xuxu de creim

una piecita para el último número (el número seis) del fanzine La línea sin fin (Andrea Valdés & David Bestué). La cosa iba a de recordar 2015 desde 2026.

repoblamiento

imagen: James Dodd / texto: Amador Fernández-Savater

 se construye ahí donde uno está

desde lo que hace la vida relevante

desde las relaciones que hay

recombinando los saberes existentes

desde donde cada cual tenga puesto

cuerpo

deseo 

y 

atención

HACÍA UN RUIDO sábado 17 en Hangar >> María Salgado & Fran MM Cabeza de Vaca + pinchada de Casi Baile y Jules Rules

¡VENGAN, NO SE LO PIERDAN!

​

HACÍA UN RUIDO

Fran MM Cabeza de Vaca & María Salgado

¡primera vez en Barcelona!

*

¡segundas veces del famoso rap invertido

ACAB!

*

¡nuevos textos & sonidos respecto

de las anteriores veces

del recital!

*

¡y el estreno en naves de la versión analógica del audiotexto

Hacía un ruido!

>> http://vimeo.com/116483537<<

Sábado, 17 de enero de 2015, de 18h a 24h, en Hangar

** PRECIO LIBRE **
 

Hacía un ruido no es el nombre de una obra cerrada, sino de una zona de investigación que iniciamos en enero de 2014. Va mutando, pues, según pasan el tiempo y la exploración; de modo que lo que en Hangar presentaremos no es idéntico a los recitales del mismo nombre que presentamos en Naranjo, CA2M, Fordham University y 16 Beaver la pasada primavera. Hacía un ruido es el nombre de un recital heterogéneo. Hay lectura de memoria y lectura de papel. Hay lectura procesada por la electrónica de Cabeza de Vaca. Unos cuantos poemas hay. Los poemas proceden de la mirada y de la experiencia lingüística rica y salvaje que cualquiera puede tener en una ciudad a, en una ciudad b, en una ciudad ce… Hay esta poesía sin poetas que se encuentra en el oído del habla de cualquiera, la joyería gramatical de las revistas, la irradiación de frases buenas, la verbosidad: bisuteria casual de verborrea de la ciudad. Fotografía verbal. Hay poemas de otros poetas de quien deliberadamente se aprende en los poemas de una. Hay un rap invertido: bases que buscan voz en vez de al revés. Hay esta pieza sonora al final. Que intenta verbalizar. La experiencia de no caber. Ese desborde. El exceso. Hacía un ruido. Como si. Fuera. Un mundo entero.

María Salgado es poeta low-tech. Ha publicado ferias (2007), 31 poemas (2010) y ready (Arrebato, 2012). Investiga en formas contemporáneas de escritura y recital. Hace zines y bandas y forma parte de planes como el Seminario Euraca. Escribe globorapido.blogspot.com Desde hace un año explora en el sonido junto con Fran MM Cabeza de Vaca.

Fran MM Cabeza de Vaca es músico y compositor. Ha estrenado música instrumental y electroacústica en diversos festivales nacionales e internacionales. Ha participado como compositor e intérprete en diversos espectáculos escénicos, colaborando con coreógrafos como Michelle Man, Guillermo Weickert, Fernando Lima o María Cabeza de Vaca. Entre otros trabajos audiovisuales cabe destacar tres largometrajes documentales junto a José Luis Tirado y la BSO del largometraje Carmina y Amén de Paco León. Participa activamanente con en el colectivo ZEMOS98. Ha creado y dirigido el espectáculo escénico Veo una Voz junto a la actriz Ana Barcia; y la ópera experimental Todos Caníbales junto al Nou Ensemble y los artistas Christian Fernández Mirón y Roberto Martínez.

Y

+

CASI BAILE

>> https://soundcloud.com/casibaile <<

CASI BAILE (Del lat. Quasi ballāre). 

1. m. Las pocas informaciones de las que disponemos hoy en día sobre el término “casi baile” nos hacen referencia a lo que, parece ser, una forma ancestral de lucha, la cual se caracteriza por la ausencia absoluta de reglas o normas. No hay ningún estudio que logre situar su procedencia geográfica y/o cultural.

2. m. coloq. Determinada actitud y/o estado de ánimo, bajo el cual se mantiene un leve balanceo corporal a medio camino entre la euforia y la contención. Mejor no contamos con ella, se quedó en “casi baile”

3. m. coloq. Figura que se aplica a aquellas artes o disciplinas que se sitúan en los márgenes y no se decantan por ninguna actividad conocida, resultando imposible su definición y clasificación. Define bien tu proyecto, o parecerá un “casi baile”

Y

+

+

PINCHADA

Jules Rules

¡VENGAN & OIGAN!

(y/o agiten)

aplumar / desplumar / repoblar

power topologies // desire affordances

atopia

Ulises A. Mejias in Fibreculture Journal 20: Liberation Technology and the Arab Spring: From Utopia to Atopia and Beyond, 2012

situa posi loca tion

text: Rossi Braidotti / image: Hélène Frichot

1er prototypage d'une boîte à outils pour lx dragqueer

http://queercabinet.hotglue.me/

développé avec María, Xavier et Anne dans la session de travail #genderblending, organisé par Constant  - BXL , 17 au 22 novembre, 2014

the limits of

"Queering can only be thought today from its position in a dynamic relationally that blurs the distinction between subject and object, difference and repetition, separations and connection, identity and collectivity."

Magnus Eriksson

full text: http://www.blay.se/2014/11/22/Gender-Blending-and-the-Limits-of-Queer/

being to the other

 

+ Annie Abrahams

party like it's 1984

[descarga directa: http://t.co/eJZoPcxYpX]

i didn't even have to hide anyting

considering your t o o l s

w o r k s h o p  
f r e e c u l t u r e f o r u m 2 0 1 4


Wednesday, 5 November
from 14:00 until 18:00
In Bau, Design College of Barcelona (see the map)
Building A – Classroom A.0.6

I m p a r t e d   b y :

Femke Snelting & OSP (Open Source Publishing)

D e s c r i p t i o n :

This workshop starts from our experience with using Free and Open Source software in our (graphic) design practice. We would like to share what this means for our own work, and more particularly how it has an effect on our ideas about design education. Free culture challenges traditional art-education paradigms because it invites  participants to move between roles  (teacher, student, developer, user) and because it necessitates a fundamental questioning of the political and cultural heritage embedded in the technologies that we employ.

Art- and design students are typically expected to create their work using proprietary tools for research, prototypes, (re)presentation and production. Sometimes, they are taught particular packages but more often the impact of software and hardware choices will be ignored. How to engage with the growing importance of digital processes in a way that relates to the intellectual and aesthetic paradigms of design-education? How to consider soft- and hardware as an integral part of design practice, and develop more intimate and experimental relations with digital tools? And what is the importance of using Free, Libre and Open Source software for all this?

P r o g r a m m e :

A tour through the current practice of OSP, a Brussels’ based design caravan that decided in 2006 to use Free, Libre and Open Source software only. Changing from proprietary (ie OSX and Adobe) to Free Software means not just replacing one tool by another. It means engaging in the design of those tools, rethinking the collaboration processes, and the way one distributes their work. How has Free Software changed the practice of OSP? How do they work together now? And in what way have their aesthetics changed?

T a l k i n g  p o i n t s :

• Free Software tools might be designed for a different public than graphic deisgners. For scientists, activists, programmers or amateurs, for example. Using these tools means confronting paradigms different from the Graphic Design mainstream.
•  The Free Software community puts a lot of emphasis and archiving and sharing their sources, choosing to release ‘source files’ early in the development process: ‘Release early, release often’. OSP follows this approach by sharing their design files online, right from the start of a project. How does this change the relation with the client/collaborator and the public?
•  Within existing proprietary design tools there are not many infrastructures for collaboration. The world of Free and Open Source Software has great tools for collaboration, but they are meant for programming code. OSP tries to imagine other infrastructures that allow to design together: open ended, fluid, Read-Write exchange…
• Using non-mainstream tools often requires new expertise. Every new OSP projects mixes designing and learning. We may find ourselves programming too, even if we’re not educated programmers and may be less confident about it. How do we live this constant ‘relearn’? And how do we find the time to do so in the market of Graphic Design, where time is always in short supply?

Collaborative mapping exercise using Graphviz and Etherpad (60mins)

The starting point for this exercise are notes from preparatory meetings. While brainstorming about relevant keywords and concepts, we generate a collaborative visualisation in real time.

Graphiz is a network visualization software software developed in the early nineties by AT&T labs and mainly used in bioinformatics, machine learning and other technical domains. Etherpad is an online real time editor originally developed by Google. After its release as Open Source software it has become immensely popular for many types of collaborative writing. The toolset is complemented by a small script that automatically imports etherpad content into a local installation of Graphviz, and updates the graph.

This exercise demonstrates a few tools and methods emblematic for the discussion: simultaneous editing of content, form and code; engaging with cultural paradigms of specific tools and mixing existing tools and platforms with additional DIY pieces. Please bring your laptop!

https://github.com/fbsp/graphviz-live

Productive tensions between institutional education and the practice of open design (60mins)

A discussion about experiences in design education that engage with the growing interest in ‘open design’, and the way Free, Libre and Open Source software could play in that.

• What is the place of teaching tools in design education, at BAU and in what way could we imagine to make changes?
• How to develop a consideraton for digital processes specific to the type of design taught at BAU? Free, Libre and Open Source software: motivations to introduce them, and possible challenges
• Software and hardware as Tools of the Trade: shifting ‘professional skills’ beyond market requirements
• The importance of self-education in hacking/free software contexts: alternating between teaching and learning
• How to shift from learning about specific tools to understanding processes (ie ‘Photoshop’ or ‘GIMP’ vs learning about image processing).
• Learning about FLOSS paradigms, engaging with Free Culture: institutions engaging with communities
• The place of open standards and Free Licenses. Publishing and archiving of teaching materials and outcomes
• Programming for designers: teaching skills and/or attitudes?
• Platforms, tools that might support another understanding of learning and practice: etherpad, wiki, mailinglist, command-line, …
• Every institution challenges the way FLOSS and design are brought together in a different way. Stories from La Cambre, erg, PZI, Merz … and BAU.
• General discussion (30 mins)

Crossing open design-education vs practice: What does this mean when we think about future schools?

L i n k s :

• Considering your tools – a reader for designers and developers http://reader.lgru.net
• Wiki gathering materials for courses around digital culture at Ecole de Recherche Graphique, Brussels (FR) http://ustensile.be
• Relearn Summerschool 2014: http://relearn.be/r/about.html
• Relearn Summerschool 2013: http://relearn.be/2013/r/2013::introduction-script.html + publication: http://relearn.be/media/relearn-2013.pdf
• A network of free culture aware educators in art, music and design education: http://eightycolumn.net
• Interview with Open Source Publishing (FR) http://silo.schr.fr/osp_etapes_red.pdf + http://etapes.com/etapes-221
• Various workshops developed by OSP http://osp.constantvzw.org/workshop/
• I like tight pants and unix for art students (Eric Schrijver) http://i.liketightpants.net/and/absolute-beginners-unix-for-art-students-part-1 + http://i.liketightpants.net/and/absolute-beginners-unix-for-art-students-part-2 + http://i.liketightpants.net/and/absolute-beginners-unix-for-art-students-part-3

R e g i s t r a t i o n :

Workshop for teachers from Bau, Design College of Barcelona.
Prior registration is required. The last date for registration is 31 October, 2014.
There are 20 places.

To register, send an e-mail to:
jara.rocha[@]baued.es

Indicating as the subject:
‘Registration for FCForum Lab Workshops’ and the name of the Workshop (Considering your tools).

+ i n f o :

http://lab.2014.fcforum.net/en/

Rethinking the Infrastructures of Knowledge Production

meanwhile in Stuttgart...

public library

A conference about today’s conditions of knowledge production: from the neoliberal politics of education and the monopolization of “intellectual property” to alternative critical and anarchistic ways of sharing and “borrowing” knowledge.

with 

Aaaaarg.org, Vuk Cosic, Kenneth Goldsmith, Library Genesis, GeoCities Research Institute, Herman’s Library, Monoskop, Postcapital Archive, Praxis, Cornelia Sollfrank, UbuWeb, andere, Daniel García Andújar, Dusan Barok, Vuk Cosic, Hans D. Christ, Sean Dockray, Iris Dressler, GeoCities Research Institute, Jan Gerber, Herbordt / Mohren, Henrik Hillenbrand / Oliver Kraft / Björn Kühn / Anna Romanenko, Olia Lialina, Sebastian Lütgert, Marcell Mars, Tomislav Medak, Irit Rogoff, Simon Sheikh, Femke Snelting, Cornelia Sollfrank, Felix Stalder, Jean-Baptiste Joly, Sophie-Charlotte Thieroff and others.

it kinda feels like

al sesgo

oblicuo / hiedra / 1981

al-g al-b

TO-GET-HER(E)

Aitana Cordero + Quim Bigas

in reverse

massive overview

(+ joyas así en http://centersoftheworld.wordpress.com)

laberinto de pasiones (28O-02D)

Rubén y Jaron coordinan esta cosa tan chula que se cuenta así:

"De forma reciente hemos experimentado el resurgir de una multiplicidad de materialismos. De ciertas miradas del mundo posthumanistas que pretenden llevar el materialismo hasta sus últimas consecuencias. El interés por entender las agencias y potencias de la materia hace que nos interroguemos sobre las condiciones materiales de existencia más allá de la voluntad de los hombres y mujeres que producen su acontecer histórico. Densidades, viscosidades, resistencias, distancias y humedades se entrelazan con infraestructuras, artefactos, herramientas y tecnologías, cruzados por serotoninas, dopaminas, testosterona y feromonas, creando redes complejas que afectan y se dejan afectar. La agencia ya no reside en la voluntad sino en la densidad de las redes que integran humanos y no humanos, discursos, máquinas y animales. Esta complejización del materialismo, aceptar que no vivimos en un mundo lineal ni determista nos obliga a repensar nuestro análisis de las cosas, sobre cómo se relacionan eventos, sujetos y tecnologías, y sobre todo, sobre cómo acontecen las realidades materiales de la cultura."

Fechas (martes): 28 de octubre, 4, 11, 18 y 25 de noviembre y 2 de diciembre.

+ info en la web de nociones comunes bcn

tanto que

ruinas rumanas

on displacement (& desire) / Victoria Ruiz

desplazamiento situación posición colocación dispersión orientación arrastre coordenación

en un sitio nuevo en una colina: la electrodoméstica

+ info

The Darmstadt Delegation / DL14

The darmstadt delegation came together on the basis of a shared experience of troubling differences in the politics, values and practices of “activists" heavily using networked technology for their struggles, and of "techno-activists" who struggle to develop progressive and alternative technologies. We observe that, loyal to a utopia of a globally functioning interwebs, techno-activists usually organize around universal values: information must be “free”, secure, “privacy-preserving”, accessible, etc. In comparison, those who bring their political struggles to the interwebs may express political differences across a broader spectrum, situated in local and/or global contexts. However, pragmatic decisions due to time pressure and lack of resources often mean that these struggles may integrate themselves into proprietary and conservative technical infrastructures. As a consequence, during “sneaky moments of first getting things done", many organizational matters are delegated to "techies" or to technological platforms.

If we believe the mantra that our tools inform our practices and our practices inform our tools, we may want to radically reconfigure these divisions of labor between “activists” and “progressive techies". But how? Where do we start? What are ways to resist those sneaky moments in which we pragmatically submit ourselves to "specialization of work" that reproduce hegemonic divisions of gender, race, class and age, and that reinforce ideological differences between activists for social justice and activists for just technologies?

The darmstadt delegation follows in the steps of numerous initiatives which are working on crossing divides while developing technical alternatives for current day struggles. Most recently, we see ourselves in conversation with the numerous initiatives that have aligned around backbone409 [1], interference [2], transhackfeminist camp [3] and the internet ungovernance forum [4]. We are excited to have the opportunity to continue some of these conversations with you in the context of DL14 [5]. Due to unforeseen constraints, only Seda Gurses will be physically present at the conference. For those who would like to discuss more, I encourage you to get in touch with all of our delegates [0]

[0] Currently active delegates are Femke Snelting (ConstantVZW, Belgium), Jara Rocha(Objetologias, Bau School of Design, Spain), Miriyam Aouragh (University of Westminister, UK) and Seda Gurses (New York University, USA).
[1] http://backbone409.calafou.org
[2] http://interference.io
[3] http://transhackfeminist.noblogs.org/call-for-proposal/
[4] https://iuf.alternatifbilisim.org
[5] http://digitallabor.org/

fue punciones espumas tácticas

+ info en éste

hoy o del m

cuchillar antes de peña del rayo

calle del arra antes de

arroyo de lanchas de castilla

des kilomètres

sadadi di nha cesaria

regardez des enfants

towards a materialist theory of becoming

la inscripción de

a lo mejor

force the hand of chance

Psychic TV con Derek Jarman, Genesis P-Orridge
& Jordi Valls (1983)

-vía LA LÍNEA SIN FIN #4 som 6 milions-

algo

Rotring ink on cartridge paper 100 x 70 cm

Suzanne Treister, 2013

cette

blancheur rigide

UKI

[UKI - viral game - an intro by shu Lea Cheang on Vimeo]

> he encontrado ésto, que es de hace ya un rato, y me ha enternecido mucho

+ info en la web de entonces

THF!

T H Ffeminist 
convergencia trans 
gente de todos los géneros 
disentir socialmente 
piratas guerrilla punto 
eclectic tech carnival
genderhacking

Calafou
del 4 al 11 de agosto


+ info aquí + aquí + aquí