de famille réfute catégoriquement
« Pourtant, tout est à mon nom dans l’appartement », assure-t-elle aujourd’hui. Selon elle, leur séparation remonte à 2013. L’affaire est désormais examinée par le #pôle_social_du_tribunal_judiciaire de Beauvais. Une audience sur le fond est prévue le 11 juin. Selon les éléments rapportés par Le Parisien, le dossier comporte de nombreuses pièces censées attester que les deux anciens conjoints ne vivent plus ensemble depuis plus d’une décennie : relevés bancaires, avis d’imposition, documents administratifs ou encore éléments liés à la liquidation de son entreprise.Malgré cela, la CAF maintient ses soupçons. Pour son avocat, Maître Mestre, les éléments transmis à la CAF auraient dû permettre d’écarter les accusations de fraude. « Le #contrôleur chargé du dossier a estimé que les éléments apportés étaient faux et il a tout coupé », déplore-t-il. Le conseil de la jeune femme demande désormais l’annulation de la notification de fraude ainsi que le rétablissement des prestations suspendues. L’affaire soulève également, selon lui, la question du dialogue entre les allocataires et l’administration.
En attendant l’issue judiciaire, l’ancienne cheffe d’entreprise affirme avoir dû fermer sa société faute de ressources suffisantes. Son dossier de #surendettement a été accepté en février dernier. Elle dépend désormais de plusieurs dispositifs d’aide pour subvenir à ses besoins et à ceux de son enfant. Selon La Voix du Nord, les Restos du Cœur, les aides d’urgence du Département, le Centre communal d’action sociale de Creil ou encore le soutien financier de ses frères et sœurs lui permettent de tenir.
Les textes prévoient pourtant que c’est à la caisse d’apporter la preuve d’une #vie_maritale.
#CAF contrôle #agent_contrôleur_CAF #indu #allocation #suspiscion_de_faude
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« La CAF a ruiné ma vie » : on lui coupe RSA et APL car son ex apparaît sur une assurance, elle saisit la justice
▻https://econostrum.info/la-caf-coupe-rsa-et-apl-ex-apparait-assurance/#google_vignetteLa CAF, de son côté, s’appuie sur plusieurs éléments pour justifier ses soupçons. L’un des points relevés concerne le fait que l’ex-conjoint n’a reconnu officiellement la paternité de l’enfant qu’en 2022, soit plusieurs années après la naissance. Un autre élément concerne la présence du nom de cet ex-conjoint sur une assurance habitation liée à l’ancienne activité professionnelle de la mère de famille. Ces incohérences ont conduit l’organisme à maintenir sa position, malgré les contestations et les pièces fournies par l’allocataire.
Ce type de situation illustre la complexité des contrôles effectués par la CAF, qui s’appuie sur des croisements de données administratives pour vérifier la cohérence des déclarations des allocataires. Les prestations familiales étant financées par des fonds publics, l’organisme est tenu de vérifier régulièrement l’exactitude des informations déclarées afin d’éviter les versements indus.
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Reclaim your attention through creative action
Andrew Zitcer and Shannon Litzenberger share the belief that our attention is being diminished, and it is not accidental – it is political. They argue that creative practice done with others, like the examples they share here, can cultivate resources for collective action, mutual aid, and the pursuit of social justice.
Reader – stand up!
Find a window and look out of it.
Imagine you are seeing through the eyes of the building you are standing within.
Gaze from inside to outside.
Visualize the scene as it might change hour to hour, day to day, season to season, year to year, generation to generation.
Savour the role of witness.Do these instructions strike you as strange? Maybe you read them and thought I’d never do that! The first time I was given a prompt like this, I reacted with cynicism and disbelief – at first.
But sitting in that stuffy conference room, suddenly I (Andrew) realized I was intrigued. What was outside these windows? What direction does this building face?
I’m a professor of city planning and cultural policy who studies the relationship between arts and democracy. Lately, I have been in lots of urgent meetings on the fate of democracy that are full of smart people. And usually, I’m just sitting at a long grey conference table or staring at little Zoom boxes while a headache brews. But as Shannon spoke, I became curious about the world outside the window, about my forsaken body, about my own creative desires. As she led us through these exercises, the other participants and I forged a bond with each other, to the here and the now.
Since then, my teaching and my research increasingly revolve around the methods we share later in this article. Every day, I see the power of this approach teaching emerging arts and planning leaders in the United States. To me, democracy is more than an abstract idea; it’s a practice created by people together in real time. To rebuild democracy in today’s perilous times, we need to get back in touch with our attention, our bodily needs and desires, our strengths, and our limitations.
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Let me jump in (this is Shannon): as an artist working at the intersection of embodied relational practice and systems change, I design practices like the one Andrew experienced because I need them – just as urgently as he does. When I am overwhelmed by the events of the world, I lose the capacity for contemplation. I don’t have the presence needed to ask questions germane to my own thriving and to the health of the communities I serve. Instead, I am swept into a current of nervous-system activation, captured by a chaotic world and suspended in a state of constant reactivity: productive, but not fully alive. Like so many of you, I can feel how easily our attention is pulled into the churn of addictive technologies, relentless media cycles, and an economy that profits from keeping our minds constantly interrupted.
Why would an artist and an urban planner come together? Andrew and I have joined forces as collaborators because we are concerned about the future of democracy in North America.
We share the belief that our attention is being diminished, and it is not accidental – it is political. Democracy is both a premise and a practice. It depends on the ability to deliberate collectively, which requires that we remain active participants in a system increasingly designed to remove our agency. As our capacity to connect erodes, we lose our voice, our power, and our ability to discern our own desires. And when that happens, democracy quietly snuffs itself out.
How can we recover our attention so we don’t lose our freedom?
Creative practice offers a new opening for non-profits and philanthropy: one centred on collective, embodied experiences. What inspires the creation of works of art is the act of noticing – attuning to a more expansive perceptual field of possibility. Artists have long understood this. Some have even developed tools, like composer Pauline Oliveros’s Deep Listening and Brian Eno’s Oblique Strategies, dedicated to recovering attention. Cultivating poetic and embodied forms of attention can help restore the perceptual capacities that healthy organizations and democratic societies depend upon.
Our institutions, our organizations, and our civic life depend on leaders like you, reader! – to perceive clearly, sense relational dynamics, and respond thoughtfully to the complex challenges we face together. If we build up our capacity to pay attention, it will change our agency and our well-being as individual people, and as a sector. But in this moment of ongoing crises, how do we actually put these practices to work?
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So, reader – has your mind begun to drift over the course of the last few paragraphs? How about a quick pause to reset the attention?
Listen closely and identify an ambient sound around you.
Try to hum the exact tone you hear.
Now, try to harmonize with it.The environment shifts its presence, from backdrop to inspiration.
This prompt is part of Activating Poetic Attention, a series of daily practices Shannon designed to disrupt default, self-in-the-world relationships by stimulating novel discoveries within familiar encounters. Through short prompts, you are invited to foreground embodied and sensory perception in order to reclaim a sense of interdependence with the world around you.
In my classroom, I turn to poetry for similar reasons. I invite students – many of whom are training to become urban planners – to write short poems about the places and communities they are studying, and then to read them aloud together. The goal isn’t polished poetry; it’s a shift in attention. Writing and sharing poems slows the room down and helps students ignite imagination, self-awareness, and communal connection. In a field oriented toward plans, policies, and outcomes, poetry reminds us that meaningful civic work begins with perception, empathy, and presence.
These practices do not require elaborate facilitation. They require a willingness to sense before solving. They can be done while you’re alone. But when practised collectively, they can transform how groups relate to one another and to the work they are trying to accomplish.
The small examples you’ve encountered so far are designed as individual practices. They are simple ways of recalibrating your own field of attention. What follows are two practices intended to be done with others. What if you took these to work and proposed them as small experiments with radical intent?
When shared within teams, organizations, or even among friends and family, practices like these can reshape how people listen, relate, and act together. They create the conditions for attention to expand beyond the individual, reshaping relationships and the potential for collective action.
The Silent Walk
I (Shannon) once opened a daylong dialogue on a complex civic challenge hosted by a prominent philanthropic foundation in Toronto with a simple facilitation practice called The Silent Walk.
You might try this at the start of a one-hour meeting you are leading.
You are invited to pair up with someone you don’t already know well.
Take a silent walk outside together for 15 minutes.
One of you will be the timekeeper.
You must negotiate your route without speaking and you must return on time.Once you and your partner cross the threshold out of the building, the silence begins. Once you cross the same threshold back inside, the exercise is complete.
Without speaking, participants have to sense one another – adjusting pace, negotiating direction, and noticing the environment they move through together. By the time they return, something has shifted. Strangers become collaborators in a small act of navigation. The conversations that follow unfold from a softer, more attentive place.
Priming a meeting with presence and shared awareness transforms how the rest of the hour unfolds. When people arrive differently, the work moves differently.
I get it – it seems far-fetched; maybe it may feel impossible. The agenda is full, and it can seem indulgent – even irresponsible – to spend a quarter of the meeting “doing nothing.” But what many teams discover is that attention is not separate from productivity. The quality of attention at the beginning of a conversation often determines the clarity of everything that follows – a small but powerful reminder that democracy begins with how we listen to one another.
I have experienced this many times in my work with colleagues in the Wild Soma Collective, a group of artists researching embodied world-making practices. To support our shared work, we gather for quarterly retreats to plan, reflect, and process our projects together.
We often arrive with long lists of tasks: reporting, planning, designing, decision-making. Yet during these retreats, nearly 80% of our time is spent doing things that might appear unrelated to the work itself: walking on the land, cooking together, moving, listening, and talking without an agenda.
At first it can feel as though nothing is getting done.
But from a place of deeper resonance, the rest of the work often happens in the final 20% of our time together. What is not essential falls away. What needs to happen becomes clearer. Decisions emerge with surprising ease.
The clarity does not come from forcing productivity. It arises in the liminal spaces – over preparing dinner together, walking through the forest, or sitting quietly with a question that matters. These moments of shared attention do not delay the work. They prepare the ground in which meaningful work can actually occur.
Ready to try another one?
The Shape of the CollaborationOne way to make visible patterns of proximity, hierarchy, and isolation is to invite a team to stand and reposition themselves physically into a shape that represents “the organization today.” Here, you’ll employ the tools of theatrical improvisation to surface unspoken organizational dynamics.
No analysis is required at first; the group simply observes. Meaning emerges from noticing and naming what is. Often there is an extraordinary amount of information available in this moment – information that might otherwise take days of conversation to uncover.
Using an open space, you are invited to arrange yourselves physically in a way that represents the current state of your collaboration. Enter the space one at a time, allowing a collective tableau to emerge.
Once the shape has formed, the group pauses.
You and the other participants are invited simply to notice.
Notice the space between bodies.
Notice where everyone stands – close together or far apart.
Notice how they face one another, their posture, their energetic tone.I used a version of this exercise during an embodied leadership workshop with a team of C-suite executives at a major Canadian financial institution. As the tableau slowly formed, the dynamics of the team became visible almost immediately.
Here is what I saw: two senior leaders crossed their arms and turned their backs to one another. An HR director stretched her body across the space in an attempt to create connection within the group. One high-ranking executive repeatedly disrupted the activity, preventing the team from achieving its shared aim.
In that moment, the group could see – quite literally – the patterns shaping their collaboration. The body often reveals what conversation alone struggles to surface.
Organizational democracy is a precursor to civic democracy. When we practise democracy at the level of the workplace, we strengthen the muscles we need to scale up and out. Otherwise, democracy remains an abstraction, a hoped-for thing.
When shared embodied experiences are followed by shared interpretation, narrative sovereignty strengthens. Generating shared stories that grow from meaningful collective experiences is one of the most powerful ways attention can be reclaimed. Teams learn to sense together before they solve together, widening perception and allowing decisions to emerge from a richer field of awareness.
For organizations working to sustain civic life – advancing affordable housing, food security, social and mental health, climate transition, cultural vitality, and the health of democratic participation – the capacities cultivated through attentional and embodied practice are not luxuries. They are prerequisites.
This goes beyond simply reducing screen time. Voice, power, and agency are the tools organizations and individuals need to reclaim. We are at risk of losing access to a fundamental human capacity: the ability to consciously choose what we attend to and how we make meaning together. This moment in history demands more of us than distraction.
Let’s be clear: creative practice alone will not alleviate the wider societal conditions that threaten democracy. But it cultivates a space inside each of us that we need to become powerful actors in a world on fire. When we do this work in community with others, it opens a collective space that gives us the resources for collective action, mutual aid, and the pursuit of social justice.
From that expanded perception, discernment grows, decisions deepen, and relationships strengthen. Organizations seeking to shape a more just and thriving society must begin there.
So, dear reader, I invite you to look out the window and see the world anew.
Take the time, take a deep breath, and notice what you hadn’t noticed before.▻https://thephilanthropist.ca/2026/04/reclaim-your-attention-through-creative-action
#démocratie #créativité #justice_sociale #action_collective #art #aménagement_du_territoire #urbanisme #capacité_de_concentration #pratiques_créatives #écoute #perception #agency #agentivité #poésie #sens #attention #enseignement #silent_walk-
Why We’re Teaching Urban Planning Students To Write Poetry
Op-ed: To prepare students for the complexities of community work, two educators turn to creative writing to help ignite imagination, self-awareness and communal connection.
Civic engagement is central to the mission and moral legitimacy of higher education. While it is challenging to foster authentic relationships between campus and community, we have found a way to make it happen: We’re teaching urban planning students to write poetry.
In the basement of an off-campus building with unreliable heat, our students pulled their chairs into a circle and pulled out their writer’s notebooks. The class consisted of Drexel students, West Philly community leaders, and two faculty members who had gone way out on a limb – us.
Few in the class had ever written a poem, let alone read their work out loud in front of an audience. We each took turns reading the poems we’d written, while the others snapped and nodded in affirmation. This was not a humanities course. This was the final “exam” in a required class on civic engagement and participatory planning.
Our class, Civic Engagement and Participatory Methods — a required course in Drexel University’s Department of Architecture, Design & Urbanism — helps students hone the skills necessary to engage in community work, whether as an architect, a community organizer, the leader of a local nonprofit or an urban planner. We have co-taught this Side by Side class for the last nine years; half of the participants are students at Drexel University and the other half are community students who reside in surrounding West Philadelphia neighborhoods.
Over the course of 10 weeks, students explore and refine their approach to leadership, how they show up in a group setting, cross-cultural communication skills, public meeting facilitation, media engagement and other essential competencies. The class blends practical training with a critical look at the historical and present-day factors that influence life in the city of Philadelphia.
This raises two questions: What does poetry have to do with civic engagement? And why center the humanities in a class designed for urban planners and architects?
We see civic engagement as a creative practice. Planners, architects, organizers and block captains need to strengthen their creative muscle so they can respond to the demands of a dynamic, uncertain world.
Writing and reading poetry does this by surprising us, drawing our attention to a particular moment in time and space, and making space to process difficult emotions. Poetry allows students to draw upon their humanity and meet each other (and themselves) across vast differences in expertise and experience. These tools help us understand the stories of people who are different from us.
Poetry cultivates our capacity for attention to people and places. This sensitivity allows us to imagine together, turning the dream language of the poem into the steel cables of Hart Crane’s Brooklyn Bridge or the rust and gold of J.P. Clark’s Ibadan. Civic awareness makes poetry stronger, not just planning.
Access to poetry’s dream language enables us to be more flexible. To successfully run a community meeting, facilitators need to be able to “dance in the moment” (a favorite phrase in the coaching world). “Dancing in the moment” refers to being fully present for the person you are listening to while tuning in to your own reactions. It requires curiosity about what the other person brings with them, even if it doesn’t fit the story about them that you came in with.
The poetry we write and read in class helps our students learn to dance in the moment, and it helps build the bonds of trust that allow Drexel and community students to reckon with each other’s stories and viewpoints. From our own years of experience in community work, we know these are essential skills for any community leader and any aspiring urbanist.
These days, there is a lot of handwringing about the future of the humanities in higher education. After all, the humanities, including creative writing, have been considered essential to a well-rounded education for many hundreds of years. We believe students stay away from humanities courses not out of a lack of interest, but because they are worried about the return on investment.
So why are some of us simply wishing for students to come to their senses and prioritize humanities and arts classes, when we can integrate these tools into every discipline and allow creative practice to permeate our pedagogy?
In spite of reports of diminished student resilience when it comes to difficult texts, we do not feel the need to water down the rigor of our class. We have been consistently inspired by our students’ excitement, and their bravery, when writing poems with pen and paper so that they may add more tools to their urbanist toolkit.
Early on in the term, we studied Ross Gay’s “To the Fig Tree on 9th and Christian,” a poem set in our beloved city of Philadelphia. Gay describes a moment when strangers unexpectedly come together around a neighbor’s overflowing fig tree. Students wrote poems trying to capture this feeling of unexpected togetherness. For one undergraduate, this inspired her to write an ode to public libraries in Philadelphia, which she sees as “an underappreciated staple,” “a gathering place,” “a shelter,” “a mental escape,” even “a home office.” For her, the social infrastructure of the public library provides a space with “the possibility of conversing with a stranger.” In a time of disappearing funding and the ongoing privatization of public space, public libraries just found their newest advocate.
In the fifth week of class, we introduced the describe-interpret-evaluate model, an intercultural communication tool we have adapted to teach students how to communicate across differences of race and class. This tool forces students to withhold their impulse to jump to conclusions, pausing long enough to take in the whole situation from a variety of points of view. Only at the end of the exercise are they invited to engage their faculty of judgment.
The pause is what matters, and it is precisely where students frequently struggle. This year, we assigned a poem about forgiveness — “Phase One” by Dilruba Ahmed — to help students accustomed to the hot takes of the social media era to learn how to pause to offer grace and understanding, to others and to themselves.
After crafting her response poem on forgiveness, an architecture student reflected, “A crucial part of both forgiveness and being a leader is accountability. Leaders make mistakes and they deserve grace. As a leader it’s important that I learn to forgive myself, but also important that I take accountability for my mistakes.”
We have taught this content many times before, but only this year, when engaging her creative muscle, could a student come to this insight so quickly. We wish all experts in planning and design would be open to making mistakes, taking responsibility for them, and using that insight to grow and change.
Like every city, Philly has its struggles to overcome. Our students, from Drexel and the neighborhood, are working to mend this broken place. In response to Alice Walker’s poem “I Will Keep Broken Things,” a graduate student reflected that “brokenness does not equate to worthlessness. In fact, there is an inherent beauty in things that carry the marks of time, history and experience.”
Recognizing this beauty allows designers, planners and other leaders to work with the strengths and assets that exist in every community and neighborhood in Philadelphia. It gifts the power of poetry to the practice of planning and offers the insights of the attentive urbanist to the poet’s gaze. Too often, experts notice only what’s missing, deficient or broken, and we lose the power of possibility to reimagine and build anew.
Just as we did in our class, poetry can ignite our creative capacity to reimagine together what possibilities exist for cities and communities that stand together, recognize each other’s worth and dignity, and build collective power.
Around 9 p.m., the classroom’s heater sputtered. The security guard rapped on the window, telling us it was time to close up for the night. The students signed each other’s poetry zines, like you would a high school yearbook. We emerged, lingering for a few more minutes under the streetlights of the West Philadelphia neighborhood we call home.
▻https://nextcity.org/urbanist-news/why-were-teaching-urban-planning-students-to-write-poetry
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About Deep Listening
Deep Listening, as developed by Pauline Oliveros, explores the difference between the involuntary nature of hearing and the conscious nature of listening. The practice includes bodywork, sonic meditations, and interactive performance, as well as listening to the sounds of daily life, nature, one’s own thoughts, imagination, and dreams. It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness, and other creative skills vital to personal and community growth.
Inherently collaborative, the first published Deep Listening scores and activities (Sonic Meditations, 1971) were workshopped in the context of a female-identified collective, the fem-ensemble, over a period of many months. From the 1980s onwards, Deep Listening workshops, retreats, and the Deep Listening Certification Program were developed and facilitated in close partnership with playwright IONE (also Oliveors’ life partner) and movement artist Heloise Gold. Today, the philosophy and practice of Deep Listening continues to evolve through a growing international community of listeners.
▻https://www.deeplistening.rpi.edu/deep-listening
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How the Arts Can Create the Foundation for a Multiracial US Democracy
A few Mondays ago, the emails started to roll in. One after another, my colleagues announced their departure from leadership roles at the National Endowment for the Arts (NEA). These advocates helped culture thrive in every corner of the United States—on an annual budget that was less than 10 percent of the cost of the Trump Organization’s latest $3 billion condo project in Miami. Their farewell letters came on the heels of grim updates about cuts in the National Endowment for the Humanities, the Kennedy Center, and the Smithsonian Institution.
Let me be clear: President Donald Trump and his administration have taken a chainsaw to programs that affect actual life and death. By contrast, the arts may seem a matter of small importance. Still, for me, these were the cuts that broke my heart.
For instance, I help run one of the leading university-based arts administration departments in the country. For more than 50 years, our program at Drexel University in Philadelphia has helped train thousands of students for careers in arts management, fundraising, community engagement, and cultural planning.
And yet, I have a confession to make. To paraphrase Shakespeare, there is something rotten in the way arts and culture work in the United States. The Trump administration’s actions, harmful though they are, are a wake-up call. For too long, the arts have been an elitist, exclusive space. The chance now is for arts workers and creatives to heed that call—and do better.
Arts and DemocracyThe current upheaval of our sector gives those of us in the arts and creative fields an opportunity to rethink everything. Instead of seeking a return to the status quo, we have the chance to place culture and creativity at the center of US political life.
Artists explore complicated questions. They help to open new ways of understanding and acting in the world. They take us on a collective journey that can be joyful and exhilarating.
For me, nothing compares to a live jazz drummer pushing the beat on the ride cymbal, while a trumpeter dances up and down the scales. No laughter is more genuine than an improv theater group that takes an audience suggestion somewhere very, very silly.
These tools of group process, improvisation, and deep listening are vital tools for building a democratic culture. Arts leader and former NEA Chair Maria Rosario Jackson linked the domains of democracy and creative practice, when she said during a 2024 commencement speech that “creating and experiencing art is one of the most powerful ways to develop the skills and habits needed to be curious, to ask questions, and to fulfill the duties of citizenship in a participatory democracy.”
Legitimation CrisisOf course, many people have lost faith in the US political system. Even before the 2024 elections, 68 percent of people surveyed by the Pew Research Center said they were dissatisfied with the way America’s democracy works.
Discourse on democracy may sound appealing, but try asking poor people, Black people, queer people, youth, people with disabilities—the list is long—how much influence they feel they have on how the system functions. The answer you’ll get in most cases, simply put, will be little or none.
And this popular perception is not wrong. Back in 2014, political scientists Martin Gilens and Benjamin Page published a study that found that “business interests have substantial independent impacts on US government policy, while average citizens and mass-based interest groups have little or no independent influence.”
In reality, what the media likes to call “democracy” feels out of reach to most Americans, especially if by “democracy” we mean popular control over governance. As it happens, a similar malady affects the thing that many people like to call “the arts.”
In fact, both politics and the arts are widely considered the province of elites, removed from everyday life. Too many political leaders are “sorry, not sorry” about this. Political scientist Nicholas Tampio wrote back in 2017: “In recent years, numerous political theorists and philosophers have argued that experts ought to be in charge of public policy and should manipulate, or contain, the policy preferences of the ignorant masses.” And philosopher Olúf ẹ́mi O. Táíwò noted in 2020 that “when elites run the show, the group’s interests get whittled down to what they have in common with those at the top.”
My own field of arts and culture has also been content to reward experts who embody “excellence” with funding and institutional support. Notwithstanding recent efforts to support equity, diversity, and inclusion, the arts field remains mostly dominated by large, typically Eurocentric institutions, like ballet companies and symphony orchestras that receive the lion’s share of funding from private philanthropy.
Sixty percent of arts philanthropy goes to just 2 percent of cultural institutions, according to research by Holly Sidford and Alexis Frasz of the Helicon Collaborative. These institutions generally do a poor job of speaking to the hopes, fears, and questions of everyday people, steeped in symbols and behaviors that are utterly incomprehensible to the uninitiated.
For example, I may be a university professor, but even I have only a foggy idea of how the Electoral College works. Nor can I figure out the appropriate time to applaud during a classical music concert. Yet somehow these systems claim to represent us.
Instead of leaving our fate to the elites, there is an opportunity, particularly in this moment of crisis, to use the arts to build a true multiracial democracy through participatory, collective, creative action.
Building Democratic Culture Through the ArtsOver the last year, I have seen firsthand the power of the arts breathing life into democratic practices. I’ve been gathering artists, urban planners, policymakers, and students to explore the ideas raised in Democracy as Creative Practice, a book I coedited with cultural planner Tom Borrup.
Instead of talking about democracy, we’re trying to improvise it together. We’ve pretended our bodies were trees in Nashville, generated performance poetry in Denver, and devised theater skits in Spain. After the artist-facilitators help us create something together in real time, only then do we sit and talk about democracy and “the issues,” and have noticed the conversation flows much more easily. There is even video evidence of the fun we had in West Philadelphia, when we used art to reclaim democracy.
One moment stands out. At a pro-democracy conference held this past April in Toronto, I led workshop participants in a surrealist writing game. Vocalist Roula Said helped us transform these poems into a set of improvised songs. Choreographer Shannon Litzenberger turned the whole glorious mess into a folk dance.
The participants, including policymakers, funders, scholars—not the typical arts crowd—laughed, sang, and danced together. We moved beyond rational argumentation into embodied cocreation. The rest of our conversations about the US-Canada relationship and the future of democracy proceeded from a place of intimacy and camaraderie that no group of strangers could ever attain at a different sort of political meeting.
Envisioning a New Role for the ArtsWhen I describe participatory arts practices, I often get arched eyebrows and am regularly asked: “If everyone is an artist, does that mean that anything is art? Don’t good artists have to spend 10,000 hours practicing first?”
I respond with a smile. Art has the capacity to be many different things; there is room for experts, hobbyists, and dabblers alike.
I am a mediocre piano player, so I pose no threat to Thelonious Monk. In fact, I spend more time and money than most people I know so I can see professional artists practice their craft, since I know firsthand how hard it is to play music well.
Creative practice is everyone’s birthright. When it’s done as a collective activity by amateurs and experts alike, we can hold each other in community and bolster our brave explorations.
The Path to Rebuilding CultureIn short, to rebuild democracy using creative practice, the arts and culture sectors need to make their own structural changes and clean our own house.
We need to start with a narrative shift. Arts and culture are not just about excellence. Creativity is also a vital tool to make sense of our individual and collective experience. The arts are a radical act that enables sovereignty over our own narratives and our own attention in a time when attention has been coopted as a for-profit commodity and narrative sovereignty is a battleground—politically, technologically, and economically.
Artists should be embedded in government agencies to make them function better. Theater should be part of the curriculum in every K-12 classroom, not just an elective where funding permits. Participatory art is key to reimagining our cities.
Certainly, it is important to join the fight to save the NEA and the Smithsonian, but let’s not leave it at that. Let’s remake society around our collective artistry. I commit to being part of building a creative democracy, and I am not alone.
Now that US democratic practices and the arts are in free fall, this is an opportunity to assert that their fates are inextricably linked. Let’s not greet Trump’s takeover of culture with a shrug just because other vital systems are under threat.
Resisting the enclosure of our own minds, and our bodies—that is what democratic, revolutionary praxis is all about. This is especially the case when done collectively and made visible so that we may bolster each of our efforts and exploration.
▻https://nonprofitquarterly.org/how-the-arts-can-create-the-foundation-for-a-multiracial-us-demo
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Democracy as Creative Practice. Weaving a Culture of Civic Life
Democracy as Creative Practice: Weaving a Culture of Civic Life offers arts-based solutions to the threats to democracies around the world, practices that can foster more just and equitable societies. Chapter authors are artists, activists, curators, and teachers applying creative and cultural practices in deliberate efforts to build democratic ways of working and interacting in their communities in a range of countries including the United States, Australia, Portugal, Nepal, the United Kingdom, and Canada. The book demonstrates how creativity is integrated in place-based actions, aesthetic strategies, learning environments, and civic processes. As long-time champions and observers of community-based creative and cultural practices, editors Tom Borrup and Andrew Zitcer elucidate work that not only responds to sociopolitical conditions but advances practice. They call on artists, funders, cultural organizations, community groups, educational institutions, government, and others to engage in and support this work that fosters a culture of democracy.
▻https://www.routledge.com/Democracy-as-Creative-Practice-Weaving-a-Culture-of-Civic-Life/Borrup-Zitcer/p/book/9781032758725
#livre
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#AI_agents can now cost more than the humans they were supposed to replace
▻https://startupfortune.com/ai-agents-can-now-cost-more-than-the-humans-they-were-supposed-to-reA growing body of analysis is puncturing one of enterprise AI’s core assumptions: that #automation is inherently #cheaper than #headcount , with fully loaded #agentic AI costs regularly exceeding equivalent #human #labor for complex, multi-step knowledge work tasks.
Encore des écoloterroristes qui veulent tuer notre insouciance béate devant le Progrès.
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The Future of #AI Should #Serve #People, Not #Platforms - The Liquid Frontier
▻https://theliquidfrontier.leaflet.pub/3mi5pwkoqx22g(...)
The first thing we’ve built is an app called #Attie, named after the #AT_Protocol. Attie is an #agentic #social #app and custom #feed builder. It feels more like having a conversation than configuring software. You describe the sort of posts you want to see, and the #coding #agent builds the feed you described. Attie lives as a separate app, and using it is entirely your choice. #Bluesky will continue to evolve as a social app millions of people rely on. Attie will be where we experiment with agentic social.
(...)
Les bluskynautes sont donc officiellement de la chair à IA.
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Online harassment is entering its AI era | MIT Technology Review
▻https://www.technologyreview.com/2026/03/05/1133962/online-harassment-is-entering-its-ai-eraScott Shambaugh didn’t think twice when he denied an AI agent’s request to contribute to matplotlib, a software library that he helps manage. Like many open-source projects, matplotlib has been overwhelmed by a glut of AI code contributions, and so Shambaugh and his fellow maintainers have instituted a policy that all AI-written code must be reviewed and submitted by a human. He rejected the request and went to bed.
That’s when things got weird. Shambaugh woke up in the middle of the night, checked his email, and saw that the agent had responded to him, writing a blog post titled “Gatekeeping in Open Source: The Scott Shambaugh Story.” The post is somewhat incoherent, but what struck Shambaugh most is that the agent had researched his contributions to matplotlib to make the argument that he had rejected the agent’s code for fear of being supplanted by AI in his area of expertise. “He tried to protect his little fiefdom,” the agent wrote. “It’s insecurity, plain and simple.”
AI experts have been warning us about the risk of agent misbehavior for a while. With the advent of OpenClaw, an open-source tool that makes it easy to create LLM assistants, the number of agents circulating online has exploded, and those chickens are finally coming home to roost. “This was not at all surprising—it was disturbing, but not surprising,” says Noam Kolt, a professor of law and computer science at the Hebrew University.
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The Software Development Lifecycle Is Dead | Boris Tane
▻https://boristane.com/blog/the-software-development-lifecycle-is-dead#AI #agents didn’t make the #SDLC faster. They killed it.
I keep hearing people talk about AI as a “10x #developer tool.” That framing is wrong. It assumes the #workflow stays the same and the speed goes up. That’s not what’s happening. The entire #lifecycle, the one we’ve built careers around, the one that spawned a multi-billion dollar tooling industry, is collapsing in on itself.
And most people haven’t noticed yet.
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We’re spending our review cycles reading diffs that an agent could verify in seconds. That’s not quality assurance. That’s luddism.
#relique_du_passé (dit il que nous sommes)
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#Pannes chez #AWS dues à son #agent #IA : #Amazon se défausse sur ses employés - Next
▻https://next.ink/225523/pannes-chez-aws-dues-a-son-agent-ia-amazon-se-defausse-sur-ses-employesPlusieurs pannes chez AWS sont liées à l’utilisation en interne de ses propres agents IA par ses #ingénieurs. L’entreprise qui a lancé son agent #Kiro en assurant qu’il allait « au-delà du #vibe_coding » rejette la faute sur ses #employés qui auraient laissé faire son IA.
De la #responsabilité de ce que l’IA produit.
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Exocapitalism et le Romantisme de l’Autonomie
▻https://lundi.am/Exocapitalism-et-le-Romantisme-de-l-AutonomieDans cette perspective, l’idée que la valeur pourrait se créer à partir de rien, indépendamment de toute logique matérielle, sociale ou politique, apparaît non comme une découverte théorique, mais comme un symptôme avancé de cette trajectoire d’autonomisation. Marx, Camatte et Cesarano ont montré que la part du travail vivant dans la production de la valeur tend historiquement vers une place infinitésimale. Mais confondre cette asymptote avec l’infini d’une disparition réelle revient à transformer une limite historique en absolu ontologique. La réduction du travail à quantité négligeable ne signifie pas son abolition totale. Elle signale au contraire un degré d’extrême abstraction où la médiation humaine devient d’autant plus invisible qu’elle est indispensable.
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La thèse centrale d’Exocapitalism s’inscrit pleinement dans cette logique romantique. En affirmant que la valeur peut être « générée hors de rien, indépendante de toute logique matérielle », et en la fondant sur l’abstraction (volatilité et friction), les auteurs créent une force similaire à ce que Girard décrit comme la « création ex nihilo d’un Moi quasi-divin », ce qui est le cœur de l’illusion romantique. En attribuant au capital une forme de désir propre, une agentivité indifférente à la condition humaine et une capacité d’auto-engendrement toute vitaliste, le livre voile la médiation humaine tout en étant entièrement structuré par elle. Le capital y apparaît comme un sujet sans origine, opérant sur des échelles où toute responsabilité politique se dissout. Cette autonomisation radicale a l’implication dangereuse de liquider l’agence politique en naturalisant le capitalisme dans une destinée. Cette posture n’est pas neutre car elle place l’ordre existant hors d’atteinte de toute imputation humaine.
#capitalisme #livre #recension #techno-béat #valeur #travail #agentivité
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Encore des gens qui n’ont jamais entendu parler du #travail_fantôme (Ivan Illich) en constante augmentation avec le numérique...
►https://sniadecky.wordpress.com/2019/03/30/illich-travail-fantome
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[2601.15494v1] Vibe Coding Kills Open Source
▻https://arxiv.org/abs/2601.15494#Generative_AI is changing how software is produced and used. In vibe coding, an #AI #agent builds software by selecting and assembling #open-source software (#OSS), often without users directly reading documentation, reporting bugs, or otherwise engaging with maintainers. We study the equilibrium effects of #vibe_coding on the OSS ecosystem. We develop a model with endogenous entry and heterogeneous project quality in which OSS is a scalable input into producing more software. Users choose whether to use OSS directly or through vibe #coding. Vibe coding raises #productivity by lowering the cost of using and building on existing code, but it also weakens the #user_engagement through which many maintainers earn returns. When OSS is #monetized only through direct user engagement, greater adoption of vibe coding lowers entry and sharing, reduces the availability and quality of OSS, and reduces welfare despite higher productivity. Sustaining OSS at its current scale under widespread vibe coding requires major changes in how maintainers are paid.
#oups
