scalable archivistics

By addressing our inquiry and practice towards the search of non-explicit relations between agents of a complex technosocial ecosystem, we aim to understand better the disanthropocentrificability  of culture. Off-side relations that can perhaps be performed if we  attend certain hidden ontological structures within those archival  landscapes, inhabited by myriads of agents of diverse sorts (humans and  non-humans). To look at them implies to find dispossessions, reassemblages and displacements of  objectual agencies, and hence to test speculative infrastructures for other possible cultures.

The  very basic toolkit and keywords we are going to use is articulated  throught a methodologial triad: alien phenomenology / remediation /  speculative fiction.

The  result we look towards has the shape of a mediation infrastructure. Its  basic features, are exportability to other archives and  openness/availability to adapt to other specific contexts.

 

Barcelona, June 2015

Keep track of it all here!: objetologias.tumblr.com

ahora ya siempre fuego

Claire Fontaine

PIGS
[2011]

Regina de Miguel

Europe as a Symptom 

[desde]

conversa "Para experimentar: el entre"

(UMHERRI15: un encuentro anual para hablar de comunidad, aprendizaje y política local, en Leioa/Bilbao)

Para experimentar: el entre

A partir de una serie de experiencias, analizaremos gestos más o menos formales, más o menos rotundos, más o menos locales, más o menos perennes, para indagar las agencias, carencias y latencias en las prácticas culturales de aquello que se ha llamado “la cultura interfaz”. Junto a ciertas rigideces institucionales de enseñanza, investigación, exposición o creación, las coyunturas espacio-temporales del entre nos facilitan zonas de enunciación, cuestionamiento, encuentro, aprendizaje, desorden y procesado que podrían servir en la tarea de entender quizás algunos rasgos de nuestro ahora.

(+info: http://www.herrilaborategia.org/umherri-15/ & http://issuu.com/laborategia-umherri/docs/issuu_umherri15_infoa)

xconfessions vol.4

unos cortometrajes X 

el domingo                                 en la terraza

"La idea es hacer partícipe alx espectadorx, tanto que pueda contar la storia, pueda ser suya. En realidad no, en realidad es repensar una historia contada, como en la transmisión oral, yo te la cuento y pierde algo y gana algo. En realidad es un negocio de una, import/export, en realidad es sacar X cada mes y si puede ser cada mes sacar más. En realidad es repensar las mujeres ¿? en el porno, crear otras subjetividades, #ChangePorn. Sí, en realidad es un TED Talk. A ver, realmente es verlo juntxs, es pensarlo juntxs, amarlo, odiarlo, sentir... Es hablar luego, si cuadra, del respeto. En realidad va del deseo y el placer feminista. La pregunta, en relidad, (lo que dispara la curiosidad) es qué pensáis luego, o si pensamos algo luego. O: ¿(dónde) ha excitado? Eso es, ¿no? El goce vernáculo. A tope."

ladyfest barcelona 
(para + coordenadas, mail a ladyfest.b@gmail.com)

 

less than half the wavelength

an outlaw

"I think you know you fucked up. But do you know why you fucked up? And do you know how you fucked up? Do you know that why you fucked up and how you fucked up are totally entangled? Do you know that entanglement is given in the raciality of the concept, as such? I wish I could be convinced that you’re thinking right now about how and why you fucked up. I wish I could convince you that the continued existence of human life on this earth depends upon you thinking about why and how you fucked up." 

Fred Morten

OBJETOS QUE OBJETAN

El Cartel:

El About:

El mundo del diseño -el mundo de hacer mundo- está repleto de objetos que a escala humana analizamos, medimos, pesamos, evaluamos, sostenemos y juzgamos. Objetos que investigamos, historiografiamos y nombramos. Aun así, en pocas ocasiones dejamos que sea la materia la que nos haga preguntas, que nos cuente sus historias, o su Historia. La modernidad nos situó ante la materia a distancia y nos dijo que los objetos tenían una verdad distinta, separada de lo humano (y sin embargo apropiable, aprehensible). No obstante, los objetos a menudo investigan por nosotras las personas, nos interpelan, nos disponen, nos provocan.

Para la segunda entrega de las Jornadas de Objetologías querríamos ceder las tarimas y atender las propuestas de estos objetos que cuestionan e indagan. Objetos que median a/con/para otros objetos: memes, formularios, vídeos online, selfies y gifs. Sobre los que pensamos y que [¡atención!] nos piensan, nos cuentan… nos objetan.

La Chapa:

El Programa:

10 junio 2015 /  en UVIC 
http://www.uvic.es/ 

Mesa Redonda 15:30-17:00

Aula F101

International Workshop on Higher Education at the University of Vic
La primera sesión consistirá en una mesa redonda en la que Amparo Lasén, Olga Goriunova y Jaron Rowan debatirán sobre la investigación en torno a objetos digitales, y las plataformas, culturas y estéticas en las que se mueven.

Modera: Arnau Guifreu

11 junio 2015  / en BAU 
http://www.baued.es/ 

Seminario “Metodologías de investigación inventivas” 10.30-12.30

(realizado junto a la línea de recerca “Innovació pedagògica en i mtjançant el disseny” de GREDITS)

La sesión comenzará con una presentación sobre el trabajo del grupo de Objetologías y su eje cuadruple de política/estética/ética/erotica de los objetos. Posteriormente, y aprovechando que contaremos con la presencia de Olga Goriunova y Amparo Lasén, exploraremos y debatiremos diferentes metodologías de investigación y sus límites frente a panoramas complejos y cambiantes.

Plazas limitadas. Para inscripciones, enviar email a: objetologias@baued.es

El Tumblr:

 http://objetologias.tumblr.com/

looking forward to thinking together

-->

Dear Prof. Rosi Braidotti,

Over the past years, we (me within a number of collectives) have been wondering about the details of our present material conditions. Trespassed by several performativity issues, place/displacement of enunciation problematics, non-identitary pre-occupations and a strong political reconfiguration, our generation is exposed to exceptional conditions for thinking about notions such as agency, knowledge production, dispersion, memory archiving and basic life conditions, to name just a few.

In an organic though rigorous manner, we have been confronting such issues from diffractive inquiries like “How is our sexual-affective performativity conditioned by crystallized representations of what loving beings should act like?”, “What does it mean to name the world from a Southern European radical neoliberal pro-nationstate context?”, “Can we get rid of Modern Project's configurations of thinking while experiencing sudden sociopolitical urgencies?”, “What implications does it have to implement our tools in the process of taking care of our community sustainability?”, “What transductions might we need in order to bring the behaviour of the digital networked communities to a physical experience of conviviality?”, “What does it mean to think of infrastructures as key ethic & aesthetic agents?”.

In Objetologías, we wonder together about the tactics of de-centering the subject while researching the designing processes of our material surroundings. In Euraca, we wonder about the language making and managing of non-fixed subjectivities in the last days of the Euro. In Sexo Hispter, we wonder about the reasons of the immanent de-politization of our erotics. In Relearn we gather around the implications of free libre open source tools and results in learning situations. In MasterDIWO we try to invent emancipated ways of sharing knowledge. In 404 we test the extent to which cultural mediation can serve as a post-humanist yet institutionalized task ...etc.

All of that makes me excited to participate in the Human/Inhuman/Posthuman summer course in Utrecht, as the above situated but common problematics (or opportunities?) could perhaps find shared frames and maybe useful discourses/references to keep my/our research rolling.

Looking forward to thinking together,

Jara Rocha

Barcelona, April 30th, 2015.

relearn 2015 - call for porposals

Relearn starts from FLOSS culture and practices as a way to address the production processes and frameworks involving technology and culture, in the beginning in the field of graphic design, and in the second edition expanding to production and education in broader terms. A proposal for this third edition is to continue by focusing on technology as such.

Questioning what it consists of, how it 'functions', and challenging the traditional narratives on it. In this moment in which any social, political and personal problem seems to be approached with a technological solution, it feels urgent to rework the assumptions and conceptions we have of technology.

To give an idea of this kind of perspective, there were some interesting questions resulting from past events, as the following: What's the difference between 'tech' and 'technology'? How does a file system relate to an office? Can anything digital be 'immaterial', when it sits in data-centers or it moves over infrastructures? What happens when computing becomes 'invisible'? Are interface-design, packaging and blackboxing similar processes, how do they influence our relation to an object? How do user-friendliness and efficiency determine the way software and devices are developed? 

Hopefully this way of thinking about tools, networks and infrastructures can influence the summer school tracks, offering transversal elements to connect some points in the different worksessions, in relation to one's own practices and tools.

call for proposals. 
NOW. HERE:  

http://pad.constantvzw.org/p/relearn_2015_proposals


+ info: http://relearn.be/r/about.html 

mujer de Manuela

Una práctica de escritura electoral euraca
“es hora de escribir a favor de una candidatura” 

(Cucurto jaqueado una vez más)

+ info en el blog de euraca

user info

information leaflet to accompany a banner for Somatic Design

Barcelona, 15M 2015 / Jara Rocha & Femke Snelting / in response to: http://www.baued.es/blogdebau/2015/05/18/disseny-somatic/

presentación del máster en investigación & experimentación en diseño / Hangar+Bau

“conversatorio” entre un grupo de docentes del máster en investigación & experimentación en diseño, organizado en colaboración entre BAU-Centro Universitario de diseño y HANGAR-Centro de investigación y producción artística (Barcelona)

Jueves, 7 de Mayo, a las 19.30h en HANGAR (antiguas oficinas)



+

http://hangar.org/es/news/espanol-hello-world-presentacion-del-master-en-investigacion-y-experimentacion-en-diseno/

++

http://www.baued.es/es/estudios/masters-y-posgrados/master-en-investigacion-y-experimentacion-en-diseno 

y el relatograma que del evento hizo Carla Boserman: 

 

diseño en entornos abiertos / IED Madrid @ Medialab-Prado

Esta sesión forma parte del seminario organizado por la escuela de Visual Communication del IED Madrid con el que se pretendía introducir en el campo del diseño y la comunicación visual algunos de los debates y prácticas provenientes de la filosofía hacker, la cultura libre y el acceso abierto que se están dando actualmente en torno a los nuevos modos de producción y distribución, los proyectos colaborativos, la web 2.0 y la economía de la atención.

Fue en Medialab-Prado, el 18 de diciembre del 014.

Consistió en una cadena de pedradas a cargo de:

Jaron Rowan (Free Culture Forum y Bau)
Jara Rocha (Objetologías/GREDITS/Bau)
Silvia Nanclares (Bookcamping)
Marta G. Franco (Catorce.cc)

Modera: Ana Méndez de Andés

exquisite corpse -- unfolded

Steph Alarcon, Christina Dunbar-Hester, Tamsyn Gilbert, Seda Gurses, Jara Rocha, Femke Snelting and Sophie Toubin collaborate to examine feminism, technology and the digital.

[extract from New Critical's exquisite corpse:]

In order to better understand the materialities of our (digital) present world-making, a speculative crossing of four topological vectors is proposed here for a (sintetic though) multilayered approach to the processes of social (often soft) mattering we are involved in.

Our ethic, politic, erotic and aesthetic systems, also from a technological point of view, are strongly affected by a dense repertory of gestures and agencies upon which we (humans) have only a tiny aprehension margin. This is why it might be interesting to first, when talking about these complex systems, declare a suspension of hierarchical cartesian judgement and storytelling (based on the subject-object dychotomy) and perhaps try to apply what ANT scholars have named the “principle of radical symmetry”. This will help on two fronts: 1) test de-anthropocentrified ontologies and 2) get away of essentialist approaches to somatic entities.

Also, and attending to the call of the Invisible Committee to think beyond civil liberties and go deep into the logistic composition of both hegemonic and counter-hegemonic equipments for life, a close look at infrastructures functioning can help us learn more about governance of the material world. Notions of scale and standarization in this vector are plausibly issues to deal with if an idea of autonomous shaping and caring of infrastructures is brough upon the table.

In realtion to infrastructures, there is a third tensor that clearly operates when dealing with power relations (in gender, class, race or species): that of the reproductive economies. Historically invisible, the tactics for sustainability, resilience and ultimate survival of communities are displayed by crucial agents who/which set up the basic conditions of possibility for life in its more radical materiality. Following that line of thought: how about talking about reproductive technologies in a wider sense?

Soft power is a key concept to understand relationality in our present ecosystems. This is why the notion of extitution brought up by Serres in Atlas can help in going beyond the inside-outside structuring of  institutions and perhaps test a connected-disconnected logic. Daniel López insightfully proposes to think of this vector in terms of processes of extitutionalization. This shift could be useful get rid of pre-established forms (strong identities, social organizations, geopolitical foldings, etc.).

What implications would it have to articulate this vectors in an applied-to-case/situtated manner? Would it help in challenging the imposed hegemonic regulation of social matters? Can we start practicing critical and active dispossession in relation to technologies?

Now, what would be the best way to identify and put into practice the potential in each of these topological vectors and their crossings? How can we both aprehend and be dispossessed from present semiotic-material establishment to unfold other common-world-making possibilities?

[the whole text can be accessed here: http://www.newcriticals.com/exquisite-corpse/print ]

crispasión

ptm

Let's first get things done! at LibrePlanet 2015

The current distance between those who organize their activism to develop “technical infrastructures” and those who bring their struggles becomes especially evident in the pragmatic spirit of getting things done. "Radical" activists may turn to services provided by Fortune 500 companies, while alternative tech initiatives sustained by a select (visionary and male) few may remain insistent on crypto with 9-lives. Through a close study of digital self-defense campaign sites, we want to pause to explore other modes of collaboration.

The Darmstadt Delegation, 2015 

(present delegates: Seda Gürses & Jara Rocha; 

distant -but close- delegates: Femke Snelting, Miriyam Aouragh)

MIT Stata Center
Cambridge MA
Room 32-155
Saturday, march 21 
16.15h (Session Block 5A)

(for those not present, it will all be streamed from here:  https://libreplanet.org/2015)

banda madriz emergencia editorial poesía silvestre emergencia silvestre banda editorial poesía madriz emergencia madriz banda silvestre editorial poesía

Dice V. Monroy que él no escribe, que a él le gustaría pensar que lo que produce “tiene que ver con su tiempo y no con la literatura”. Una premisa similar podría serle aplicada a Mariano Blatt. Y a ambos, con ello, una posición señalada y consciente en el mapa de cambios de contextos de la escritura; en el mapa de virus y vídeos y memes y generaciones en tránsito de disociación de lo que había en lo que habría, o en lo que de hecho hay pero vive fuera de las clasificaciones que en ya otro mundo, con otras costumbres tiempo-espacio, sirvieron para entender, recibir y generar el arte como Arte, la poesía como Poesía.

¿En qué podría consistir el costumbrismo poético de un mundo que podamos llamar nuestro? Igual en lo de las discos, los bailes, lxs chicxs guapxs/lindxs a lxs que quieres besar, o saludar por la calle, u oler por debajo de la remera/camiseta; un poco de md, un poco de…

       todo lo que digo es porque pasó             
                                                        o porque quise que pasara

Hechos de la realidad. Costumbres de época. Más que creencia, cuerpos y deseos. Y su retrato nítido, si ha de tomar texto; su registro más que su recuerdo; su construcción experiencial: en condensación y en vivo. Porque el presente continuo no existe salvo encapsulado en el flash de la droga, en el cruce de ojos en el baño, la estroboscópica, el olor un segundo, el viento en el flequillo de ése/ésa/ésx, y un verso afinado para nombrar lo que parece que existe. O acaso, si es que no, para hacer existir lo que pareció que no existía porque no había sido dicho.

Lo nombras,  se va, se queda, se va. Y casi que nunca sale bien –cuidado con eso– casi que siempre roza la cursilería de una autorreferencialidad mate. Pero si triunfa y captura la sensación de ser joven en una acera, parado, desafiante del universo con su belleza lampiña-o-frondosa y dorada, consigue esta escritura del tiempo tan acertada como la que pueda detener-retener el preciso momento en que una experiencia se agarra del mundo, del famoso afuera y del famoso adentro. Es decir logra, en el panorama de ansiedad, consumo y desconexión epocal, un brillito de verdad física. De puro estar. Un brillo que puede decir que “la vida era entonces una cosa real / porque pasaba una parte adentro mío / y otra un poco más afuera / justo arriba de la cabeza / como un tubito de luz amarillo que a veces crecía / y a veces se achicaba / hasta casi casi desaparecer”.

Por esto es por lo que, de todxs lxs poetas posibles, el catálogo de la Banda Editorial Silvestre empieza con Blatt. La publicación de EMOTION, en nombre de la Silvestre, viene a luchar contra el NO NOS VAMOS, NOS ECHAN que opera desde hace décadas en la edición del trozo de arte textual/lingüístico que en el Estado de España ha tomado por nombre poesía. Algo así como entrar en una pista, mirar de frente y engarzar con los deseos verbales de al menos una generación, definida por filtraciones de mundos y no por años de nacimiento, es la operación propuesta.  Una que viene a ganarse para la lectura el placer de lo que habita en la lengua & la toma de poder sobre las maneras en las que la lengua habita los libros, las páginas, las tipografías, las portadas y papeles.

Tan alto y tan fuerte y tan dentro de lugar – así nace una banda editorial silvestre.

y hacen un tumblr
y hacen un hotglue

this is my voice / my

»Objetologías: a conversation with Femke Snelting«

*Sunday, 8.2., 4 pm, ABR-Library (2nd floor)*
AKADEMIE SCHLOSS SOLITUDE
(Stuttgart)

What is the attraction of an algorithm? Do servers have a gender? Can a book be a disobedient object? Is it possible to understand an infrastructure as a poetics? Jara Rocha presents Objetologías, a line of research she carries with Josianito Llorente, Jaron Rowan and Carla Boserman. Working on the aesthetics and politics of objects and technologies in their different material conditions, they speculate about the potentials and relatedness of humans and non-humans. Their attempt at a post-humanist approach brings together studies of culture, science and technology, actor-network theory, new materialisms, speculative realism, futurology and affects theory. Objetologías considers the ethic, erotic, aesthetic and political agency of objects, and studies their material conditions in a broad sense: scale, durability, weight, volume, attraction, dispersion. Instead of studying the social use of objects and technologies, they shift their attention to ontologies, understanding processes of individuation, co-production and articulation as basic gestures that act symmetrically in the complex web of materiality.

Tea and cake served!



*CROSS-READING*

Ahmed, S. (2006) Queer Phenomenology (Duke University Press)
Bennett, J.,(2010) Vibrant Matter. A political ecology of things (Duke University Press)
Bogost, I. (2012) Alien Phenomenology, or What it's like to be a thing (University of Minnesota Press)
Braidotti, R., (2002) Metamorphoses. Towards a Materialist Theory of Becoming (Oxford: Blackwell)
Butler, J. & Athanasiou, A., (2013) Dispossession. The Performative in the Political (Cambridge: Polity Press)

Haraway, D., (1992) "The Promises of Monsters", at Lawrence Grossberg, Cary Nelson, Paula A. Treichler, eds., Cultural Studies (New York; Routledge) , pp. 295-337.

Harman, G.,(2012) The Third Table (dOCUMENTA(13))

Hayles, K., (1999) How we became Posthuman (University of Chicago Press)

Kittler, F., (1999) Gramophone, Film, Typewriter (writing science) (Stanford University Press)

Latour, B. (1993) We have never been Modern (Harvard University Press)

Meillassoux, Q.,  (2008) After Finitude. An essay on the necessity of contingency (NYC: Continuum Books)

Thrift, N., (2008) Non-Representational Theory. Space, Politics, Affects (NY: Routledge)

Lampland, M. & Star S.L., (Eds) (2009) Standards and Their Stories: How Quantifying, Classifying, and Formalizing Practices Shape Everyday Life (Ithaca, NY: Cornell University Press)
 

vlljo n ocr

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