https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/api.php?action=feedcontributions&feedformat=atom&user=JujuH&D Publishing Wiki - User contributions [en]2026-04-13T12:58:07ZUser contributionsMediaWiki 1.39.3https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=H%26D%27s_Code_of_Conduct&diff=5514H&D's Code of Conduct2023-05-30T12:55:13Z<p>Juju: /* Expected behaviour */</p>
<hr />
<div>== H&D's Code of Conduct == <br />
<span class="author">Hackers & Designers</span><br />
<br />
Last updated: 2022 <br />
<br />
https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct<br />
<br />
Contributors: Anja Groten, Margarita Osipian, Loes Bogers, Juliette Lizotte, André Fincato, Karl Moubarak<br />
<br />
=== Why a Code of Conduct for H&D? ===<br />
Since 2013 Hackers & Designers (H&D) has grown from an informal meetup series into a large community of international designers, artists, coders, students and practitioners. <br />
H&D activities cater towards active participation, mutual exchange, learning and unlearning. H&D likes to approach the organization of such activities as 'horizontally' as possible. That is, the way our events are organized is up for discussion, and we try to incorporate as many voices in the process of organizing as possible. <br />
<br />
We are committed to provide an environment of mutual respect that is safe and welcoming for all participants. We therefore wrote (and will continue writing, reviewing, and incorporating new insights into) this document to make explicit what it takes for us as a community to create such a safer environment. This document is written for the organization of H&D itself, to remind ourselves of our position as hosts who invite people. But it is also written for our participants and guests and functions as a point of reference for accepted and unaccepted behaviour in the spaces where we encounter each other. We hope this document can serve as a guideline for collaboration. If you have suggestions, please let us know. (find contact details at the bottom of the document)<br />
<br />
=== How it was written ===<br />
This Code of Conduct is a living document, written as a collaborative effort, informed by previous experiences and the references listed below, and being updated as we go.<br />
<br />
[[File:HD-CoC-history-1.png|Version history H&D Code of Conduct]]<br />
<br />
[[File:HD-CoC-history-2.png|Version history H&D Code of Conduct]]<br />
<br />
=== Expected behaviour ===<br />
* Dedication and commitment: People put a lot of energy and thought into organizing. Therefore: if you say you would like to come, please show up and be present. If you can't come after all, try to write to us or the workshop leaders in advance. <br />
<br />
* Rythm of learning: Respect everyone's rythm of learning. If things go too fast for someone, they should always be able to address it and feel encouraged to ask for help. We consider helping others learn (when they are asking for it) a core activity in sustaining an inclusive community.<br />
<br />
* Different practices: We celebrate different sets of skills and disciplinary and educational backgrounds. Learn from each other and embrace the fact that you might learn something else than you expected. <br />
<br />
* Experimentation: We like to nourish a space for experimentation and collaboration, so manage your expectations accordingly!<br />
<br />
* Listen to others: You are great at what you do but there's always an opportunity to learn something new from someone else.<br />
<br />
* Language: We use English as a main language of communication. Be mindful that it may not be everyone's native language and speaking in another language might exclude other people. Using simple language and avoiding jargon helps to keep things accessible for everyone. If you use jargon, explain what you mean by it.<br />
<br />
* Shared response-abilty: We expect and encourage all participants to take and share the responsibility for enacting and sustaining a safer and inspirational space, to be open to different perspectives and encourage each other to make our voices heard. Understand that no space is ever a safe space for everyone; claiming a space to be safe, and actively creating a space that is welcoming and engaging are two different things. Try to aim for the latter.<br />
<br />
* Individual response-ability: Don't assume. Ask questions, speak out about your needs (nobody can read minds), and accept that your needs might not always be met. If you feel you cannot express yourself in a group, please know you can always reach out to an H&D member. <br />
<br />
* Tools: We don't shame people who do not solely use open source and libre tools. However we strongly encourage you to consider using open source over – often more convenient – corporate and proprietary tools. Free, libre and open source software allows us to look inside, learn from, contribute to and critique. The open character of the tools we use is crucial to a self-determined learning experience.<br />
<br />
* Adopt an open source, libre, collaborative spirit, which includes giving credit to original authors and sources. Maybe you could consider putting the work you do in the context of HDSA explicitly in the open domain so others can build on it? Other licensing options are discussed below (WIP – not there yet)<br />
<br />
* Asking permission: We record some of our sessions for people to learn from at a later stage. We announce when we do so to give you the opportunity to turn off your camera if you wish. Are you hosting a workshop? Please also announce recordings and screengrabs and give people a chance to opt-out. <br />
<br />
* Introductions and pronouns: When introducing yourself, please also indicate your preferred pronouns. It's a good idea to add your preferred pronouns after your screenname on Jitsi and other platforms (e.g. "Margarita she/her") for easy reference.<br />
<br />
* General video conferencing etiquette: having your camera on is not a must. But if possible, it is definitely nice for facilitators to see you all so they don't feel like they're speaking into a void. Keep your mic muted unless you want to say something to the group. Using the chat is a good option to ask questions and make comments without interrupting the flow of the session. <br />
<br />
{{ClippyAnt|advice=Find recommendations of other open source tools on our dedicated pad.|external=https://etherpad.hackersanddesigners.nl/p/hdsa2022-tool-ecology}}<br />
<br />
=== Unacceptable abusive behaviour ===<br />
* Hatred or violence in any form is not tolerated. There is no space for racism, sexism, queer/transphobia, ageism, ableism or classism here. <br />
* No trolling, no harassment of any kind.<br />
* No bullying, no making fun of.<br />
* No exclusionary social behaviors in the form of well-actually's, feigned surprise, backseat driving and subtle-isms. We borrow these social rules from Recurse and find they are very helpful in communities that engage in technical practices and learning. Feigned surprise for example: Dan: "What’s the command line?" Carol: "Wait, you’ve never used the command line?". <br />
{{ClippyAnt|advice=For more examples see also recurse page on social rules.|external=https://www.recurse.com/social-rules#no-subtle-ism}}.<br />
<br />
=== Reporting & Intervening ===<br />
* If you feel unsafe: make yourself heard and address people's behavior if you feel like you can. (E.g. "there's subtle sexism in that comment, it equates being a woman with being ignorant")<br />
<br />
* If someone calls you out on something: listen, pause, apologize and thank them for pointing them out. Take responsibility to educate yourself first if you weren't aware and are hearing something new (borrowed from Recurse and Feminist Club Amsterdam)<br />
<br />
* In case of harassment, abusive behavior, or if there's something else you don't feel comfortable addressing yourself: contact Karl or Anja, your H&D contact persons are happy to help: karl@hackersanddesigners.nl anja@hackersanddesigners.nl. <br />
<br />
* If we receive a report about abusive behaviour we will will contact the person(s) involved to have a conversation with them. <br />
<br />
* We will revoke access to workshops, activities and physical or digital collaboration spaces if an individual's unacceptable behavior persists.<br />
<br />
=== References ===<br />
* https://www.recurse.com/code-of-conduct <br />
* https://www.recurse.com/social-rules#no-subtle-isms <br />
* https://en.m.wikipedia.org/wiki/Recurse_Center#Social_environment_and_influence <br />
* https://libregraphicsmeeting.org/lgm/public-documentation/code-of-conduct/ <br />
* http://constantvzw.org/w/?u=http://media.constantvzw.org/wefts/123/ <br />
* https://varia.zone/en/pages/code-of-conduct.html <br />
* http://bangbangcon.com/conduct.html <br />
* https://us.pycon.org/2013/about/code-of-conduct/ <br />
* https://geekfeminism.wikia.org/wiki/Conference_anti-harassment/Policy <br />
* http://www.thefeministclub.nl/coc/ <br />
* https://pad.riseup.net/p/A_Call_for_Complaint%2C_for_Sick_Speech-keep <br />
* https://snelting.domainepublic.net/wp-content/uploads/SNELTING-CodesofConduct0505.pdf<br />
* The following statement about safe[r] spaces is part of a 'Manifesto on moderation' written by Amal Alhaag and Margarita Osipian: "Understand that no space is ever a safe space for everyone; claiming a space to be safe, and actively creating a space that is welcoming and engaging are two different things. Try to aim for the latter."</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=H%26D%27s_Code_of_Conduct&diff=5513H&D's Code of Conduct2023-05-30T12:55:00Z<p>Juju: /* Expected behaviour */</p>
<hr />
<div>== H&D's Code of Conduct == <br />
<span class="author">Hackers & Designers</span><br />
<br />
Last updated: 2022 <br />
<br />
https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct<br />
<br />
Contributors: Anja Groten, Margarita Osipian, Loes Bogers, Juliette Lizotte, André Fincato, Karl Moubarak<br />
<br />
=== Why a Code of Conduct for H&D? ===<br />
Since 2013 Hackers & Designers (H&D) has grown from an informal meetup series into a large community of international designers, artists, coders, students and practitioners. <br />
H&D activities cater towards active participation, mutual exchange, learning and unlearning. H&D likes to approach the organization of such activities as 'horizontally' as possible. That is, the way our events are organized is up for discussion, and we try to incorporate as many voices in the process of organizing as possible. <br />
<br />
We are committed to provide an environment of mutual respect that is safe and welcoming for all participants. We therefore wrote (and will continue writing, reviewing, and incorporating new insights into) this document to make explicit what it takes for us as a community to create such a safer environment. This document is written for the organization of H&D itself, to remind ourselves of our position as hosts who invite people. But it is also written for our participants and guests and functions as a point of reference for accepted and unaccepted behaviour in the spaces where we encounter each other. We hope this document can serve as a guideline for collaboration. If you have suggestions, please let us know. (find contact details at the bottom of the document)<br />
<br />
=== How it was written ===<br />
This Code of Conduct is a living document, written as a collaborative effort, informed by previous experiences and the references listed below, and being updated as we go.<br />
<br />
[[File:HD-CoC-history-1.png|Version history H&D Code of Conduct]]<br />
<br />
[[File:HD-CoC-history-2.png|Version history H&D Code of Conduct]]<br />
<br />
=== Expected behaviour ===<br />
* Dedication and commitment: People put a lot of energy and thought into organizing. Therefore: if you say you would like to come, please show up and be present. If you can't come after all, try to write to us or the workshop leaders in advance. <br />
<br />
* Rythm of learning: Respect everyone's rythm of learning. If things go too fast for someone, they should always be able to address it and feel encouraged to ask for help. We consider helping others learn (when they are asking for it) a core activity in sustaining an inclusive community.<br />
<br />
* Different practices: We celebrate different sets of skills and disciplinary and educational backgrounds. Learn from each other and embrace the fact that you might learn something else than you expected. <br />
<br />
* Experimentation: We like to nourish a space for experimentation and collaboration, so manage your expectations accordingly!<br />
<br />
* Listen to others: You are great at what you do but there's always an opportunity to learn something new from someone else.<br />
<br />
* Language: We use English as a main language of communication. Be mindful that it may not be everyone's native language and speaking in another language might exclude other people. Using simple language and avoiding jargon helps to keep things accessible for everyone. If you use jargon, explain what you mean by it.<br />
<br />
* Shared response-abilty: We expect and encourage all participants to take and share the responsibility for enacting and sustaining a safer and inspirational space, to be open to different perspectives and encourage each other to make our voices heard. Understand that no space is ever a safe space for everyone; claiming a space to be safe, and actively creating a space that is welcoming and engaging are two different things. Try to aim for the latter.<br />
<br />
* Individual response-ability: Don't assume. Ask questions, speak out about your needs (nobody can read minds), and accept that your needs might not always be met. If you feel you cannot express yourself in a group, please know you can always reach out to an H&D member. <br />
<br />
* Tools: We don't shame people who do not solely use open source and libre tools. However we strongly encourage you to consider using open source over – often more convenient – corporate and proprietary tools. Free, libre and open source software allows us to look inside, learn from, contribute to and critique. The open character of the tools we use is crucial to a self-determined learning experience.<br />
<br />
* Adopt an open source, libre, collaborative spirit, which includes giving credit to original authors and sources. Maybe you could consider putting the work you do in the context of HDSA explicitly in the open domain so others can build on it? Other licensing options are discussed below (WIP – not there yet)<br />
<br />
* Asking permission: We record some of our sessions for people to learn from at a later stage. We announce when we do so to give you the opportunity to turn off your camera if you wish. Are you hosting a workshop? Please also announce recordings and screengrabs and give people a chance to opt-out. <br />
<br />
* Introductions and pronouns: When introducing yourself, please also indicate your preferred pronouns. It's a good idea to add your preferred pronouns after your screenname on Jitsi and other platforms (e.g. "Margarita she/her") for easy reference.<br />
<br />
* General video conferencing etiquette: having your camera on is not a must. But if possible, it is definitely nice for facilitators to see you all so they don't feel like they're speaking into a void. Keep your mic muted unless you want to say something to the group. Using the chat is a good option to ask questions and make comments without interrupting the flow of the session. <br />
<br />
{{ClippyAnt|advice=Find recommendations of other open source tools on our dedicated pad|external=https://etherpad.hackersanddesigners.nl/p/hdsa2022-tool-ecology}}<br />
<br />
=== Unacceptable abusive behaviour ===<br />
* Hatred or violence in any form is not tolerated. There is no space for racism, sexism, queer/transphobia, ageism, ableism or classism here. <br />
* No trolling, no harassment of any kind.<br />
* No bullying, no making fun of.<br />
* No exclusionary social behaviors in the form of well-actually's, feigned surprise, backseat driving and subtle-isms. We borrow these social rules from Recurse and find they are very helpful in communities that engage in technical practices and learning. Feigned surprise for example: Dan: "What’s the command line?" Carol: "Wait, you’ve never used the command line?". <br />
{{ClippyAnt|advice=For more examples see also recurse page on social rules.|external=https://www.recurse.com/social-rules#no-subtle-ism}}.<br />
<br />
=== Reporting & Intervening ===<br />
* If you feel unsafe: make yourself heard and address people's behavior if you feel like you can. (E.g. "there's subtle sexism in that comment, it equates being a woman with being ignorant")<br />
<br />
* If someone calls you out on something: listen, pause, apologize and thank them for pointing them out. Take responsibility to educate yourself first if you weren't aware and are hearing something new (borrowed from Recurse and Feminist Club Amsterdam)<br />
<br />
* In case of harassment, abusive behavior, or if there's something else you don't feel comfortable addressing yourself: contact Karl or Anja, your H&D contact persons are happy to help: karl@hackersanddesigners.nl anja@hackersanddesigners.nl. <br />
<br />
* If we receive a report about abusive behaviour we will will contact the person(s) involved to have a conversation with them. <br />
<br />
* We will revoke access to workshops, activities and physical or digital collaboration spaces if an individual's unacceptable behavior persists.<br />
<br />
=== References ===<br />
* https://www.recurse.com/code-of-conduct <br />
* https://www.recurse.com/social-rules#no-subtle-isms <br />
* https://en.m.wikipedia.org/wiki/Recurse_Center#Social_environment_and_influence <br />
* https://libregraphicsmeeting.org/lgm/public-documentation/code-of-conduct/ <br />
* http://constantvzw.org/w/?u=http://media.constantvzw.org/wefts/123/ <br />
* https://varia.zone/en/pages/code-of-conduct.html <br />
* http://bangbangcon.com/conduct.html <br />
* https://us.pycon.org/2013/about/code-of-conduct/ <br />
* https://geekfeminism.wikia.org/wiki/Conference_anti-harassment/Policy <br />
* http://www.thefeministclub.nl/coc/ <br />
* https://pad.riseup.net/p/A_Call_for_Complaint%2C_for_Sick_Speech-keep <br />
* https://snelting.domainepublic.net/wp-content/uploads/SNELTING-CodesofConduct0505.pdf<br />
* The following statement about safe[r] spaces is part of a 'Manifesto on moderation' written by Amal Alhaag and Margarita Osipian: "Understand that no space is ever a safe space for everyone; claiming a space to be safe, and actively creating a space that is welcoming and engaging are two different things. Try to aim for the latter."</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=H%26D%27s_Code_of_Conduct&diff=5512H&D's Code of Conduct2023-05-30T12:53:26Z<p>Juju: /* Unacceptable abusive behaviour */</p>
<hr />
<div>== H&D's Code of Conduct == <br />
<span class="author">Hackers & Designers</span><br />
<br />
Last updated: 2022 <br />
<br />
https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct<br />
<br />
Contributors: Anja Groten, Margarita Osipian, Loes Bogers, Juliette Lizotte, André Fincato, Karl Moubarak<br />
<br />
=== Why a Code of Conduct for H&D? ===<br />
Since 2013 Hackers & Designers (H&D) has grown from an informal meetup series into a large community of international designers, artists, coders, students and practitioners. <br />
H&D activities cater towards active participation, mutual exchange, learning and unlearning. H&D likes to approach the organization of such activities as 'horizontally' as possible. That is, the way our events are organized is up for discussion, and we try to incorporate as many voices in the process of organizing as possible. <br />
<br />
We are committed to provide an environment of mutual respect that is safe and welcoming for all participants. We therefore wrote (and will continue writing, reviewing, and incorporating new insights into) this document to make explicit what it takes for us as a community to create such a safer environment. This document is written for the organization of H&D itself, to remind ourselves of our position as hosts who invite people. But it is also written for our participants and guests and functions as a point of reference for accepted and unaccepted behaviour in the spaces where we encounter each other. We hope this document can serve as a guideline for collaboration. If you have suggestions, please let us know. (find contact details at the bottom of the document)<br />
<br />
=== How it was written ===<br />
This Code of Conduct is a living document, written as a collaborative effort, informed by previous experiences and the references listed below, and being updated as we go.<br />
<br />
[[File:HD-CoC-history-1.png|Version history H&D Code of Conduct]]<br />
<br />
[[File:HD-CoC-history-2.png|Version history H&D Code of Conduct]]<br />
<br />
=== Expected behaviour ===<br />
* Dedication and commitment: People put a lot of energy and thought into organizing. Therefore: if you say you would like to come, please show up and be present. If you can't come after all, try to write to us or the workshop leaders in advance. <br />
<br />
* Rythm of learning: Respect everyone's rythm of learning. If things go too fast for someone, they should always be able to address it and feel encouraged to ask for help. We consider helping others learn (when they are asking for it) a core activity in sustaining an inclusive community.<br />
<br />
* Different practices: We celebrate different sets of skills and disciplinary and educational backgrounds. Learn from each other and embrace the fact that you might learn something else than you expected. <br />
<br />
* Experimentation: We like to nourish a space for experimentation and collaboration, so manage your expectations accordingly!<br />
<br />
* Listen to others: You are great at what you do but there's always an opportunity to learn something new from someone else.<br />
<br />
* Language: We use English as a main language of communication. Be mindful that it may not be everyone's native language and speaking in another language might exclude other people. Using simple language and avoiding jargon helps to keep things accessible for everyone. If you use jargon, explain what you mean by it.<br />
<br />
* Shared response-abilty: We expect and encourage all participants to take and share the responsibility for enacting and sustaining a safer and inspirational space, to be open to different perspectives and encourage each other to make our voices heard. Understand that no space is ever a safe space for everyone; claiming a space to be safe, and actively creating a space that is welcoming and engaging are two different things. Try to aim for the latter.<br />
<br />
* Individual response-ability: Don't assume. Ask questions, speak out about your needs (nobody can read minds), and accept that your needs might not always be met. If you feel you cannot express yourself in a group, please know you can always reach out to an H&D member. <br />
<br />
* Tools: We don't shame people who do not solely use open source and libre tools. However we strongly encourage you to consider using open source over – often more convenient – corporate and proprietary tools. Free, libre and open source software allows us to look inside, learn from, contribute to and critique. The open character of the tools we use is crucial to a self-determined learning experience.<br />
<br />
* Adopt an open source, libre, collaborative spirit, which includes giving credit to original authors and sources. Maybe you could consider putting the work you do in the context of HDSA explicitly in the open domain so others can build on it? Other licensing options are discussed below (WIP – not there yet)<br />
<br />
* Asking permission: We record some of our sessions for people to learn from at a later stage. We announce when we do so to give you the opportunity to turn off your camera if you wish. Are you hosting a workshop? Please also announce recordings and screengrabs and give people a chance to opt-out. <br />
<br />
* Introductions and pronouns: When introducing yourself, please also indicate your preferred pronouns. It's a good idea to add your preferred pronouns after your screenname on Jitsi and other platforms (e.g. "Margarita she/her") for easy reference.<br />
<br />
* General video conferencing etiquette: having your camera on is not a must. But if possible, it is definitely nice for facilitators to see you all so they don't feel like they're speaking into a void. Keep your mic muted unless you want to say something to the group. Using the chat is a good option to ask questions and make comments without interrupting the flow of the session. (see also https://etherpad.hackersanddesigners.nl/p/hdsa2022-tool-ecology for more recommendations)<br />
<br />
=== Unacceptable abusive behaviour ===<br />
* Hatred or violence in any form is not tolerated. There is no space for racism, sexism, queer/transphobia, ageism, ableism or classism here. <br />
* No trolling, no harassment of any kind.<br />
* No bullying, no making fun of.<br />
* No exclusionary social behaviors in the form of well-actually's, feigned surprise, backseat driving and subtle-isms. We borrow these social rules from Recurse and find they are very helpful in communities that engage in technical practices and learning. Feigned surprise for example: Dan: "What’s the command line?" Carol: "Wait, you’ve never used the command line?". <br />
{{ClippyAnt|advice=For more examples see also recurse page on social rules.|external=https://www.recurse.com/social-rules#no-subtle-ism}}.<br />
<br />
=== Reporting & Intervening ===<br />
* If you feel unsafe: make yourself heard and address people's behavior if you feel like you can. (E.g. "there's subtle sexism in that comment, it equates being a woman with being ignorant")<br />
<br />
* If someone calls you out on something: listen, pause, apologize and thank them for pointing them out. Take responsibility to educate yourself first if you weren't aware and are hearing something new (borrowed from Recurse and Feminist Club Amsterdam)<br />
<br />
* In case of harassment, abusive behavior, or if there's something else you don't feel comfortable addressing yourself: contact Karl or Anja, your H&D contact persons are happy to help: karl@hackersanddesigners.nl anja@hackersanddesigners.nl. <br />
<br />
* If we receive a report about abusive behaviour we will will contact the person(s) involved to have a conversation with them. <br />
<br />
* We will revoke access to workshops, activities and physical or digital collaboration spaces if an individual's unacceptable behavior persists.<br />
<br />
=== References ===<br />
* https://www.recurse.com/code-of-conduct <br />
* https://www.recurse.com/social-rules#no-subtle-isms <br />
* https://en.m.wikipedia.org/wiki/Recurse_Center#Social_environment_and_influence <br />
* https://libregraphicsmeeting.org/lgm/public-documentation/code-of-conduct/ <br />
* http://constantvzw.org/w/?u=http://media.constantvzw.org/wefts/123/ <br />
* https://varia.zone/en/pages/code-of-conduct.html <br />
* http://bangbangcon.com/conduct.html <br />
* https://us.pycon.org/2013/about/code-of-conduct/ <br />
* https://geekfeminism.wikia.org/wiki/Conference_anti-harassment/Policy <br />
* http://www.thefeministclub.nl/coc/ <br />
* https://pad.riseup.net/p/A_Call_for_Complaint%2C_for_Sick_Speech-keep <br />
* https://snelting.domainepublic.net/wp-content/uploads/SNELTING-CodesofConduct0505.pdf<br />
* The following statement about safe[r] spaces is part of a 'Manifesto on moderation' written by Amal Alhaag and Margarita Osipian: "Understand that no space is ever a safe space for everyone; claiming a space to be safe, and actively creating a space that is welcoming and engaging are two different things. Try to aim for the latter."</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=H%26D%27s_Code_of_Conduct&diff=5511H&D's Code of Conduct2023-05-30T12:53:00Z<p>Juju: /* Unacceptable abusive behaviour */</p>
<hr />
<div>== H&D's Code of Conduct == <br />
<span class="author">Hackers & Designers</span><br />
<br />
Last updated: 2022 <br />
<br />
https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct<br />
<br />
Contributors: Anja Groten, Margarita Osipian, Loes Bogers, Juliette Lizotte, André Fincato, Karl Moubarak<br />
<br />
=== Why a Code of Conduct for H&D? ===<br />
Since 2013 Hackers & Designers (H&D) has grown from an informal meetup series into a large community of international designers, artists, coders, students and practitioners. <br />
H&D activities cater towards active participation, mutual exchange, learning and unlearning. H&D likes to approach the organization of such activities as 'horizontally' as possible. That is, the way our events are organized is up for discussion, and we try to incorporate as many voices in the process of organizing as possible. <br />
<br />
We are committed to provide an environment of mutual respect that is safe and welcoming for all participants. We therefore wrote (and will continue writing, reviewing, and incorporating new insights into) this document to make explicit what it takes for us as a community to create such a safer environment. This document is written for the organization of H&D itself, to remind ourselves of our position as hosts who invite people. But it is also written for our participants and guests and functions as a point of reference for accepted and unaccepted behaviour in the spaces where we encounter each other. We hope this document can serve as a guideline for collaboration. If you have suggestions, please let us know. (find contact details at the bottom of the document)<br />
<br />
=== How it was written ===<br />
This Code of Conduct is a living document, written as a collaborative effort, informed by previous experiences and the references listed below, and being updated as we go.<br />
<br />
[[File:HD-CoC-history-1.png|Version history H&D Code of Conduct]]<br />
<br />
[[File:HD-CoC-history-2.png|Version history H&D Code of Conduct]]<br />
<br />
=== Expected behaviour ===<br />
* Dedication and commitment: People put a lot of energy and thought into organizing. Therefore: if you say you would like to come, please show up and be present. If you can't come after all, try to write to us or the workshop leaders in advance. <br />
<br />
* Rythm of learning: Respect everyone's rythm of learning. If things go too fast for someone, they should always be able to address it and feel encouraged to ask for help. We consider helping others learn (when they are asking for it) a core activity in sustaining an inclusive community.<br />
<br />
* Different practices: We celebrate different sets of skills and disciplinary and educational backgrounds. Learn from each other and embrace the fact that you might learn something else than you expected. <br />
<br />
* Experimentation: We like to nourish a space for experimentation and collaboration, so manage your expectations accordingly!<br />
<br />
* Listen to others: You are great at what you do but there's always an opportunity to learn something new from someone else.<br />
<br />
* Language: We use English as a main language of communication. Be mindful that it may not be everyone's native language and speaking in another language might exclude other people. Using simple language and avoiding jargon helps to keep things accessible for everyone. If you use jargon, explain what you mean by it.<br />
<br />
* Shared response-abilty: We expect and encourage all participants to take and share the responsibility for enacting and sustaining a safer and inspirational space, to be open to different perspectives and encourage each other to make our voices heard. Understand that no space is ever a safe space for everyone; claiming a space to be safe, and actively creating a space that is welcoming and engaging are two different things. Try to aim for the latter.<br />
<br />
* Individual response-ability: Don't assume. Ask questions, speak out about your needs (nobody can read minds), and accept that your needs might not always be met. If you feel you cannot express yourself in a group, please know you can always reach out to an H&D member. <br />
<br />
* Tools: We don't shame people who do not solely use open source and libre tools. However we strongly encourage you to consider using open source over – often more convenient – corporate and proprietary tools. Free, libre and open source software allows us to look inside, learn from, contribute to and critique. The open character of the tools we use is crucial to a self-determined learning experience.<br />
<br />
* Adopt an open source, libre, collaborative spirit, which includes giving credit to original authors and sources. Maybe you could consider putting the work you do in the context of HDSA explicitly in the open domain so others can build on it? Other licensing options are discussed below (WIP – not there yet)<br />
<br />
* Asking permission: We record some of our sessions for people to learn from at a later stage. We announce when we do so to give you the opportunity to turn off your camera if you wish. Are you hosting a workshop? Please also announce recordings and screengrabs and give people a chance to opt-out. <br />
<br />
* Introductions and pronouns: When introducing yourself, please also indicate your preferred pronouns. It's a good idea to add your preferred pronouns after your screenname on Jitsi and other platforms (e.g. "Margarita she/her") for easy reference.<br />
<br />
* General video conferencing etiquette: having your camera on is not a must. But if possible, it is definitely nice for facilitators to see you all so they don't feel like they're speaking into a void. Keep your mic muted unless you want to say something to the group. Using the chat is a good option to ask questions and make comments without interrupting the flow of the session. (see also https://etherpad.hackersanddesigners.nl/p/hdsa2022-tool-ecology for more recommendations)<br />
<br />
=== Unacceptable abusive behaviour ===<br />
* Hatred or violence in any form is not tolerated. There is no space for racism, sexism, queer/transphobia, ageism, ableism or classism here. <br />
* No exclusionary social behaviors in the form of well-actually's, feigned surprise, backseat driving and subtle-isms. We borrow these social rules from Recurse and find they are very helpful in communities that engage in technical practices and learning. Feigned surprise for example: Dan: "What’s the command line?" Carol: "Wait, you’ve never used the command line?". <br />
{{ClippyAnt|advice=For more examples see also recurse page on social rules|external=https://www.recurse.com/social-rules#no-subtle-ism}}.<br />
* No trolling, no harassment of any kind.<br />
* No bullying, no making fun of.<br />
<br />
=== Reporting & Intervening ===<br />
* If you feel unsafe: make yourself heard and address people's behavior if you feel like you can. (E.g. "there's subtle sexism in that comment, it equates being a woman with being ignorant")<br />
<br />
* If someone calls you out on something: listen, pause, apologize and thank them for pointing them out. Take responsibility to educate yourself first if you weren't aware and are hearing something new (borrowed from Recurse and Feminist Club Amsterdam)<br />
<br />
* In case of harassment, abusive behavior, or if there's something else you don't feel comfortable addressing yourself: contact Karl or Anja, your H&D contact persons are happy to help: karl@hackersanddesigners.nl anja@hackersanddesigners.nl. <br />
<br />
* If we receive a report about abusive behaviour we will will contact the person(s) involved to have a conversation with them. <br />
<br />
* We will revoke access to workshops, activities and physical or digital collaboration spaces if an individual's unacceptable behavior persists.<br />
<br />
=== References ===<br />
* https://www.recurse.com/code-of-conduct <br />
* https://www.recurse.com/social-rules#no-subtle-isms <br />
* https://en.m.wikipedia.org/wiki/Recurse_Center#Social_environment_and_influence <br />
* https://libregraphicsmeeting.org/lgm/public-documentation/code-of-conduct/ <br />
* http://constantvzw.org/w/?u=http://media.constantvzw.org/wefts/123/ <br />
* https://varia.zone/en/pages/code-of-conduct.html <br />
* http://bangbangcon.com/conduct.html <br />
* https://us.pycon.org/2013/about/code-of-conduct/ <br />
* https://geekfeminism.wikia.org/wiki/Conference_anti-harassment/Policy <br />
* http://www.thefeministclub.nl/coc/ <br />
* https://pad.riseup.net/p/A_Call_for_Complaint%2C_for_Sick_Speech-keep <br />
* https://snelting.domainepublic.net/wp-content/uploads/SNELTING-CodesofConduct0505.pdf<br />
* The following statement about safe[r] spaces is part of a 'Manifesto on moderation' written by Amal Alhaag and Margarita Osipian: "Understand that no space is ever a safe space for everyone; claiming a space to be safe, and actively creating a space that is welcoming and engaging are two different things. Try to aim for the latter."</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Workshop_scripts_in_practice&diff=5499Workshop scripts in practice2023-05-30T12:41:48Z<p>Juju: /* Workshop scripts in practice */</p>
<hr />
<div>== Workshop scripts in practice ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
{{ClippyAnt|advice=Taken from [https://firstthenrepeat.hackersanddesigners.nl/#Scripting_Workshops Scripting Workshops] and [https://firstthenrepeat.hackersanddesigners.nl/#Workshop_scripts_in_practice]] in [http://firstthenrepeat.hackersanddesigners.nl/ ''First, Then, Repeat: Workshop Scripts in Practice'']|external=http://firstthenrepeat.hackersanddesigners.nl/}}<br />
<br />
<br />
The workshop has become an attractive format for time-boxed collaboration that functions well within the context of the “new economy,” commercial conferences, incubator programs, and creative retreats. Taking place outside of the daily work routine, workshops ought to be fun while enhancing the participants’ CVs. At times the workshop is understood as a product in and of itself.<br />
<br />
<br />
Ever since our first workshop-based event under the title “Hackers & Designers” in 2013, the workshop format has played an important role for the H&D collective. Since then, it has been reinterpreted in many ways. In contrast to the workshop paradigm described above, H&D workshops are not concerned with products or productivity, to speak in neo-liberal terms. <br />
H&D has been exploring the BYOW (Bring Your Own Workshop) format as an attempt to decentralize the curation and organization of the workshop program, and to create from the get-go an egalitarian learning environment that responds to the particular assemblage of people, tools, and environments.<br />
<br />
<br />
Part of that exploration has been the workshop script – a pedagogical document format that allows us to organize hybrid workshops in a distributed manner – across continents. The format of the “workshop script” evolved from a commitment toward paying critical attention to the workshop format as such and evolved further due to the necessity of staying connected throughout the COVID-19 pandemic. The workshop script became a “thing held in common,” a concept and artifact that was collectively shaped, and could be referred to while participants and facilitators were distributed across countries and timezones, while trying to continue to organize, facilitate, and participate in workshops remotely.<br />
<br />
<br />
The publication ''[https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice First, Then... Repeat. Workshop Scripts in Practice]'' is a cross-media publication (see: [[Cross-media publishing with MediaWiki]]) that draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers & Designers (H&D). The publication came together in 2022, but in some way was long in the making. It derives from an enthusiasm for the various ways collective learning environments take shape. It grew out of a curiosity for the ways that such practices are shared across different localities, timelines, and experiences.<br />
<br />
[[File:H&D_PNF_workshop-121.jpg|thumb]]<br />
<br />
Situated somewhere between documentation and a call for action, the workshop scripts are companions to self-organized learning situations. They articulate and materialize aspects of such practice that cannot always easily be explained through existing frameworks. Contributions to the book document and reflect on self-organized learning situations that spontaneously assemble practitioners from various domains, diffusing disciplinary boundaries and blurring distinctions between learner and teacher, user and maker, product and process, friendships and work relations. They have in common that they seek affiliations beyond predetermined domains and bring together various vocabularies and methods all at once.<br />
<br />
[[File:211208Presentation37.jpg|thumb|Diagram of the unfolding publishing process]]<br />
<br />
This publication pays attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” It is an attempt to discuss and show how workshops and workshop scripts shape—and in turn, are shaped by—the various environments they pass through. As a collection that holds various relational and iterative documents, it therefore cannot be considered a product or example of one specific kind of practice. The practices it draws together are site, context, and time specific, never complete, always ongoing, as are their various forms of expression.<br />
<br />
[[File: Scan-67.jpg|thumb|Cover image "First, Then... Repeat. Workshop Scripts in Practice"]]<br />
<br />
[[File:Scan-61.jpg|Book spread|thumb]]<br />
<br />
[[File:Scan-62.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-71.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-73.jpg|thumb|Book spread]]<br />
<br />
To assist the reader, the contributions were organized into five clusters: ''Setting Conditions'', ''Prompts'', ''How-tos'', ''Distributed Curricula'', and ''Active Bibliographies''. While the contributions are organized according to these clusters and appear in a linear order, they are also intertwined in multiple ways, and resist a linear narrative (forward-moving progressing, improving, innovating). Thus, readers are invited to be on the look out for other, multiple, and parallel connections and navigate the contributions idiosyncratically, non-linearly, in a zigzag, from back to front.<br />
<br />
<gallery><br />
H&D_PNF_workshop-10.jpg<br />
H&D_PNF_workshop-18.jpg<br />
H&D_PNF_workshop-21.jpg<br />
H&D_PNF_workshop-32.jpg<br />
H&D_PNF_workshop-35.jpg<br />
H&D_PNF_workshop-38.jpg<br />
H&D_PNF_workshop-41.jpg<br />
H&D_PNF_workshop-84.jpg<br />
H&D_PNF_workshop-42.jpg<br />
H&D_PNF_workshop-98.jpg<br />
</gallery><br />
<br />
<br />
{{ClippyAnt|advice=Find the publication online 🌐: [http://firstthenrepeat.hackersanddesigners.nl/ firstthenrepeat.hackersanddesigners.nl]'''. <br />
As an exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows the code can be found on the [https://github.com/hackersanddesigners/wiki2print H&D Github]. The printed publication 📚 is available to order via the our website|external=https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice H&D}}<br />
<br />
<br />
<br />
'''Contributors'''<br />
<br />
Åbäke, Julia Bee, Loes Bogers, Naomi Chambers, Qianxun Chen, Gerko Egert, Petra Eros, Feminist Health Care Research Group, Feminist Search Tools Working Group, fanfare, André Fincato, Gabriel Fontana, Sarah Garcin, Erin Gatz, Anja Groten, James Bryan Graves, Giselle Jhunjhnuwala, Olivia Jaques, Nienke Huitenga-Broeren, Angela Jerardi, Pernilla Manjula Philip, Brian Massumi, Katherine Moriwaki, Mio Kojima, Heerko van der Kooij, Siwar Kraytem, Juliette Lizotte, Karl Moubarak, Hanna Müller, Luke Murphy, Santiago Pinyol, Susan Ploetz, Juli Reinartz, Sandy Richter, Alice Strete, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin.<br />
<br />
*'''Editor''': Anja Groten<br />
*'''Design''': Anja Groten, Juliette Lizotte<br />
*'''Development''': Heerko van der Kooij, Maisa Imamović<br />
*'''Copy-editing''': Georgie Sinclair<br />
*'''Proofreading''': Loes Bogers<br />
*'''Paper Inside''': Rebello, 90 grs<br />
*'''Paper Cover''': Muskat Grijs, 290 grs<br />
*'''Printing''': Drukkerij RaddraaierSSP<br />
*'''Binding''': Swiss bound, with yellow open spine by AIGA Amsterdam<br />
*'''Publisher''': self-published by Hackers & Designers, www.hackersanddesigners.nl<br />
*'''License''': [https://gitlab.constantvzw.org/unbound/cc4r COLLECTIVE CONDITIONS FOR RE-USE (CC4r)]<br />
<br />
<gallery><br />
Scan-57.jpg<br />
Scan-72.jpg<br />
Scan-78.jpg<br />
Scan-76.jpg<br />
Scan-77.jpg<br />
Scan-75.jpg<br />
Scan-74.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Workshop_scripts_in_practice&diff=5495Workshop scripts in practice2023-05-30T12:37:51Z<p>Juju: </p>
<hr />
<div>== Workshop scripts in practice ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
{{ClippyAnt|advice=Taken from [https://firstthenrepeat.hackersanddesigners.nl/#Scripting_Workshops Scripting Workshops] and [https://firstthenrepeat.hackersanddesigners.nl/#Workshop_scripts_in_practice]] in [http://firstthenrepeat.hackersanddesigners.nl/ ''First, Then, Repeat: Workshop Scripts in Practice'']}}<br />
<br />
<br />
The workshop has become an attractive format for time-boxed collaboration that functions well within the context of the “new economy,” commercial conferences, incubator programs, and creative retreats. Taking place outside of the daily work routine, workshops ought to be fun while enhancing the participants’ CVs. At times the workshop is understood as a product in and of itself.<br />
<br />
<br />
Ever since our first workshop-based event under the title “Hackers & Designers” in 2013, the workshop format has played an important role for the H&D collective. Since then, it has been reinterpreted in many ways. In contrast to the workshop paradigm described above, H&D workshops are not concerned with products or productivity, to speak in neo-liberal terms. <br />
H&D has been exploring the BYOW (Bring Your Own Workshop) format as an attempt to decentralize the curation and organization of the workshop program, and to create from the get-go an egalitarian learning environment that responds to the particular assemblage of people, tools, and environments.<br />
<br />
<br />
Part of that exploration has been the workshop script – a pedagogical document format that allows us to organize hybrid workshops in a distributed manner – across continents. The format of the “workshop script” evolved from a commitment toward paying critical attention to the workshop format as such and evolved further due to the necessity of staying connected throughout the COVID-19 pandemic. The workshop script became a “thing held in common,” a concept and artifact that was collectively shaped, and could be referred to while participants and facilitators were distributed across countries and timezones, while trying to continue to organize, facilitate, and participate in workshops remotely.<br />
<br />
<br />
The publication ''[https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice First, Then... Repeat. Workshop Scripts in Practice]'' is a cross-media publication (see: [[Cross-media publishing with MediaWiki]]) that draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers & Designers (H&D). The publication came together in 2022, but in some way was long in the making. It derives from an enthusiasm for the various ways collective learning environments take shape. It grew out of a curiosity for the ways that such practices are shared across different localities, timelines, and experiences.<br />
<br />
[[File:H&D_PNF_workshop-121.jpg|thumb]]<br />
<br />
Situated somewhere between documentation and a call for action, the workshop scripts are companions to self-organized learning situations. They articulate and materialize aspects of such practice that cannot always easily be explained through existing frameworks. Contributions to the book document and reflect on self-organized learning situations that spontaneously assemble practitioners from various domains, diffusing disciplinary boundaries and blurring distinctions between learner and teacher, user and maker, product and process, friendships and work relations. They have in common that they seek affiliations beyond predetermined domains and bring together various vocabularies and methods all at once.<br />
<br />
[[File:211208Presentation37.jpg|thumb|Diagram of the unfolding publishing process]]<br />
<br />
This publication pays attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” It is an attempt to discuss and show how workshops and workshop scripts shape—and in turn, are shaped by—the various environments they pass through. As a collection that holds various relational and iterative documents, it therefore cannot be considered a product or example of one specific kind of practice. The practices it draws together are site, context, and time specific, never complete, always ongoing, as are their various forms of expression.<br />
<br />
[[File: Scan-67.jpg|thumb|Cover image "First, Then... Repeat. Workshop Scripts in Practice"]]<br />
<br />
[[File:Scan-61.jpg|Book spread|thumb]]<br />
<br />
[[File:Scan-62.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-71.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-73.jpg|thumb|Book spread]]<br />
<br />
To assist the reader, the contributions were organized into five clusters: ''Setting Conditions'', ''Prompts'', ''How-tos'', ''Distributed Curricula'', and ''Active Bibliographies''. While the contributions are organized according to these clusters and appear in a linear order, they are also intertwined in multiple ways, and resist a linear narrative (forward-moving progressing, improving, innovating). Thus, readers are invited to be on the look out for other, multiple, and parallel connections and navigate the contributions idiosyncratically, non-linearly, in a zigzag, from back to front.<br />
<br />
<gallery><br />
H&D_PNF_workshop-10.jpg<br />
H&D_PNF_workshop-18.jpg<br />
H&D_PNF_workshop-21.jpg<br />
H&D_PNF_workshop-32.jpg<br />
H&D_PNF_workshop-35.jpg<br />
H&D_PNF_workshop-38.jpg<br />
H&D_PNF_workshop-41.jpg<br />
H&D_PNF_workshop-84.jpg<br />
H&D_PNF_workshop-42.jpg<br />
H&D_PNF_workshop-98.jpg<br />
</gallery><br />
<br />
<br />
{{ClippyAnt|advice=Find the publication online 🌐: [http://firstthenrepeat.hackersanddesigners.nl/ firstthenrepeat.hackersanddesigners.nl]'''. The printed publication 📚 is available via the [https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice H&D website]. <br />
As an exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows the code can be found on the [https://github.com/hackersanddesigners/wiki2print H&D Github].}}<br />
<br />
<br />
<br />
'''Contributors'''<br />
<br />
Åbäke, Julia Bee, Loes Bogers, Naomi Chambers, Qianxun Chen, Gerko Egert, Petra Eros, Feminist Health Care Research Group, Feminist Search Tools Working Group, fanfare, André Fincato, Gabriel Fontana, Sarah Garcin, Erin Gatz, Anja Groten, James Bryan Graves, Giselle Jhunjhnuwala, Olivia Jaques, Nienke Huitenga-Broeren, Angela Jerardi, Pernilla Manjula Philip, Brian Massumi, Katherine Moriwaki, Mio Kojima, Heerko van der Kooij, Siwar Kraytem, Juliette Lizotte, Karl Moubarak, Hanna Müller, Luke Murphy, Santiago Pinyol, Susan Ploetz, Juli Reinartz, Sandy Richter, Alice Strete, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin.<br />
<br />
*'''Editor''': Anja Groten<br />
*'''Design''': Anja Groten, Juliette Lizotte<br />
*'''Development''': Heerko van der Kooij, Maisa Imamović<br />
*'''Copy-editing''': Georgie Sinclair<br />
*'''Proofreading''': Loes Bogers<br />
*'''Paper Inside''': Rebello, 90 grs<br />
*'''Paper Cover''': Muskat Grijs, 290 grs<br />
*'''Printing''': Drukkerij RaddraaierSSP<br />
*'''Binding''': Swiss bound, with yellow open spine by AIGA Amsterdam<br />
*'''Publisher''': self-published by Hackers & Designers, www.hackersanddesigners.nl<br />
*'''License''': [https://gitlab.constantvzw.org/unbound/cc4r COLLECTIVE CONDITIONS FOR RE-USE (CC4r)]<br />
<br />
<gallery><br />
Scan-57.jpg<br />
Scan-72.jpg<br />
Scan-78.jpg<br />
Scan-76.jpg<br />
Scan-77.jpg<br />
Scan-75.jpg<br />
Scan-74.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Workshop_scripts_in_practice&diff=5481Workshop scripts in practice2023-05-30T12:25:00Z<p>Juju: /* Workshop scripts in practice */</p>
<hr />
<div>== Workshop scripts in practice ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
{{ClippyAnt|advice=Taken from [https://firstthenrepeat.hackersanddesigners.nl/#Scripting_Workshops Scripting Workshops] and [https://firstthenrepeat.hackersanddesigners.nl/#Workshop_scripts_in_practice]] in [http://firstthenrepeat.hackersanddesigners.nl/ ''First, Then, Repeat: Workshop Scripts in Practice'']}}<br />
<br />
<br />
The workshop has become an attractive format for time-boxed collaboration that functions well within the context of the “new economy,” commercial conferences, incubator programs, and creative retreats. Taking place outside of the daily work routine, workshops ought to be fun while enhancing the participants’ CVs. At times the workshop is understood as a product in and of itself.<br />
<br />
<br />
Ever since our first workshop-based event under the title “Hackers & Designers” in 2013, the workshop format has played an important role for the H&D collective. Since then, it has been reinterpreted in many ways. In contrast to the workshop paradigm described above, H&D workshops are not concerned with products or productivity, to speak in neo-liberal terms. <br />
H&D has been exploring the BYOW (Bring Your Own Workshop) format as an attempt to decentralize the curation and organization of the workshop program, and to create from the get-go an egalitarian learning environment that responds to the particular assemblage of people, tools, and environments.<br />
<br />
<br />
Part of that exploration has been the workshop script – a pedagogical document format that allows us to organize hybrid workshops in a distributed manner – across continents. The format of the “workshop script” evolved from a commitment toward paying critical attention to the workshop format as such and evolved further due to the necessity of staying connected throughout the COVID-19 pandemic. The workshop script became a “thing held in common,” a concept and artifact that was collectively shaped, and could be referred to while participants and facilitators were distributed across countries and timezones, while trying to continue to organize, facilitate, and participate in workshops remotely.<br />
<br />
<br />
The publication ''[https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice First, Then... Repeat. Workshop Scripts in Practice]'' is a cross-media publication (see: [[Cross-media publishing with MediaWiki]]) that draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers & Designers (H&D). The publication came together in 2022, but in some way was long in the making. It derives from an enthusiasm for the various ways collective learning environments take shape. It grew out of a curiosity for the ways that such practices are shared across different localities, timelines, and experiences.<br />
<br />
[[File:H&D_PNF_workshop-121.jpg|thumb]]<br />
<br />
Situated somewhere between documentation and a call for action, the workshop scripts are companions to self-organized learning situations. They articulate and materialize aspects of such practice that cannot always easily be explained through existing frameworks. Contributions to the book document and reflect on self-organized learning situations that spontaneously assemble practitioners from various domains, diffusing disciplinary boundaries and blurring distinctions between learner and teacher, user and maker, product and process, friendships and work relations. They have in common that they seek affiliations beyond predetermined domains and bring together various vocabularies and methods all at once.<br />
<br />
[[File:211208Presentation37.jpg|thumb|Diagram of the unfolding publishing process]]<br />
<br />
This publication pays attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” It is an attempt to discuss and show how workshops and workshop scripts shape—and in turn, are shaped by—the various environments they pass through. As a collection that holds various relational and iterative documents, it therefore cannot be considered a product or example of one specific kind of practice. The practices it draws together are site, context, and time specific, never complete, always ongoing, as are their various forms of expression.<br />
<br />
[[File: Scan-67.jpg|thumb|Cover image "First, Then... Repeat. Workshop Scripts in Practice"]]<br />
<br />
[[File:Scan-61.jpg|Book spread|thumb]]<br />
<br />
[[File:Scan-62.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-71.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-73.jpg|thumb|Book spread]]<br />
<br />
To assist the reader, the contributions were organized into five clusters: ''Setting Conditions'', ''Prompts'', ''How-tos'', ''Distributed Curricula'', and ''Active Bibliographies''. While the contributions are organized according to these clusters and appear in a linear order, they are also intertwined in multiple ways, and resist a linear narrative (forward-moving progressing, improving, innovating). Thus, readers are invited to be on the look out for other, multiple, and parallel connections and navigate the contributions idiosyncratically, non-linearly, in a zigzag, from back to front.<br />
<br />
<gallery><br />
H&D_PNF_workshop-10.jpg<br />
H&D_PNF_workshop-18.jpg<br />
H&D_PNF_workshop-21.jpg<br />
H&D_PNF_workshop-32.jpg<br />
H&D_PNF_workshop-35.jpg<br />
H&D_PNF_workshop-38.jpg<br />
H&D_PNF_workshop-41.jpg<br />
H&D_PNF_workshop-84.jpg<br />
H&D_PNF_workshop-42.jpg<br />
H&D_PNF_workshop-98.jpg<br />
</gallery><br />
<br />
<br />
'''Find the publication online 🌐: [http://firstthenrepeat.hackersanddesigners.nl/ firstthenrepeat.hackersanddesigners.nl]'''. The printed publication 📚 is available via the [https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice H&D website]. <br />
As an exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows the code can be found on the [https://github.com/hackersanddesigners/wiki2print H&D Github].<br />
<br />
<br />
<br />
'''Contributors'''<br />
<br />
Åbäke, Julia Bee, Loes Bogers, Naomi Chambers, Qianxun Chen, Gerko Egert, Petra Eros, Feminist Health Care Research Group, Feminist Search Tools Working Group, fanfare, André Fincato, Gabriel Fontana, Sarah Garcin, Erin Gatz, Anja Groten, James Bryan Graves, Giselle Jhunjhnuwala, Olivia Jaques, Nienke Huitenga-Broeren, Angela Jerardi, Pernilla Manjula Philip, Brian Massumi, Katherine Moriwaki, Mio Kojima, Heerko van der Kooij, Siwar Kraytem, Juliette Lizotte, Karl Moubarak, Hanna Müller, Luke Murphy, Santiago Pinyol, Susan Ploetz, Juli Reinartz, Sandy Richter, Alice Strete, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin.<br />
<br />
*'''Editor''': Anja Groten<br />
*'''Design''': Anja Groten, Juliette Lizotte<br />
*'''Development''': Heerko van der Kooij, Maisa Imamović<br />
*'''Copy-editing''': Georgie Sinclair<br />
*'''Proofreading''': Loes Bogers<br />
*'''Paper Inside''': Rebello, 90 grs<br />
*'''Paper Cover''': Muskat Grijs, 290 grs<br />
*'''Printing''': Drukkerij RaddraaierSSP<br />
*'''Binding''': Swiss bound, with yellow open spine by AIGA Amsterdam<br />
*'''Publisher''': self-published by Hackers & Designers, www.hackersanddesigners.nl<br />
*'''License''': [https://gitlab.constantvzw.org/unbound/cc4r COLLECTIVE CONDITIONS FOR RE-USE (CC4r)]<br />
<br />
<gallery><br />
Scan-57.jpg<br />
Scan-72.jpg<br />
Scan-78.jpg<br />
Scan-76.jpg<br />
Scan-77.jpg<br />
Scan-75.jpg<br />
Scan-74.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Workshop_scripts_in_practice&diff=5479Workshop scripts in practice2023-05-30T12:23:06Z<p>Juju: /* Workshop scripts in practice */</p>
<hr />
<div>== Workshop scripts in practice ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
{{ClippyAnt|advice=Find the original source of this text in ''First, Then, Repeat: Workshop Scripts in Practice'' in the chapter [https://firstthenrepeat.hackersanddesigners.nl/#Scripting_Workshops Scripting Workshops]|external=https://firstthenrepeat.hackersanddesigners.nl/#Workshop_scripts_in_practice}}<br />
<br />
<br />
The workshop has become an attractive format for time-boxed collaboration that functions well within the context of the “new economy,” commercial conferences, incubator programs, and creative retreats. Taking place outside of the daily work routine, workshops ought to be fun while enhancing the participants’ CVs. At times the workshop is understood as a product in and of itself.<br />
<br />
<br />
Ever since our first workshop-based event under the title “Hackers & Designers” in 2013, the workshop format has played an important role for the H&D collective. Since then, it has been reinterpreted in many ways. In contrast to the workshop paradigm described above, H&D workshops are not concerned with products or productivity, to speak in neo-liberal terms. <br />
H&D has been exploring the BYOW (Bring Your Own Workshop) format as an attempt to decentralize the curation and organization of the workshop program, and to create from the get-go an egalitarian learning environment that responds to the particular assemblage of people, tools, and environments.<br />
<br />
<br />
Part of that exploration has been the workshop script – a pedagogical document format that allows us to organize hybrid workshops in a distributed manner – across continents. The format of the “workshop script” evolved from a commitment toward paying critical attention to the workshop format as such and evolved further due to the necessity of staying connected throughout the COVID-19 pandemic. The workshop script became a “thing held in common,” a concept and artifact that was collectively shaped, and could be referred to while participants and facilitators were distributed across countries and timezones, while trying to continue to organize, facilitate, and participate in workshops remotely.<br />
<br />
<br />
The publication ''[https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice First, Then... Repeat. Workshop Scripts in Practice]'' is a cross-media publication (see: [[Cross-media publishing with MediaWiki]]) that draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers & Designers (H&D). The publication came together in 2022, but in some way was long in the making. It derives from an enthusiasm for the various ways collective learning environments take shape. It grew out of a curiosity for the ways that such practices are shared across different localities, timelines, and experiences.<br />
<br />
[[File:H&D_PNF_workshop-121.jpg|thumb]]<br />
<br />
Situated somewhere between documentation and a call for action, the workshop scripts are companions to self-organized learning situations. They articulate and materialize aspects of such practice that cannot always easily be explained through existing frameworks. Contributions to the book document and reflect on self-organized learning situations that spontaneously assemble practitioners from various domains, diffusing disciplinary boundaries and blurring distinctions between learner and teacher, user and maker, product and process, friendships and work relations. They have in common that they seek affiliations beyond predetermined domains and bring together various vocabularies and methods all at once.<br />
<br />
[[File:211208Presentation37.jpg|thumb|Diagram of the unfolding publishing process]]<br />
<br />
This publication pays attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” It is an attempt to discuss and show how workshops and workshop scripts shape—and in turn, are shaped by—the various environments they pass through. As a collection that holds various relational and iterative documents, it therefore cannot be considered a product or example of one specific kind of practice. The practices it draws together are site, context, and time specific, never complete, always ongoing, as are their various forms of expression.<br />
<br />
[[File: Scan-67.jpg|thumb|Cover image "First, Then... Repeat. Workshop Scripts in Practice"]]<br />
<br />
[[File:Scan-61.jpg|Book spread|thumb]]<br />
<br />
[[File:Scan-62.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-71.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-73.jpg|thumb|Book spread]]<br />
<br />
To assist the reader, the contributions were organized into five clusters: ''Setting Conditions'', ''Prompts'', ''How-tos'', ''Distributed Curricula'', and ''Active Bibliographies''. While the contributions are organized according to these clusters and appear in a linear order, they are also intertwined in multiple ways, and resist a linear narrative (forward-moving progressing, improving, innovating). Thus, readers are invited to be on the look out for other, multiple, and parallel connections and navigate the contributions idiosyncratically, non-linearly, in a zigzag, from back to front.<br />
<br />
<gallery><br />
H&D_PNF_workshop-10.jpg<br />
H&D_PNF_workshop-18.jpg<br />
H&D_PNF_workshop-21.jpg<br />
H&D_PNF_workshop-32.jpg<br />
H&D_PNF_workshop-35.jpg<br />
H&D_PNF_workshop-38.jpg<br />
H&D_PNF_workshop-41.jpg<br />
H&D_PNF_workshop-84.jpg<br />
H&D_PNF_workshop-42.jpg<br />
H&D_PNF_workshop-98.jpg<br />
</gallery><br />
<br />
<br />
'''Find the publication online 🌐: [http://firstthenrepeat.hackersanddesigners.nl/ firstthenrepeat.hackersanddesigners.nl]'''. The printed publication 📚 is available via the [https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice H&D website]. <br />
As an exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows the code can be found on the [https://github.com/hackersanddesigners/wiki2print H&D Github].<br />
<br />
<br />
<br />
'''Contributors'''<br />
<br />
Åbäke, Julia Bee, Loes Bogers, Naomi Chambers, Qianxun Chen, Gerko Egert, Petra Eros, Feminist Health Care Research Group, Feminist Search Tools Working Group, fanfare, André Fincato, Gabriel Fontana, Sarah Garcin, Erin Gatz, Anja Groten, James Bryan Graves, Giselle Jhunjhnuwala, Olivia Jaques, Nienke Huitenga-Broeren, Angela Jerardi, Pernilla Manjula Philip, Brian Massumi, Katherine Moriwaki, Mio Kojima, Heerko van der Kooij, Siwar Kraytem, Juliette Lizotte, Karl Moubarak, Hanna Müller, Luke Murphy, Santiago Pinyol, Susan Ploetz, Juli Reinartz, Sandy Richter, Alice Strete, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin.<br />
<br />
*'''Editor''': Anja Groten<br />
*'''Design''': Anja Groten, Juliette Lizotte<br />
*'''Development''': Heerko van der Kooij, Maisa Imamović<br />
*'''Copy-editing''': Georgie Sinclair<br />
*'''Proofreading''': Loes Bogers<br />
*'''Paper Inside''': Rebello, 90 grs<br />
*'''Paper Cover''': Muskat Grijs, 290 grs<br />
*'''Printing''': Drukkerij RaddraaierSSP<br />
*'''Binding''': Swiss bound, with yellow open spine by AIGA Amsterdam<br />
*'''Publisher''': self-published by Hackers & Designers, www.hackersanddesigners.nl<br />
*'''License''': [https://gitlab.constantvzw.org/unbound/cc4r COLLECTIVE CONDITIONS FOR RE-USE (CC4r)]<br />
<br />
<gallery><br />
Scan-57.jpg<br />
Scan-72.jpg<br />
Scan-78.jpg<br />
Scan-76.jpg<br />
Scan-77.jpg<br />
Scan-75.jpg<br />
Scan-74.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Workshop_scripts_in_practice&diff=5476Workshop scripts in practice2023-05-30T12:18:22Z<p>Juju: /* Workshop scripts in practice */</p>
<hr />
<div>== Workshop scripts in practice ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
{{ClippyAnt|advice=This was first published in the book ''[https://firstthenrepeat.hackersanddesigners.nl/#Scripting_Workshops First, Then, Repeat]''|external=https://firstthenrepeat.hackersanddesigners.nl/#Workshop_scripts_in_practice}}<br />
<br />
<br />
The workshop has become an attractive format for time-boxed collaboration that functions well within the context of the “new economy,” commercial conferences, incubator programs, and creative retreats. Taking place outside of the daily work routine, workshops ought to be fun while enhancing the participants’ CVs. At times the workshop is understood as a product in and of itself.<br />
<br />
<br />
Ever since our first workshop-based event under the title “Hackers & Designers” in 2013, the workshop format has played an important role for the H&D collective. Since then, it has been reinterpreted in many ways. In contrast to the workshop paradigm described above, H&D workshops are not concerned with products or productivity, to speak in neo-liberal terms. <br />
H&D has been exploring the BYOW (Bring Your Own Workshop) format as an attempt to decentralize the curation and organization of the workshop program, and to create from the get-go an egalitarian learning environment that responds to the particular assemblage of people, tools, and environments.<br />
<br />
<br />
Part of that exploration has been the workshop script – a pedagogical document format that allows us to organize hybrid workshops in a distributed manner – across continents. The format of the “workshop script” evolved from a commitment toward paying critical attention to the workshop format as such and evolved further due to the necessity of staying connected throughout the COVID-19 pandemic. The workshop script became a “thing held in common,” a concept and artifact that was collectively shaped, and could be referred to while participants and facilitators were distributed across countries and timezones, while trying to continue to organize, facilitate, and participate in workshops remotely.<br />
<br />
<br />
The publication ''[https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice First, Then... Repeat. Workshop Scripts in Practice]'' is a cross-media publication (see: [[Cross-media publishing with MediaWiki]]) that draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers & Designers (H&D). The publication came together in 2022, but in some way was long in the making. It derives from an enthusiasm for the various ways collective learning environments take shape. It grew out of a curiosity for the ways that such practices are shared across different localities, timelines, and experiences.<br />
<br />
[[File:H&D_PNF_workshop-121.jpg|thumb]]<br />
<br />
Situated somewhere between documentation and a call for action, the workshop scripts are companions to self-organized learning situations. They articulate and materialize aspects of such practice that cannot always easily be explained through existing frameworks. Contributions to the book document and reflect on self-organized learning situations that spontaneously assemble practitioners from various domains, diffusing disciplinary boundaries and blurring distinctions between learner and teacher, user and maker, product and process, friendships and work relations. They have in common that they seek affiliations beyond predetermined domains and bring together various vocabularies and methods all at once.<br />
<br />
[[File:211208Presentation37.jpg|thumb|Diagram of the unfolding publishing process]]<br />
<br />
This publication pays attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” It is an attempt to discuss and show how workshops and workshop scripts shape—and in turn, are shaped by—the various environments they pass through. As a collection that holds various relational and iterative documents, it therefore cannot be considered a product or example of one specific kind of practice. The practices it draws together are site, context, and time specific, never complete, always ongoing, as are their various forms of expression.<br />
<br />
[[File: Scan-67.jpg|thumb|Cover image "First, Then... Repeat. Workshop Scripts in Practice"]]<br />
<br />
[[File:Scan-61.jpg|Book spread|thumb]]<br />
<br />
[[File:Scan-62.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-71.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-73.jpg|thumb|Book spread]]<br />
<br />
To assist the reader, the contributions were organized into five clusters: ''Setting Conditions'', ''Prompts'', ''How-tos'', ''Distributed Curricula'', and ''Active Bibliographies''. While the contributions are organized according to these clusters and appear in a linear order, they are also intertwined in multiple ways, and resist a linear narrative (forward-moving progressing, improving, innovating). Thus, readers are invited to be on the look out for other, multiple, and parallel connections and navigate the contributions idiosyncratically, non-linearly, in a zigzag, from back to front.<br />
<br />
<gallery><br />
H&D_PNF_workshop-10.jpg<br />
H&D_PNF_workshop-18.jpg<br />
H&D_PNF_workshop-21.jpg<br />
H&D_PNF_workshop-32.jpg<br />
H&D_PNF_workshop-35.jpg<br />
H&D_PNF_workshop-38.jpg<br />
H&D_PNF_workshop-41.jpg<br />
H&D_PNF_workshop-84.jpg<br />
H&D_PNF_workshop-42.jpg<br />
H&D_PNF_workshop-98.jpg<br />
</gallery><br />
<br />
<br />
'''Find the publication online 🌐: [http://firstthenrepeat.hackersanddesigners.nl/ firstthenrepeat.hackersanddesigners.nl]'''. The printed publication 📚 is available via the [https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice H&D website]. <br />
As an exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows the code can be found on the [https://github.com/hackersanddesigners/wiki2print H&D Github].<br />
<br />
<br />
<br />
'''Contributors'''<br />
<br />
Åbäke, Julia Bee, Loes Bogers, Naomi Chambers, Qianxun Chen, Gerko Egert, Petra Eros, Feminist Health Care Research Group, Feminist Search Tools Working Group, fanfare, André Fincato, Gabriel Fontana, Sarah Garcin, Erin Gatz, Anja Groten, James Bryan Graves, Giselle Jhunjhnuwala, Olivia Jaques, Nienke Huitenga-Broeren, Angela Jerardi, Pernilla Manjula Philip, Brian Massumi, Katherine Moriwaki, Mio Kojima, Heerko van der Kooij, Siwar Kraytem, Juliette Lizotte, Karl Moubarak, Hanna Müller, Luke Murphy, Santiago Pinyol, Susan Ploetz, Juli Reinartz, Sandy Richter, Alice Strete, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin.<br />
<br />
*'''Editor''': Anja Groten<br />
*'''Design''': Anja Groten, Juliette Lizotte<br />
*'''Development''': Heerko van der Kooij, Maisa Imamović<br />
*'''Copy-editing''': Georgie Sinclair<br />
*'''Proofreading''': Loes Bogers<br />
*'''Paper Inside''': Rebello, 90 grs<br />
*'''Paper Cover''': Muskat Grijs, 290 grs<br />
*'''Printing''': Drukkerij RaddraaierSSP<br />
*'''Binding''': Swiss bound, with yellow open spine by AIGA Amsterdam<br />
*'''Publisher''': self-published by Hackers & Designers, www.hackersanddesigners.nl<br />
*'''License''': [https://gitlab.constantvzw.org/unbound/cc4r COLLECTIVE CONDITIONS FOR RE-USE (CC4r)]<br />
<br />
<gallery><br />
Scan-57.jpg<br />
Scan-72.jpg<br />
Scan-78.jpg<br />
Scan-76.jpg<br />
Scan-77.jpg<br />
Scan-75.jpg<br />
Scan-74.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Workshop_scripts_in_practice&diff=5474Workshop scripts in practice2023-05-30T12:16:17Z<p>Juju: /* Workshop scripts in practice */</p>
<hr />
<div>== Workshop scripts in practice ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
{{ClippyAnt|advice=This was first published in the book ''First, Then, Repeat''|external=https://firstthenrepeat.hackersanddesigners.nl/#Scripting_Workshops|external=https://firstthenrepeat.hackersanddesigners.nl/#Workshop_scripts_in_practice}}<br />
<br />
<br />
The workshop has become an attractive format for time-boxed collaboration that functions well within the context of the “new economy,” commercial conferences, incubator programs, and creative retreats. Taking place outside of the daily work routine, workshops ought to be fun while enhancing the participants’ CVs. At times the workshop is understood as a product in and of itself.<br />
<br />
<br />
Ever since our first workshop-based event under the title “Hackers & Designers” in 2013, the workshop format has played an important role for the H&D collective. Since then, it has been reinterpreted in many ways. In contrast to the workshop paradigm described above, H&D workshops are not concerned with products or productivity, to speak in neo-liberal terms. <br />
H&D has been exploring the BYOW (Bring Your Own Workshop) format as an attempt to decentralize the curation and organization of the workshop program, and to create from the get-go an egalitarian learning environment that responds to the particular assemblage of people, tools, and environments.<br />
<br />
<br />
Part of that exploration has been the workshop script – a pedagogical document format that allows us to organize hybrid workshops in a distributed manner – across continents. The format of the “workshop script” evolved from a commitment toward paying critical attention to the workshop format as such and evolved further due to the necessity of staying connected throughout the COVID-19 pandemic. The workshop script became a “thing held in common,” a concept and artifact that was collectively shaped, and could be referred to while participants and facilitators were distributed across countries and timezones, while trying to continue to organize, facilitate, and participate in workshops remotely.<br />
<br />
<br />
The publication ''[https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice First, Then... Repeat. Workshop Scripts in Practice]'' is a cross-media publication (see: [[Cross-media publishing with MediaWiki]]) that draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers & Designers (H&D). The publication came together in 2022, but in some way was long in the making. It derives from an enthusiasm for the various ways collective learning environments take shape. It grew out of a curiosity for the ways that such practices are shared across different localities, timelines, and experiences.<br />
<br />
[[File:H&D_PNF_workshop-121.jpg|thumb]]<br />
<br />
Situated somewhere between documentation and a call for action, the workshop scripts are companions to self-organized learning situations. They articulate and materialize aspects of such practice that cannot always easily be explained through existing frameworks. Contributions to the book document and reflect on self-organized learning situations that spontaneously assemble practitioners from various domains, diffusing disciplinary boundaries and blurring distinctions between learner and teacher, user and maker, product and process, friendships and work relations. They have in common that they seek affiliations beyond predetermined domains and bring together various vocabularies and methods all at once.<br />
<br />
[[File:211208Presentation37.jpg|thumb|Diagram of the unfolding publishing process]]<br />
<br />
This publication pays attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” It is an attempt to discuss and show how workshops and workshop scripts shape—and in turn, are shaped by—the various environments they pass through. As a collection that holds various relational and iterative documents, it therefore cannot be considered a product or example of one specific kind of practice. The practices it draws together are site, context, and time specific, never complete, always ongoing, as are their various forms of expression.<br />
<br />
[[File: Scan-67.jpg|thumb|Cover image "First, Then... Repeat. Workshop Scripts in Practice"]]<br />
<br />
[[File:Scan-61.jpg|Book spread|thumb]]<br />
<br />
[[File:Scan-62.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-71.jpg|thumb|Book spread]]<br />
<br />
[[File:Scan-73.jpg|thumb|Book spread]]<br />
<br />
To assist the reader, the contributions were organized into five clusters: ''Setting Conditions'', ''Prompts'', ''How-tos'', ''Distributed Curricula'', and ''Active Bibliographies''. While the contributions are organized according to these clusters and appear in a linear order, they are also intertwined in multiple ways, and resist a linear narrative (forward-moving progressing, improving, innovating). Thus, readers are invited to be on the look out for other, multiple, and parallel connections and navigate the contributions idiosyncratically, non-linearly, in a zigzag, from back to front.<br />
<br />
<gallery><br />
H&D_PNF_workshop-10.jpg<br />
H&D_PNF_workshop-18.jpg<br />
H&D_PNF_workshop-21.jpg<br />
H&D_PNF_workshop-32.jpg<br />
H&D_PNF_workshop-35.jpg<br />
H&D_PNF_workshop-38.jpg<br />
H&D_PNF_workshop-41.jpg<br />
H&D_PNF_workshop-84.jpg<br />
H&D_PNF_workshop-42.jpg<br />
H&D_PNF_workshop-98.jpg<br />
</gallery><br />
<br />
<br />
'''Find the publication online 🌐: [http://firstthenrepeat.hackersanddesigners.nl/ firstthenrepeat.hackersanddesigners.nl]'''. The printed publication 📚 is available via the [https://hackersanddesigners.nl/p/First,_Then..._Repeat._Workshop_Scripts_in_Practice H&D website]. <br />
As an exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows the code can be found on the [https://github.com/hackersanddesigners/wiki2print H&D Github].<br />
<br />
<br />
<br />
'''Contributors'''<br />
<br />
Åbäke, Julia Bee, Loes Bogers, Naomi Chambers, Qianxun Chen, Gerko Egert, Petra Eros, Feminist Health Care Research Group, Feminist Search Tools Working Group, fanfare, André Fincato, Gabriel Fontana, Sarah Garcin, Erin Gatz, Anja Groten, James Bryan Graves, Giselle Jhunjhnuwala, Olivia Jaques, Nienke Huitenga-Broeren, Angela Jerardi, Pernilla Manjula Philip, Brian Massumi, Katherine Moriwaki, Mio Kojima, Heerko van der Kooij, Siwar Kraytem, Juliette Lizotte, Karl Moubarak, Hanna Müller, Luke Murphy, Santiago Pinyol, Susan Ploetz, Juli Reinartz, Sandy Richter, Alice Strete, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin.<br />
<br />
*'''Editor''': Anja Groten<br />
*'''Design''': Anja Groten, Juliette Lizotte<br />
*'''Development''': Heerko van der Kooij, Maisa Imamović<br />
*'''Copy-editing''': Georgie Sinclair<br />
*'''Proofreading''': Loes Bogers<br />
*'''Paper Inside''': Rebello, 90 grs<br />
*'''Paper Cover''': Muskat Grijs, 290 grs<br />
*'''Printing''': Drukkerij RaddraaierSSP<br />
*'''Binding''': Swiss bound, with yellow open spine by AIGA Amsterdam<br />
*'''Publisher''': self-published by Hackers & Designers, www.hackersanddesigners.nl<br />
*'''License''': [https://gitlab.constantvzw.org/unbound/cc4r COLLECTIVE CONDITIONS FOR RE-USE (CC4r)]<br />
<br />
<gallery><br />
Scan-57.jpg<br />
Scan-72.jpg<br />
Scan-78.jpg<br />
Scan-76.jpg<br />
Scan-77.jpg<br />
Scan-75.jpg<br />
Scan-74.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=5468ChattyPub: A hybrid publishing infrastructure2023-05-30T12:12:02Z<p>Juju: </p>
<hr />
<div>== ChattyPub: A hybrid publishing infrastructure ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
=== How ChattyPub came to be ===<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators [https://xin-xin.info/ XinXin] and [https://larkvcr.com/ Lark VCR] during the [https://hackersanddesigners.nl/s/Summer_Academy_2020 2020 edition of the H&D summer academy] (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment as a central editing and design tool. This tool would allow for several people to participate in the design and editing process at the same time.<br />
<br />
In the next iteration of the [https://hackersanddesigners.nl/s/Summer_Academy_2021 HDSA in 2021], which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called [https://zulip.com/ Zulip] to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
=== What is Chatty Pub? ===<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in ''streams'' and ''topics''. In ChattyPub ''streams'' correspond with publications and ''topics'' represent chapters. To add content to a publication you can go to the corresponding stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
=== ChattyPub in action ===<br />
In autumn of 2021, H&D self-published the book [https://hackersanddesigners.nl/p/Network_Imaginaries_Publication Network Imaginaries], which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it was tested at [https://hackersanddesigners.nl/s/Activities/p/Digit_GfZK_Leipzig a walk-in style workshop at GfZK Leipzig] in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021. Another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel [https://hackersanddesigners.nl/s/Activities/p/Figuring_Things_Out_Together_%E2%80%94_Exploring_the_%E2%80%98Workshop%E2%80%99_as_a_concept_and_format_for_collective_learning_and_publishing "Figuring Things Out Together"] at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host [https://hackersanddesigners.nl/s/Activities/p/Making_Matters_Workshop_Documenta_15 a two-day walk-in workshop at documenta fifteen] on the occasion of the [https://hackersanddesigners.nl/s/Activities/p/Book_Launch%3A_%27Making_Matters._A_Vocabulary_of_Collective_Arts%27'|launch of the book Making Matters. A Vocabulary of Collective Arts] together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of "collective material practices" (the subtitle of the Making Matters book). The simplicity of the prompt along with offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta. Over two days, a several meter long publication came into being.<br />
<br />
<br />
{{ClippyAnt|advice=Traces of the different workshops and publications that were produced can be found on the growing archive of ChattyPub publicationsof|external=https://chatty-pub.hackersanddesigners.nl/}}<br />
{{ClippyAnt|advice=All about Chatty Pub and how to use it yourself|external=https://chatty-pub.hackersanddesigners.nl/docs/Chattypub}}<br />
{{ClippyAnt|advice=Installation Manual on Github|external=https://github.com/hackersanddesigners/chatty-pub/tree/master/front/}}<br />
<br />
=== Credits ===<br />
<small>With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</small></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=5462ChattyPub: A hybrid publishing infrastructure2023-05-30T12:07:46Z<p>Juju: </p>
<hr />
<div>== ChattyPub: A hybrid publishing infrastructure ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
=== How ChattyPub came to be ===<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators [https://xin-xin.info/ XinXin] and [https://larkvcr.com/ Lark VCR] during the [https://hackersanddesigners.nl/s/Summer_Academy_2020 2020 edition of the H&D summer academy] (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment as a central editing and design tool. This tool would allow for several people to participate in the design and editing process at the same time.<br />
<br />
In the next iteration of the [https://hackersanddesigners.nl/s/Summer_Academy_2021 HDSA in 2021], which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called [https://zulip.com/ Zulip] to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
=== What is Chatty Pub? ===<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in ''streams'' and ''topics''. In ChattyPub ''streams'' correspond with publications and ''topics'' represent chapters. To add content to a publication you can go to the corresponding stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
=== ChattyPub in action ===<br />
In autumn of 2021, H&D self-published the book [https://hackersanddesigners.nl/p/Network_Imaginaries_Publication Network Imaginaries], which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it was tested at [https://hackersanddesigners.nl/s/Activities/p/Digit_GfZK_Leipzig a walk-in style workshop at GfZK Leipzig] in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021. Another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel [https://hackersanddesigners.nl/s/Activities/p/Figuring_Things_Out_Together_%E2%80%94_Exploring_the_%E2%80%98Workshop%E2%80%99_as_a_concept_and_format_for_collective_learning_and_publishing "Figuring Things Out Together"] at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host [https://hackersanddesigners.nl/s/Activities/p/Making_Matters_Workshop_Documenta_15 a two-day walk-in workshop at documenta fifteen] on the occasion of the [https://hackersanddesigners.nl/s/Activities/p/Book_Launch%3A_%27Making_Matters._A_Vocabulary_of_Collective_Arts%27'|launch of the book Making Matters. A Vocabulary of Collective Arts] together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of "collective material practices" (the subtitle of the Making Matters book). The simplicity of the prompt along with offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta. Over two days, a several meter long publication came into being.<br />
<br />
=== Resources ===<br />
{{ClippyAnt|advice=Traces of the different workshops and publications that were produced can be found on the growing archive of ChattyPub publicationsof|external=https://chatty-pub.hackersanddesigners.nl/}}<br />
{{ClippyAnt|advice=All about Chatty Pub and how to use it yourself|external=https://chatty-pub.hackersanddesigners.nl/docs/Chattypub}}<br />
{{ClippyAnt|advice=Installation Manual on Github|external=https://github.com/hackersanddesigners/chatty-pub/tree/master/front/}}<br />
<br />
=== Credits ===<br />
<small>With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</small></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=5447ChattyPub: A hybrid publishing infrastructure2023-05-30T11:56:23Z<p>Juju: /* ChattyPub: A hybrid publishing infrastructure */</p>
<hr />
<div>== ChattyPub: A hybrid publishing infrastructure ==<br />
<span class="author">Hackers & Designers</span><br />
<br />
ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
=== How ChattyPub came to be ===<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators [https://xin-xin.info/ XinXin] and [https://larkvcr.com/ Lark VCR] during the [https://hackersanddesigners.nl/s/Summer_Academy_2020 2020 edition of the H&D summer academy] (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment as a central editing and design tool. This tool would allow for several people to participate in the design and editing process at the same time.<br />
<br />
In the next iteration of the [https://hackersanddesigners.nl/s/Summer_Academy_2021 HDSA in 2021], which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called [https://zulip.com/ Zulip] to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
=== What is Chatty Pub? ===<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in ''streams'' and ''topics''. In ChattyPub ''streams'' correspond with publications and ''topics'' represent chapters. To add content to a publication you can go to the corresponding stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
=== ChattyPub in action ===<br />
In autumn of 2021, H&D self-published the book [https://hackersanddesigners.nl/p/Network_Imaginaries_Publication Network Imaginaries], which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it was tested at [https://hackersanddesigners.nl/s/Activities/p/Digit_GfZK_Leipzig a walk-in style workshop at GfZK Leipzig] in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021. Another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel [https://hackersanddesigners.nl/s/Activities/p/Figuring_Things_Out_Together_%E2%80%94_Exploring_the_%E2%80%98Workshop%E2%80%99_as_a_concept_and_format_for_collective_learning_and_publishing "Figuring Things Out Together"] at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host [https://hackersanddesigners.nl/s/Activities/p/Making_Matters_Workshop_Documenta_15 a two-day walk-in workshop at documenta fifteen] on the occasion of the [https://hackersanddesigners.nl/s/Activities/p/Book_Launch%3A_%27Making_Matters._A_Vocabulary_of_Collective_Arts%27'|launch of the book Making Matters. A Vocabulary of Collective Arts] together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of "collective material practices" (the subtitle of the Making Matters book). The simplicity of the prompt along with offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta. Over two days, a several meter long publication came into being.<br />
<br />
=== Resources ===<br />
* Traces of the different workshops and publications that were produced can be found on the growing archive of [https://chatty-pub.hackersanddesigners.nl/ ChattyPub publications].<br />
* [https://chatty-pub.hackersanddesigners.nl/docs/Chattypub All about Chatty Pub and how to use it yourself] <br />
* [https://github.com/hackersanddesigners/chatty-pub/tree/master/front Installation Manual on Github] <br />
<br />
=== Credits ===<br />
<small>With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</small></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Connecting_Otherwise&diff=5432Connecting Otherwise2023-05-30T11:39:41Z<p>Juju: </p>
<hr />
<div>== Connecting Otherwise ==<br />
The H&amp;D Summer Academy was organized in a distributed manner, leveraging the format of the<br />
‘workshop script’ <ref>A workshop script is a document often produced by facilitators that provides information about the activity, steps taken, provides context and necessary information as well as narrative aspects, and may act as troubleshooting guide, readme, how-to manual and codebase all at once.</ref>: a pedagogical document format that H&amp;D has been experimenting with for several years.<br />
<br />
We invited different summer academy nodes 13 , collectives that were selected by means of an open call, to organize the HDSA together yet while remaining in the different local contexts. The nodes from Berlin, Tāmaki Makaurau (Auckland), and Seoul committed to a collective development process consisting of preparatory meetings, developing a 1-day hands-on workshop, and hosting the full activity program for local (and in one node also remote) participants. Each node developed a workshop script that was shared beforehand with the other nodes. This way the different local facilitators could prepare and host these workshops as a proxy. In an experimental way, we explored the concept of a workshop script as an executable document, that can be reproduced by others in other contexts as well. In this way, the different collectives were able to engage with each other’s practices through organizing, making and doing things together and connecting our ideas and<br />
practices. The process led to a positive experience for participants, but also required extensive interpretation and generosity from the respective workshop facilitators, participants, and the collectives who developed the activities and were on standby to troubleshoot and answer questions or clear things up.<br />
<br />
=== Workshop scripts === <br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/%27I_AM_YOU%27_Being_Connected_By_Being_with_DDDUG 'I AM YOU' Being Connected By Being with DDDUG]: ====<br />
{{ClippyAnt|advice=Find the script here!|external=https://every.dianaband.info/p/ConnectingOtherwise_workshopscript-final-amsterdam}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/Hacking_Into_Open_Source_and_Open_Space_with_MELT Hacking Into Open Source and Open Space with MELT]: ==== <br />
{{ClippyAnt|advice=Find the script here!|external=http://meltionary.com/access/RitualsAgainstBarriers_MELT.pdf}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/SoilPunk_with_Hackitects_x_H%26D SoilPunk with Hackitects x H&D ]: ==== <br />
{{ClippyAnt|advice=Here is the complete workshop script on Github|external=https://github.com/hackersanddesigners/Soilpunk_joulethief}}<br />
{{ClippyAnt|advice=How to do the technical set up!|external=https://github.com/hackersanddesigners/Soilpunk_technical_setup}} <br />
{{ClippyAnt|advice=How to make the Joulethief!|external=https://github.com/hackersanddesigners/soilpunk_joulethief_slides}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/%E5%A1%8A_%28Katamari%29_with_NEWS 塊 (Katamari) with NEWS]: ==== <br />
<gallery><br />
NEWS-script-1.jpg<br />
NEWS-script-2.jpg<br />
NEWS-script3.jpg<br />
NEWS-script-4.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Connecting_Otherwise&diff=5431Connecting Otherwise2023-05-30T11:38:45Z<p>Juju: </p>
<hr />
<div>== Connecting Otherwise ==<br />
The H&amp;D Summer Academy was organized in a distributed manner, leveraging the format of the<br />
‘workshop script’ <ref>A workshop script is a document often produced by facilitators that provides information about the activity, steps taken, provides context and necessary information as well as narrative aspects, and may act as troubleshooting guide, readme, how-to manual and codebase all at once.</ref>: a pedagogical document format that H&amp;D has been experimenting with for several years.<br />
<br />
We invited different summer academy nodes 13 , collectives that were selected by means of an open call, to organize the HDSA together yet while remaining in the different local contexts. The nodes from Berlin, Tāmaki Makaurau (Auckland), and Seoul committed to a collective development process consisting of preparatory meetings, developing a 1-day hands-on workshop, and hosting the full activity program for local (and in one node also remote) participants. Each node developed a workshop script that was shared beforehand with the other nodes. This way the different local facilitators could prepare and host these workshops as a proxy. In an experimental way, we explored the concept of a workshop script as an executable document, that can be reproduced by others in other contexts as well. In this way, the different collectives were able to engage with each other’s practices through organizing, making and doing things together and connecting our ideas and<br />
practices. The process led to a positive experience for participants, but also required extensive interpretation and generosity from the respective workshop facilitators, participants, and the collectives who developed the activities and were on standby to troubleshoot and answer questions or clear things up.<br />
<br />
=== Workshop scripts === <br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/%27I_AM_YOU%27_Being_Connected_By_Being_with_DDDUG 'I AM YOU' Being Connected By Being with DDDUG]: ====<br />
{{ClippyAnt|advice=Find the script here!|external=https://every.dianaband.info/p/ConnectingOtherwise_workshopscript-final-amsterdam}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/Hacking_Into_Open_Source_and_Open_Space_with_MELT Hacking Into Open Source and Open Space with MELT]: ==== <br />
{{ClippyAnt|advice=Find the script here!|external=http://meltionary.com/access/RitualsAgainstBarriers_MELT.pdf}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/SoilPunk_with_Hackitects_x_H%26D SoilPunk with Hackitects x H&D ]: ==== <br />
{{ClippyAnt|advice=Here is the complete workshop script on Github|external=https://github.com/hackersanddesigners/Soilpunk_joulethief Complete Soilpunk workshop script}}<br />
{{ClippyAnt|advice=How to do the technical set up!|external=https://github.com/hackersanddesigners/Soilpunk_technical_setup Soilpunk: Technical setup}} <br />
{{ClippyAnt|advice=How to make the Joulethief!|external=https://github.com/hackersanddesigners/soilpunk_joulethief_slides Soilpunk: Joulethief}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/%E5%A1%8A_%28Katamari%29_with_NEWS 塊 (Katamari) with NEWS]: ==== <br />
<gallery><br />
NEWS-script-1.jpg<br />
NEWS-script-2.jpg<br />
NEWS-script3.jpg<br />
NEWS-script-4.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Connecting_Otherwise&diff=5429Connecting Otherwise2023-05-30T11:37:17Z<p>Juju: /* Workshop scripts */</p>
<hr />
<div>== Connecting Otherwise ==<br />
The H&amp;D Summer Academy was organized in a distributed manner, leveraging the format of the<br />
‘workshop script’ <ref>A workshop script is a document often produced by facilitators that provides information about the activity, steps taken, provides context and necessary information as well as narrative aspects, and may act as troubleshooting guide, readme, how-to manual and codebase all at once.</ref>: a pedagogical document format that H&amp;D has been experimenting with for several years.<br />
<br />
We invited different summer academy nodes 13 , collectives that were selected by means of an open call, to organize the HDSA together yet while remaining in the different local contexts. The nodes from Berlin, Tāmaki Makaurau (Auckland), and Seoul committed to a collective development process consisting of preparatory meetings, developing a 1-day hands-on workshop, and hosting the full activity program for local (and in one node also remote) participants. Each node developed a workshop script that was shared beforehand with the other nodes. This way the different local facilitators could prepare and host these workshops as a proxy. In an experimental way, we explored the concept of a workshop script as an executable document, that can be reproduced by others in other contexts as well. In this way, the different collectives were able to engage with each other’s practices through organizing, making and doing things together and connecting our ideas and<br />
practices. The process led to a positive experience for participants, but also required extensive interpretation and generosity from the respective workshop facilitators, participants, and the collectives who developed the activities and were on standby to troubleshoot and answer questions or clear things up.<br />
<br />
=== Workshop scripts === <br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/%27I_AM_YOU%27_Being_Connected_By_Being_with_DDDUG 'I AM YOU' Being Connected By Being with DDDUG]: ====<br />
{{ClippyAnt|advice=Find the script here!|external=https://every.dianaband.info/p/ConnectingOtherwise_workshopscript-final-amsterdam}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/Hacking_Into_Open_Source_and_Open_Space_with_MELT Hacking Into Open Source and Open Space with MELT]: ==== <br />
{{ClippyAnt|advice=Find the script here!|external=http://meltionary.com/access/RitualsAgainstBarriers_MELT.pdf}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/SoilPunk_with_Hackitects_x_H%26D SoilPunk with Hackitects x H&D ]: ==== <br />
{{ClippyAnt|advice=Here is the complete workshop script on Github|https://github.com/hackersanddesigners/Soilpunk_joulethief Complete Soilpunk workshop script}}<br />
{{ClippyAnt|advice=How to do the technical set up!|external=[https://github.com/hackersanddesigners/Soilpunk_technical_setup Soilpunk: Technical setup}} <br />
{{ClippyAnt|advice=How to make the Joulethief!|external=https://github.com/hackersanddesigners/soilpunk_joulethief_slides Soilpunk: Joulethief}}<br />
<br />
==== [https://hackersanddesigners.nl/s/Summer_Academy_2022/p/%E5%A1%8A_%28Katamari%29_with_NEWS 塊 (Katamari) with NEWS]: ==== <br />
<gallery><br />
NEWS-script-1.jpg<br />
NEWS-script-2.jpg<br />
NEWS-script3.jpg<br />
NEWS-script-4.jpg<br />
</gallery></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Live_networking_experiments_in_hybrid_cultural_events&diff=4667Live networking experiments in hybrid cultural events2023-03-17T14:54:03Z<p>Juju: </p>
<hr />
<div>As an online visitor to cultural events, you can often do little more than ask a question in chat, and chat with other online visitors. How can online visitors feel seen, become more involved in or even have agency over what happens on-site? This is something we’re going to explore during this workshop. <br />
<br />
H&D together with [https://thehmm.nl/ The Hmm] developed a tool that makes use of standalone wifi hotspots (ESP32 modules) and live networking protocols (MQTT) that allows online input to be translated into something physical, and vice versa. For example, every time an online visitor opens the livestream page, a spotlight shines in the physical space. There are many use cases possible, but how can it help an event really be influenced by the presence of an online audience? How can it stimulate interaction between online and on-site audiences?<br />
<br />
==Examples==<br />
A few examples that give an idea of possible experimentation (each example has more detailed instructions on [https://github.com/hackersanddesigners/Emoji-Proxies-Ghost-Messengers Github] for the code, libraries, a wiring diagram and a breadboard view):<br />
<br />
* Led - A led is connected to the ESP32 module. When the online audience types a specific message in the chat the led will light up. <br />
* Neopixel - A more elaborate variation on the first example. A specifically crafted message on the live streaming platform can set the color of a led connected to the ESP32.<br />
* Relay - By connecting a relay (an electrically operated switch) we can turn on (and off) almost any device, for instance a wacky flailing inflatable tube man.<br />
* Servo - A servo is a motor that can be controlled to rotate from 0 to 180 degrees and anywhere in between. The message send from the live streaming platform controls the servo.<br />
* Button - When the button is pressed a message is sent to the live streaming server. If the server receives this message it will show a specific emote. This allows the physical audience to interact with the audience on the live streaming platform.<br />
<br />
==Workshop iterations==<br />
In November 2022 H&D and The Hmm organised a first version of the workshop [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers Emoji Proxies & Ghost Messengers] as part of the project [https://networkcultures.org/goinghybrid/ Going Hybrid of Institute of Network Cultures], a second iteration took place during the symposium [https://hackersanddesigners.nl/s/Events/p/In-Between_Media%3A_Hybrid_Tactics_in_The_Crisis_Era In-Between Media: Hybrid Tactics in The Crisis Era] in March 2023.<br />
<br />
==Resources==<br />
* [https://github.com/hackersanddesigners/Emoji-Proxies-Ghost-Messengers Find the manual and development documentation of Github!]<br />
* [https://wiki.hackersanddesigners.nl/index.php?title=ESP32_Arduino_Setup Find out everything about ESP32 modules and how to use them here!]<br />
* [https://networkcultures.org/goinghybrid/2022/11/17/participatory-livecasting/ Read more about it in the article by Lilian Stalk published on INC's website.]</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Livestreaming_experiments_with_The_Hmm&diff=4665Livestreaming experiments with The Hmm2023-03-17T14:52:32Z<p>Juju: </p>
<hr />
<div>==How this livestream platform collaboration came to be==<br />
At the end of May 2020, after the first few months of the pandemic, and the increase of endless video streaming sessions for many people—whether for work or to keep in touch with loved ones—the first livestream event was held by The Hmm and Hackers & Designers.<br />
<br />
The collaboration between The Hmm and H&D was originally planned as part of the BodyBuilding exhibition, where we wanted to do a bus tour from Amsterdam to Enschede, with presentations from eight artists, designers, and researchers taking place on the bus itself. This could not happen due to the pandemic, so instead of The Hmm being hosted on the bus, we decided to host The Hmm on the H&D livestream. For this event, we built our own livestream. The reason for this was two-fold: to figure out if there was a non-extractivist way to set up a videostream (eg. not relying on Zoom, Skype, Google Hangout, etc), as well as further re-adjusting the ways in which to make visible the BodyBuilding exhibition at Tetem, which had to be shut down early because of the pandemic restrictions. <br />
<br />
As mentioned, for the occasion, H&D built up a custom video streaming website, leveraging existing infrastructure (MUX.com) but gaining more control on the overall video stream design and live chat. This initial ad-hoc prototype got refined more over the course of 2020 and was used for many other events since then, both by H&D and The Hmm. The code for<br />
the live stream, as well as information about how it was made, was made freely available on our [https://github.com/hackersanddesigners/the-hmm-livestream H&D Github] and we created a specific license for its use.<br />
<br />
==Building a more sustainable platform for The Hmm==<br />
add how it got to become the livestream for The Hmm...<br />
<br />
==Accessibility==<br />
The Hmm's livestream platform meets all web WAI-ARIA recommendations, is assistive-technology friendly, has been tested with default operating system screen-readers, and has a rigorous accessibility menu. One of the features of the livestream was that it could be experienced through 4 viewing modes that cater to different access needs and internet bandwidths: (1) varying qualities of video, (2) audio only, (3) thumbnails and a live transcript and (4) live transcript only. Participants onsite and online could all read the live captions and participate in the discussion through the online chat.<br />
<br />
==Resources==<br />
[https://github.com/TheHmm/livestream Find on Github all the technical documentation for the development and installation of the livestream platform]</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Livestreaming_experiments_with_The_Hmm&diff=4659Livestreaming experiments with The Hmm2023-03-17T14:50:52Z<p>Juju: </p>
<hr />
<div>==How this livestream platform collaboration came to be==<br />
At the end of May 2020, after the first few months of the pandemic, and the increase of endless video streaming sessions for many people—whether for work or to keep in touch with loved ones—the first livestream event was held by The Hmm and Hackers & Designers.<br />
<br />
The collaboration between The Hmm and H&D was originally planned as part of the BodyBuilding exhibition, where we wanted to do a bus tour from Amsterdam to Enschede, with presentations from eight artists, designers, and researchers taking place on the bus itself. This could not happen due to the pandemic, so instead of The Hmm being hosted on the bus, we decided to host The Hmm on the H&D livestream. For this event, we built our own livestream. The reason for this was two-fold: to figure out if there was a non-extractivist way to set up a videostream (eg. not relying on Zoom, Skype, Google Hangout, etc), as well as further re-adjusting the ways in which to make visible the BodyBuilding exhibition at Tetem, which had to be shut down early because of the pandemic restrictions. <br />
<br />
As mentioned, for the occasion, H&D built up a custom video streaming website, leveraging existing infrastructure (MUX.com) but gaining more control on the overall video stream design and live chat. This initial ad-hoc prototype got refined more over the course of 2020 and was used for many other events since then, both by H&D and The Hmm. The code for<br />
the live stream, as well as information about how it was made, was made freely available on our [https://github.com/hackersanddesigners/the-hmm-livestream H&D Github] and we created a specific license for its use.<br />
<br />
==Building a more sustainable platform for The Hmm==<br />
add how it got to become the livestream for The Hmm...<br />
<br />
==Accessibility==<br />
The Hmm's livestream platform meets all web WAI-ARIA recommendations, is assistive-technology friendly, has been tested with default operating system screen-readers, and has a rigorous accessibility menu. One of the features of the livestream was that it could be experienced through 4 viewing modes that cater to different access needs and internet bandwidths: (1) varying qualities of video, (2) audio only, (3) thumbnails and a live transcript and (4) live transcript only. Participants onsite and online could all read the live captions and participate in the discussion through the online chat.<br />
<br />
https://github.com/TheHmm/livestream</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Livestreaming_experiments_with_The_Hmm&diff=4657Livestreaming experiments with The Hmm2023-03-17T14:42:28Z<p>Juju: Created page with "==How this livestream platform collaboration came to be== At the end of May 2020, after the first few months of the pandemic, and the increase of endless video streaming sessions for many people—whether for work or to keep in touch with loved ones—the first livestream event was held by The Hmm and Hackers & Designers. The collaboration between The Hmm and H&D was originally planned as part of the BodyBuilding exhibition, where we wanted to do a bus tour from Amsterd..."</p>
<hr />
<div>==How this livestream platform collaboration came to be==<br />
At the end of May 2020, after the first few months of the pandemic, and the increase of endless video streaming sessions for many people—whether for work or to keep in touch with loved ones—the first livestream event was held by The Hmm and Hackers & Designers.<br />
<br />
The collaboration between The Hmm and H&D was originally planned as part of the BodyBuilding exhibition, where we wanted to do a bus tour from Amsterdam to Enschede, with presentations from eight artists, designers, and researchers taking place on the bus itself. This could not happen due to the pandemic, so instead of The Hmm being hosted on the bus, we decided to host The Hmm on the H&D livestream. For this event, we built our own livestream. The reason for this was two-fold: to figure out if there was a non-extractivist way to set up a videostream (eg. not relying on Zoom, Skype, Google Hangout, etc), as well as further re-adjusting the ways in which to make visible the BodyBuilding exhibition at Tetem, which had to be shut down early because of the pandemic restrictions. <br />
<br />
As mentioned, for the occasion, H&D built up a custom video streaming website, leveraging existing infrastructure (MUX.com) but gaining more control on the overall video stream design and live chat. This initial ad-hoc prototype got refined more over the course of 2020 and was used for many other events since then, both by H&D and The Hmm. The code for<br />
the live stream, as well as information about how it was made, was made freely available on our H&D Github (https://github.com/hackersanddesigners/the-hmm-livestream) and we created a specific license for its use.</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4655Publishing:TheNewSocial2023-03-17T14:35:36Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
<br />
== Introduction by H&D, FF, Impakt to the New Social research project ==<br />
=== Contributions from Framer Framed ===<br />
* ...<br />
* ...<br />
* ...<br />
<br />
=== Contributions from H&D ===<br />
<br />
==== [[Tooling]] ==== <br />
''A short introduction that contextualizes the meaning of 'tool' within the context of H&D's collective practice, and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
<br />
==== [[Accessibility & Hybridity]]==== <br />
''Reflection on making a small scale organization and it's activities more accessible for people with disability and chronic illnesses''<br />
<br />
==== [[ChattyPub: A hybrid publishing infrastructure]] ====<br />
''About the journey of repurposing the open source chat software Zulip and turning it into a hybrid publishing infrastructure''<br />
<br />
==== [[MediaWiki and cross-media publishing]] ==== <br />
''Reflections on 3 publications, 2 of which finalized, 1 (this toolkit) in-the-making'' <br />
<br />
==== [[Workshop Scripts in practice]] ==== <br />
further expansion into Figuring Things Out<br />
* https://firstthenrepeat.hackersanddesigners.nl/<br />
* Decentralized HDSA<br />
<br />
==== [[Livestreaming experiments with The Hmm]] ==== <br />
* https://live.thehmm.nl/ <br />
* [https://github.com/TheHmm/livestream#usage usage documentation]<br />
*[https://github.com/TheHmm/livestream#development development documentation]<br />
* note updates that account for sustainability and accessibility<br />
<br />
====[[Live networking experiments in hybrid cultural events]] ====<br />
<br />
==== Undefined Category yet! ==== <br />
* [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
*Index of tools and experiments from other institutions?<br />
<br />
==== [[H&D's code of conduct]] ==== <br />
(and it's writing methodologies)<br />
* [https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] <br />
<br />
<br />
=== Contributions from [[IMPAKT]] === <br />
**{{:IMPAKT}}</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4654Publishing:TheNewSocial2023-03-17T14:34:54Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
<br />
== Introduction by H&D, FF, Impakt to the New Social research project ==<br />
=== Contributions from Framer Framed ===<br />
* ...<br />
* ...<br />
* ...<br />
<br />
=== Contributions from H&D ===<br />
<br />
==== [[Tooling]] ==== <br />
''A short introduction that contextualizes the meaning of 'tool' within the context of H&D's collective practice, and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
<br />
==== [[Accessibility & Hybridity]]==== <br />
''Reflection on making a small scale organization and it's activities more accessible for people with disability and chronic illnesses''<br />
<br />
==== [[ChattyPub: A hybrid publishing infrastructure]] ====<br />
''About the journey of repurposing the open source chat software Zulip and turning it into a hybrid publishing infrastructure''<br />
<br />
==== [[MediaWiki and cross-media publishing]] ==== <br />
''Reflections on 3 publications, 2 of which finalized, 1 (this toolkit) in-the-making'' <br />
<br />
==== [[Workshop Scripts in practice]] ==== <br />
further expansion into Figuring Things Out<br />
* https://firstthenrepeat.hackersanddesigners.nl/<br />
* Decentralized HDSA<br />
<br />
==== [[Livestreaming experiments with The Hmm]] ==== <br />
* https://live.thehmm.nl/ <br />
* [https://github.com/TheHmm/livestream#usage usage documentation]<br />
*[https://github.com/TheHmm/livestream#development development documentation]<br />
* note updates that account for sustainability and accessibility<br />
*[[Live networking experiments in hybrid cultural events]]<br />
<br />
==== Undefined Category yet! ==== <br />
* [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
*Index of tools and experiments from other institutions?<br />
<br />
==== [[H&D's code of conduct]] ==== <br />
(and it's writing methodologies)<br />
* [https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] <br />
<br />
<br />
=== Contributions from [[IMPAKT]] === <br />
**{{:IMPAKT}}</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4651Publishing:TheNewSocial2023-03-17T14:33:40Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
<br />
== Introduction by H&D, FF, Impakt to the New Social research project ==<br />
=== Contributions from Framer Framed ===<br />
* ...<br />
* ...<br />
* ...<br />
<br />
=== Contributions from H&D ===<br />
<br />
==== [[Tooling]] ==== <br />
''A short introduction that contextualizes the meaning of 'tool' within the context of H&D's collective practice, and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
<br />
==== [[Accessibility & Hybridity]]==== <br />
''Reflection on making a small scale organization and it's activities more accessible for people with disability and chronic illnesses''<br />
<br />
==== [[ChattyPub: A hybrid publishing infrastructure]] ====<br />
''About the journey of repurposing the open source chat software Zulip and turning it into a hybrid publishing infrastructure''<br />
<br />
==== [[MediaWiki and cross-media publishing]] ==== <br />
''Reflections on 3 publications, 2 of which finalized, 1 (this toolkit) in-the-making'' <br />
<br />
==== [[Workshop Scripts in practice]] ==== <br />
further expansion into Figuring Things Out<br />
* https://firstthenrepeat.hackersanddesigners.nl/<br />
* Decentralized HDSA<br />
<br />
==== [[Livestreaming experiments with The Hmm]] ==== <br />
* https://live.thehmm.nl/ <br />
* [https://github.com/TheHmm/livestream#usage usage documentation]<br />
*[https://github.com/TheHmm/livestream#development development documentation]<br />
* note updates that account for sustainability and accessibility<br />
*[[Live networking experiments in hybrid cultural events]]<br />
<br />
==== Undefined Category yet! ==== <br />
* [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
** Things from Figuring Things Out Together publication (transclusion encouraged) ?<br />
**Index of tools and experiments from other institutions?<br />
<br />
==== [[H&D's code of conduct]] ==== <br />
(and it's writing methodologies)<br />
* [https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] <br />
<br />
<br />
*Contributions from [[IMPAKT]]<br />
**{{:IMPAKT}}</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Live_networking_experiments_in_hybrid_cultural_events&diff=4644Live networking experiments in hybrid cultural events2023-03-17T14:26:12Z<p>Juju: </p>
<hr />
<div>As an online visitor to cultural events, you can often do little more than ask a question in chat, and chat with other online visitors. How can online visitors feel seen, become more involved in or even have agency over what happens on-site? This is something we’re going to explore during this workshop. <br />
<br />
H&D together with [https://thehmm.nl/ The Hmm] developed a tool that makes use of standalone wifi hotspots (ESP32 modules) and live networking protocols (MQTT) that allows online input to be translated into something physical, and vice versa. For example, every time an online visitor opens the livestream page, a spotlight shines in the physical space. There are many use cases possible, but how can it help an event really be influenced by the presence of an online audience? How can it stimulate interaction between online and on-site audiences?<br />
<br />
A few examples that give an idea of possible experimentation (each example has more detailed instructions on [https://github.com/hackersanddesigners/Emoji-Proxies-Ghost-Messengers Github] for the code, libraries, a wiring diagram and a breadboard view):<br />
<br />
* Led - A led is connected to the ESP32 module. When the online audience types a specific message in the chat the led will light up. <br />
* Neopixel - A more elaborate variation on the first example. A specifically crafted message on the live streaming platform can set the color of a led connected to the ESP32.<br />
* Relay - By connecting a relay (an electrically operated switch) we can turn on (and off) almost any device, for instance a wacky flailing inflatable tube man.<br />
* Servo - A servo is a motor that can be controlled to rotate from 0 to 180 degrees and anywhere in between. The message send from the live streaming platform controls the servo.<br />
* Button - When the button is pressed a message is sent to the live streaming server. If the server receives this message it will show a specific emote. This allows the physical audience to interact with the audience on the live streaming platform.<br />
<br />
In November 2022 H&D and The Hmm organised a first version of the workshop [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers Emoji Proxies & Ghost Messengers] as part of the project [https://networkcultures.org/goinghybrid/ Going Hybrid of Institute of Network Cultures], a second iteration took place during the symposium [https://hackersanddesigners.nl/s/Events/p/In-Between_Media%3A_Hybrid_Tactics_in_The_Crisis_Era In-Between Media: Hybrid Tactics in The Crisis Era] in March 2023.<br />
<br />
* [https://github.com/hackersanddesigners/Emoji-Proxies-Ghost-Messengers Find the manual and development documentation of Github!]<br />
* [https://wiki.hackersanddesigners.nl/index.php?title=ESP32_Arduino_Setup Find out everything about ESP32 modules and how to use them here!]<br />
* [https://networkcultures.org/goinghybrid/2022/11/17/participatory-livecasting/ Read more about it in the article by Lilian Stalk published on INC's website.]</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Live_networking_experiments_in_hybrid_cultural_events&diff=4634Live networking experiments in hybrid cultural events2023-03-17T14:15:46Z<p>Juju: </p>
<hr />
<div>As an online visitor to cultural events, you can often do little more than ask a question in chat, and chat with other online visitors. How can online visitors feel seen, become more involved in or even have agency over what happens on-site? This is something we’re going to explore during this workshop. <br />
<br />
H&D together with [https://thehmm.nl/ The Hmm] developed a tool that makes use of standalone wifi hotspots (ESP32 modules) and live networking protocols (MQTT) that allows online input to be translated into something physical, and vice versa. For example, every time an online visitor opens the livestream page, a spotlight shines in the physical space. There are many use cases possible, but how can it help an event really be influenced by the presence of an online audience? How can it stimulate interaction between online and on-site audiences?<br />
<br />
On November 26 2022 H&D and The Hmm organised [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers a first workshop] as part of the project [https://networkcultures.org/goinghybrid/ Going Hybrid of Institute of Network Cultures]. <br />
<br />
* [https://networkcultures.org/goinghybrid/2022/11/17/participatory-livecasting/ Read more about it in the article by Lilian Stalk published on INC's website.]<br />
* [https://wiki.hackersanddesigners.nl/index.php?title=ESP32_Arduino_Setup Find out everything about ESP32 modules and how to use them here!]</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Live_networking_experiments_in_hybrid_cultural_events&diff=4632Live networking experiments in hybrid cultural events2023-03-17T14:13:50Z<p>Juju: </p>
<hr />
<div>As an online visitor to cultural events, you can often do little more than ask a question in chat, and chat with other online visitors. How can online visitors feel seen, become more involved in or even have agency over what happens on-site? This is something we’re going to explore during this workshop. <br />
<br />
H&D together with [https://thehmm.nl/ The Hmm] developed a tool that makes use of standalone wifi hotspots (ESP32 modules) and live networking protocols (MQTT) that allows online input to be translated into something physical, and vice versa. For example, every time an online visitor opens the livestream page, a spotlight shines in the physical space. There are many use cases possible, but how can it help an event really be influenced by the presence of an online audience? How can it stimulate interaction between online and on-site audiences?<br />
<br />
On November 26 2022 H&D and The Hmm organised [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers a first workshop] as part of the project [https://networkcultures.org/goinghybrid/ Going Hybrid of Institute of Network Cultures]. <br />
<br />
[https://networkcultures.org/goinghybrid/2022/11/17/participatory-livecasting/ Read more about it in the article by Lilian Stalk published on INC's website.]</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Live_networking_experiments_in_hybrid_cultural_events&diff=4629Live networking experiments in hybrid cultural events2023-03-17T14:11:46Z<p>Juju: </p>
<hr />
<div>As an online visitor to cultural events, you can often do little more than ask a question in chat, and chat with other online visitors. How can online visitors feel seen, become more involved in or even have agency over what happens on-site? This is something we’re going to explore during this workshop. <br />
<br />
H&D together with [https://thehmm.nl/ The Hmm] developed a tool that makes use of standalone wifi hotspots (ESP32 modules) and live networking protocols (MQTT) that allows online input to be translated into something physical, and vice versa. For example, every time an online visitor opens the livestream page, a spotlight shines in the physical space. There are many use cases possible, but how can it help an event really be influenced by the presence of an online audience? How can it stimulate interaction between online and on-site audiences?<br />
<br />
This workshop is organised by Hackers & Designers and The Hmm, as part of the project [https://networkcultures.org/goinghybrid/ Going Hybrid of Institute of Network Cultures]. <br />
<br />
[https://networkcultures.org/goinghybrid/2022/11/17/participatory-livecasting/ Read more about it in the article by Lilian Stalk published on INC's website.]</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Live_networking_experiments_in_hybrid_cultural_events&diff=4627Live networking experiments in hybrid cultural events2023-03-17T14:06:33Z<p>Juju: Created page with "As an online visitor to cultural events, you can often do little more than ask a question in chat, and chat with other online visitors. How can online visitors feel seen, become more involved in or even have agency over what happens on-site? This is something we’re going to explore during this workshop. H&D together with [https://thehmm.nl/ The Hmm] developed a tool that makes use of standalone wifi hotspots (ESP32 modules) and live networking protocols (MQTT) that a..."</p>
<hr />
<div>As an online visitor to cultural events, you can often do little more than ask a question in chat, and chat with other online visitors. How can online visitors feel seen, become more involved in or even have agency over what happens on-site? This is something we’re going to explore during this workshop. <br />
<br />
H&D together with [https://thehmm.nl/ The Hmm] developed a tool that makes use of standalone wifi hotspots (ESP32 modules) and live networking protocols (MQTT) that allows online input to be translated into something physical, and vice versa. For example, every time an online visitor opens the livestream page, a spotlight shines in the physical space. There are many use cases possible, but how can it help an event really be influenced by the presence of an online audience? How can it stimulate interaction between online and on-site audiences?</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4624Publishing:TheNewSocial2023-03-17T14:04:29Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
== Outline ==<br />
<br />
*Introduction by H&D, FF, Impakt to the New Social research project<br />
*Contributions from Framer Framed<br />
**<br />
**<br />
**<br />
**<br />
***<br />
<br />
*Contributions from [[IMPAKT]]<br />
**<br />
<br />
<br />
*Contributions from H&D<br />
<br />
**[[Tooling]]: ''A short introduction that contextualizes the meaning of 'tool' within the context of H&D's collective practice, and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
<br />
**[[Accessibility & Hybridity]]: Reflecting on making an organization of smaller scale and it's activities more accessible <br />
<br />
**[https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] (and it's writing methodologies)<br />
<br />
<br />
**[[ChattyPub as hybrid publishing infrastructure]]<br />
<br />
**[[Wiki2Print]]<br />
**** [[Main Page|usage documentation]]<br />
****[https://github.com/hackersanddesigners/wiki2print development documentation]<br />
**** expansions into MakingMatters<br />
<br />
** [[Workshop Scripts in practice]] further expansion into Figuring Things Out<br />
*** Workshop scripts in practice <br />
*** https://firstthenrepeat.hackersanddesigners.nl/<br />
*** Decentralized HDSA<br />
<br />
** [[Livestreaming experiments with The Hmm]]<br />
**** https://live.thehmm.nl/ <br />
**** [https://github.com/TheHmm/livestream#usage usage documentation]<br />
****[https://github.com/TheHmm/livestream#development development documentation]<br />
**** note updates that account for sustainability and accessibility<br />
<br />
**[[Live networking experiments in hybrid cultural events]]<br />
<br />
** [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
** Things from Figuring Things Out Together publication (transclusion encouraged) ?<br />
**Index of tools and experiments from other institutions?<br />
**<br />
**<br />
** <br />
<br />
{{:IMPAKT}}<br />
*<br />
*</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4623Publishing:TheNewSocial2023-03-17T13:58:59Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
== Outline ==<br />
<br />
*Introduction by H&D, FF, Impakt to the New Social research project<br />
*Contributions from Framer Framed<br />
**<br />
**<br />
**<br />
**<br />
***<br />
<br />
*Contributions from [[IMPAKT]]<br />
**<br />
<br />
<br />
*Contributions from H&D<br />
<br />
**[[Tooling]]: ''A short introduction that contextualizes the meaning of 'tool' within the context of H&D's collective practice, and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
<br />
**[[Accessibility & Hybridity]]: Reflecting on making an organization of smaller scale and it's activities more accessible <br />
<br />
**[https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] (and it's writing methodologies)<br />
<br />
<br />
**[[ChattyPub as hybrid publishing infrastructure]]<br />
<br />
**[[Wiki2Print]]<br />
**** [[Main Page|usage documentation]]<br />
****[https://github.com/hackersanddesigners/wiki2print development documentation]<br />
**** expansions into MakingMatters<br />
<br />
** [[Workshop Scripts in practice]] further expansion into Figuring Things Out<br />
*** Workshop scripts in practice <br />
*** https://firstthenrepeat.hackersanddesigners.nl/<br />
*** Decentralized HDSA<br />
<br />
** [[Livestreaming experiments with The Hmm]]<br />
**** https://live.thehmm.nl/ <br />
**** [https://github.com/TheHmm/livestream#usage usage documentation]<br />
****[https://github.com/TheHmm/livestream#development development documentation]<br />
**** note updates that account for sustainability and accessibility<br />
**** [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers experiments with Hybridity] (nov 26 workshop)<br />
*** [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
** Things from Figuring Things Out Together publication (transclusion encouraged) ?<br />
**Index of tools and experiments from other institutions?<br />
**<br />
**<br />
** <br />
<br />
{{:IMPAKT}}<br />
*<br />
*</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4612Publishing:TheNewSocial2023-03-17T13:45:36Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
== Outline ==<br />
<br />
* Introduction by H&D, FF, Impakt to the New Social research project<br />
*Possible contributions from Framer Framed<br />
**<br />
**<br />
**<br />
**<br />
***<br />
*Possible contributions from [[IMPAKT]]<br />
**<br />
*Possible contributions from H&D<br />
<br />
** [[Tooling]]<br />
*** ''A short introduction that frames and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
** [[Accessibility & Hybridity]]: Reflecting on making an organization of smaller scale and it's activities more accessible <br />
*** [https://etherpad.hackersanddesigners.nl/p/2022-meetups-1-report reflection on Where is Every Body? event] <br />
**** tips, reflections, not templates or formulas<br />
*** reflection on 2022 report about H&D accessibility<br />
**** notes on budget<br />
*** H&D's collected notes on access (from MELT)<br />
*** [https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] (and it's writing methodologies)<br />
*** [https://hackersanddesigners.nl/p/Closed_Captions closed captions & violent technologies]<br />
*** other tools, recommendations, processes<br />
****<br />
** Tool Development, Updates, and Further Contextualizations<br />
*** [[ChattyPub as hybrid publishing infrastructure]]<br />
*** [[Wiki2Print]]<br />
**** [[Main Page|usage documentation]]<br />
****[https://github.com/hackersanddesigners/wiki2print development documentation]<br />
**** expansions into MakingMatters<br />
**** further expansion into Figuring Things Out<br />
*** [[The Hmm Livestream V2]]<br />
**** https://live.thehmm.nl/ <br />
**** [https://github.com/TheHmm/livestream#usage usage documentation]<br />
****[https://github.com/TheHmm/livestream#development development documentation]<br />
**** note updates that account for sustainability and accessibility<br />
**** [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers experiments with Hybridity] (nov 26 workshop)<br />
*** [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
** Things from Figuring Things Out Together publication (transclusion encouraged) ?<br />
**Index of tools and experiments from other institutions?<br />
**<br />
**<br />
** <br />
<br />
{{:IMPAKT}}<br />
*<br />
*</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Designing_together_with_ChattyPub&diff=4610Designing together with ChattyPub2023-03-17T13:45:12Z<p>Juju: Juju moved page Designing together with ChattyPub to ChattyPub as hybrid publishing infrastructure</p>
<hr />
<div>#REDIRECT [[ChattyPub as hybrid publishing infrastructure]]</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=4609ChattyPub: A hybrid publishing infrastructure2023-03-17T13:45:12Z<p>Juju: Juju moved page Designing together with ChattyPub to ChattyPub as hybrid publishing infrastructure</p>
<hr />
<div>ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
==How ChattyPub came to be==<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators [https://xin-xin.info/ XinXin] and [https://larkvcr.com/ Lark VCR] during the [https://hackersanddesigners.nl/s/Summer_Academy_2020 2020 edition of the H&D summer academy] (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment. This would allow for several people to participate in the design process at the same time.<br />
<br />
In the next iteration of the [https://hackersanddesigners.nl/s/Summer_Academy_2021 HDSA in 2021], which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called [https://zulip.com/ Zulip] to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
==What is Chatty Pub?==<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing simple CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in “Streams” and “Topics.” In ChattyPub Streams correspond to a publication and Topics represent the chapters. To add content to your publication you can go to the corresponding Stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
==ChattyPub in action==<br />
ChattyPub was further developed in workshop iterations hosted in other contexts. In autumn of 2021, H&D self-published the book [https://hackersanddesigners.nl/p/Network_Imaginaries_Publication Network Imaginaries], which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it has taken shape as [https://hackersanddesigners.nl/s/Activities/p/Digit_GfZK_Leipzig a walk-in style workshop at GfZK Leipzig] in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021, and another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel [https://hackersanddesigners.nl/s/Activities/p/Figuring_Things_Out_Together_%E2%80%94_Exploring_the_%E2%80%98Workshop%E2%80%99_as_a_concept_and_format_for_collective_learning_and_publishing "Figuring Things Out Together"] at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host [https://hackersanddesigners.nl/s/Activities/p/Making_Matters_Workshop_Documenta_15 a two-day walk-in workshop at documenta fifteen] on the occasion of the [https://hackersanddesigners.nl/s/Activities/p/Book_Launch%3A_%27Making_Matters._A_Vocabulary_of_Collective_Arts%27'|launch of the book Making Matters. A Vocabulary of Collective Arts] together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited passersby and visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of collective material practices (the subtitle of the Making Matters book). The simplicity of the prompt along with the offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
Across the two days, a several meter long publication came into being. In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta.<br />
<br />
==Resources==<br />
* Traces of the different workshops and publications that were produced can be found on the growing archive of [https://chatty-pub.hackersanddesigners.nl/ ChattyPub publications].<br />
* [https://chatty-pub.hackersanddesigners.nl/docs/Chattypub All about Chatty Pub and how to use it yourself] <br />
* [https://github.com/hackersanddesigners/chatty-pub/tree/master/front Installation Manual on Github] <br />
<br />
==Credits==<br />
<small>With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</small></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=4606ChattyPub: A hybrid publishing infrastructure2023-03-17T13:39:31Z<p>Juju: </p>
<hr />
<div>ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
==How ChattyPub came to be==<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators [https://xin-xin.info/ XinXin] and [https://larkvcr.com/ Lark VCR] during the [https://hackersanddesigners.nl/s/Summer_Academy_2020 2020 edition of the H&D summer academy] (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment. This would allow for several people to participate in the design process at the same time.<br />
<br />
In the next iteration of the [https://hackersanddesigners.nl/s/Summer_Academy_2021 HDSA in 2021], which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called [https://zulip.com/ Zulip] to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
==What is Chatty Pub?==<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing simple CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in “Streams” and “Topics.” In ChattyPub Streams correspond to a publication and Topics represent the chapters. To add content to your publication you can go to the corresponding Stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
==ChattyPub in action==<br />
ChattyPub was further developed in workshop iterations hosted in other contexts. In autumn of 2021, H&D self-published the book [https://hackersanddesigners.nl/p/Network_Imaginaries_Publication Network Imaginaries], which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it has taken shape as [https://hackersanddesigners.nl/s/Activities/p/Digit_GfZK_Leipzig a walk-in style workshop at GfZK Leipzig] in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021, and another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel [https://hackersanddesigners.nl/s/Activities/p/Figuring_Things_Out_Together_%E2%80%94_Exploring_the_%E2%80%98Workshop%E2%80%99_as_a_concept_and_format_for_collective_learning_and_publishing "Figuring Things Out Together"] at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host [https://hackersanddesigners.nl/s/Activities/p/Making_Matters_Workshop_Documenta_15 a two-day walk-in workshop at documenta fifteen] on the occasion of the [https://hackersanddesigners.nl/s/Activities/p/Book_Launch%3A_%27Making_Matters._A_Vocabulary_of_Collective_Arts%27'|launch of the book Making Matters. A Vocabulary of Collective Arts] together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited passersby and visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of collective material practices (the subtitle of the Making Matters book). The simplicity of the prompt along with the offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
Across the two days, a several meter long publication came into being. In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta.<br />
<br />
==Resources==<br />
* Traces of the different workshops and publications that were produced can be found on the growing archive of [https://chatty-pub.hackersanddesigners.nl/ ChattyPub publications].<br />
* [https://chatty-pub.hackersanddesigners.nl/docs/Chattypub All about Chatty Pub and how to use it yourself] <br />
* [https://github.com/hackersanddesigners/chatty-pub/tree/master/front Installation Manual on Github] <br />
<br />
==Credits==<br />
<small>With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</small></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=4603ChattyPub: A hybrid publishing infrastructure2023-03-17T13:33:23Z<p>Juju: </p>
<hr />
<div>ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
==How ChattyPub came to be==<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators [https://xin-xin.info/ XinXin] and [https://larkvcr.com/ Lark VCR] during the [https://hackersanddesigners.nl/s/Summer_Academy_2020 2020 edition of the H&D summer academy] (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment. This would allow for several people to participate in the design process at the same time.<br />
<br />
In the next iteration of the HDSA in 2021, which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called Zulip to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
==What is Chatty Pub?==<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing simple CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in “Streams” and “Topics.” In ChattyPub Streams correspond to a publication and Topics represent the chapters. To add content to your publication you can go to the corresponding Stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
==ChattyPub in action==<br />
ChattyPub was further developed in workshop iterations hosted in other contexts. In autumn of 2021, H&D self-published the book Network Imaginaries, which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it has taken shape as a walk-in style workshop at GfZK Leipzig in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021, and another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel "Figuring Things Out Together" at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host a two-day walk-in workshop at documenta fifteen on the occasion of the launch of the book Making Matters. A Vocabulary of Collective Arts together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited passersby and visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of collective material practices (the subtitle of the Making Matters book). The simplicity of the prompt along with the offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
Across the two days, a several meter long publication came into being. In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta.<br />
<br />
==Resources==<br />
* Traces of the different workshops and publications that were produced can be found on the growing archive of [https://chatty-pub.hackersanddesigners.nl/ ChattyPub publications].<br />
* [https://chatty-pub.hackersanddesigners.nl/docs/Chattypub All about Chatty Pub and how to use it yourself] <br />
* [https://github.com/hackersanddesigners/chatty-pub/tree/master/front Installation Manual on Github] <br />
<br />
==Credits==<br />
<small>With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</small></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=4602ChattyPub: A hybrid publishing infrastructure2023-03-17T13:31:42Z<p>Juju: </p>
<hr />
<div>ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
==How ChattyPub came to be==<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators [https://xin-xin.info/ XinXin] and [https://larkvcr.com/ Lark VCR] during the 2020 edition of the H&D summer academy (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment. This would allow for several people to participate in the design process at the same time.<br />
<br />
In the next iteration of the HDSA in 2021, which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called Zulip to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
==What is Chatty Pub?==<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing simple CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in “Streams” and “Topics.” In ChattyPub Streams correspond to a publication and Topics represent the chapters. To add content to your publication you can go to the corresponding Stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
==ChattyPub in action==<br />
ChattyPub was further developed in workshop iterations hosted in other contexts. In autumn of 2021, H&D self-published the book Network Imaginaries, which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it has taken shape as a walk-in style workshop at GfZK Leipzig in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021, and another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel "Figuring Things Out Together" at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host a two-day walk-in workshop at documenta fifteen on the occasion of the launch of the book Making Matters. A Vocabulary of Collective Arts together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited passersby and visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of collective material practices (the subtitle of the Making Matters book). The simplicity of the prompt along with the offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
Across the two days, a several meter long publication came into being. In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta.<br />
<br />
* Traces of the different workshops and publications that were produced can be found on the growing archive of [https://chatty-pub.hackersanddesigners.nl/ ChattyPub publications].<br />
* [https://chatty-pub.hackersanddesigners.nl/docs/Chattypub All about Chatty Pub and how to use it yourself] <br />
* [https://github.com/hackersanddesigners/chatty-pub/tree/master/front Installation Manual on Github] <br />
<br />
==Credits==<br />
<small>With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</small></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4600Publishing:TheNewSocial2023-03-17T13:27:15Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
== Outline ==<br />
<br />
* Introduction by H&D, FF, Impakt to the New Social research project<br />
*Possible contributions from Framer Framed<br />
**<br />
**<br />
**<br />
**<br />
***<br />
*Possible contributions from [[IMPAKT]]<br />
**<br />
*Possible contributions from H&D<br />
<br />
** [[Tooling]]<br />
*** ''A short introduction that frames and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
** [[Accessibility & Hybridity]]: Reflecting on making an organization of smaller scale and it's activities more accessible <br />
*** [https://etherpad.hackersanddesigners.nl/p/2022-meetups-1-report reflection on Where is Every Body? event] <br />
**** tips, reflections, not templates or formulas<br />
*** reflection on 2022 report about H&D accessibility<br />
**** notes on budget<br />
*** H&D's collected notes on access (from MELT)<br />
*** [https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] (and it's writing methodologies)<br />
*** [https://hackersanddesigners.nl/p/Closed_Captions closed captions & violent technologies]<br />
*** other tools, recommendations, processes<br />
****<br />
** Tool Development, Updates, and Further Contextualizations<br />
*** [[Designing together with ChattyPub]]<br />
*** [[Wiki2Print]]<br />
**** [[Main Page|usage documentation]]<br />
****[https://github.com/hackersanddesigners/wiki2print development documentation]<br />
**** expansions into MakingMatters<br />
**** further expansion into Figuring Things Out<br />
*** [[The Hmm Livestream V2]]<br />
**** https://live.thehmm.nl/ <br />
**** [https://github.com/TheHmm/livestream#usage usage documentation]<br />
****[https://github.com/TheHmm/livestream#development development documentation]<br />
**** note updates that account for sustainability and accessibility<br />
**** [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers experiments with Hybridity] (nov 26 workshop)<br />
*** [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
** Things from Figuring Things Out Together publication (transclusion encouraged) ?<br />
**Index of tools and experiments from other institutions?<br />
**<br />
**<br />
** <br />
<br />
{{:IMPAKT}}<br />
*<br />
*</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=4599ChattyPub: A hybrid publishing infrastructure2023-03-17T13:26:17Z<p>Juju: </p>
<hr />
<div>ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators XinXin and Lark VCR during the 2020 edition of the H&D summer academy (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment. This would allow for several people to participate in the design process at the same time.<br />
<br />
In the next iteration of the HDSA in 2021, which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called Zulip to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing simple CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in “Streams” and “Topics.” In ChattyPub Streams correspond to a publication and Topics represent the chapters. To add content to your publication you can go to the corresponding Stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
ChattyPub was further developed in workshop iterations hosted in other contexts. In autumn of 2021, H&D self-published the book Network Imaginaries, which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it has taken shape as a walk-in style workshop at GfZK Leipzig in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021, and another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel "Figuring Things Out Together" at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host a two-day walk-in workshop at documenta fifteen on the occasion of the launch of the book Making Matters. A Vocabulary of Collective Arts together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited passersby and visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of collective material practices (the subtitle of the Making Matters book). The simplicity of the prompt along with the offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
Across the two days, a several meter long publication came into being. In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta.<br />
<br />
* Traces of the different workshops and publications that were produced can be found on the growing archive of [https://chatty-pub.hackersanddesigners.nl/ ChattyPub publications].<br />
* [https://chatty-pub.hackersanddesigners.nl/docs/Chattypub All about Chatty Pub and how to use it yourself] <br />
* [https://github.com/hackersanddesigners/chatty-pub/tree/master/front Installation Manual on Github] <br />
<br />
<small>With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</small></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=4598ChattyPub: A hybrid publishing infrastructure2023-03-17T13:23:26Z<p>Juju: </p>
<hr />
<div>ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators XinXin and Lark VCR during the 2020 edition of the H&D summer academy (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment. This would allow for several people to participate in the design process at the same time.<br />
<br />
In the next iteration of the HDSA in 2021, which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called Zulip to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing simple CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in “Streams” and “Topics.” In ChattyPub Streams correspond to a publication and Topics represent the chapters. To add content to your publication you can go to the corresponding Stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
<br />
ChattyPub was further developed in workshop iterations hosted in other contexts. In autumn of 2021, H&D self-published the book Network Imaginaries, which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it has taken shape as a walk-in style workshop at GfZK Leipzig in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021, and another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel "Figuring Things Out Together" at Page Not Found in The Hague, June 2022.<br />
<br />
[[File:PNF_hackers and designers-24.jpg|thumb| ChattyPub at Page Not Found, The Hague, 2022]] <br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host a two-day walk-in workshop at documenta fifteen on the occasion of the launch of the book Making Matters. A Vocabulary of Collective Arts together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
[[File:Documenta-1.jpg|thumb|ChattyPub workshop at Documenta Fifteen]]<br />
<br />
The ChattyPub workshop invited passersby and visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of collective material practices (the subtitle of the Making Matters book). The simplicity of the prompt along with the offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
Across the two days, a several meter long publication came into being. In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta.<br />
<br />
Traces of the different workshops and publications that were produced can be found on the growing archive of [https://chatty-pub.hackersanddesigners.nl/ ChattyPub publications].<br />
<br />
How to use Chatty Pub https://chatty-pub.hackersanddesigners.nl/docs/Chattypub <br />
Installation Manual https://github.com/hackersanddesigners/chatty-pub/tree/master/front<br />
<br />
With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub:_A_hybrid_publishing_infrastructure&diff=4597ChattyPub: A hybrid publishing infrastructure2023-03-17T13:21:15Z<p>Juju: Created page with "ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve. ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators XinXin and..."</p>
<hr />
<div>ChattyPub is a design software, a workshop, a platform for discussion, a publishing experiment, and a tool for collective organizing. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
<br />
ChattyPub was inspired by the workshop [https://hackersanddesigners.nl/s/Summer_Academy_2020/p/Experimental_Chatroom Experimental Chatroom] facilitated by designers and educators XinXin and Lark VCR during the 2020 edition of the H&D summer academy (HDSA). The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment. This would allow for several people to participate in the design process at the same time.<br />
<br />
In the next iteration of the HDSA in 2021, which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called Zulip to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model.<br />
<br />
ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing simple CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in “Streams” and “Topics.” In ChattyPub Streams correspond to a publication and Topics represent the chapters. To add content to your publication you can go to the corresponding Stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
<br />
ChattyPub was further developed in workshop iterations hosted in other contexts. In autumn of 2021, H&D self-published the book Network Imaginaries, which was designed with ChattyPub.<br />
<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
<br />
For instance, it has taken shape as a walk-in style workshop at GfZK Leipzig in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021, and another iteration of the walk-in workshop has been tried on the occasion of the workshop sequel "Figuring Things Out Together" at Page Not Found in The Hague, June 2022.<br />
<br />
In August 2022, H&D was invited by Jatiwangi art Factory to host a two-day walk-in workshop at documenta fifteen on the occasion of the launch of the book Making Matters. A Vocabulary of Collective Arts together with Elaine W. Ho (Display Distribute) and Florian Cramer.<br />
<br />
The ChattyPub workshop invited passersby and visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of collective material practices (the subtitle of the Making Matters book). The simplicity of the prompt along with the offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing.<br />
<br />
Across the two days, a several meter long publication came into being. In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta.<br />
<br />
Traces of the different workshops and publications that were produced can be found on the growing archive of [https://chatty-pub.hackersanddesigners.nl/ ChattyPub publications].<br />
<br />
How to use Chatty Pub https://chatty-pub.hackersanddesigners.nl/docs/Chattypub <br />
Installation Manual https://github.com/hackersanddesigners/chatty-pub/tree/master/front<br />
<br />
With thanks to Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub. Creative Industries Fund NL which has supported H&D's activities since 2015. HDSA Workshop participants who used and tested ChattyPub for the first time. GFZK Leipzig, Bergen Art Book Fair, Page Not Found, Jatiwangi art Factory, ERG and Lacambre who let us host ChattyPub workshops.</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4590Publishing:TheNewSocial2023-03-17T13:00:31Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
== Outline ==<br />
<br />
* Introduction by H&D, FF, Impakt to the New Social research project<br />
*Possible contributions from Framer Framed<br />
**<br />
**<br />
**<br />
**<br />
***<br />
*Possible contributions from [[IMPAKT]]<br />
**<br />
*Possible contributions from H&D<br />
<br />
** [[Tooling]]<br />
*** ''A short introduction that frames and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
** Accessibility & Hybridity: Reflecting on making an organization of smaller scale and it's activities more accessible <br />
*** [https://etherpad.hackersanddesigners.nl/p/2022-meetups-1-report reflection on Where is Every Body? event] <br />
**** tips, reflections, not templates or formulas<br />
*** reflection on 2022 report about H&D accessibility<br />
**** notes on budget<br />
*** H&D's collected notes on access (from MELT)<br />
*** [https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] (and it's writing methodologies)<br />
*** [https://hackersanddesigners.nl/p/Closed_Captions closed captions & violent technologies]<br />
*** other tools, recommendations, processes<br />
****<br />
** Tool Development, Updates, and Further Contextualizations<br />
*** [[Designing together with ChattyPub]]<br />
**** [https://chatty-pub.hackersanddesigners.nl/docs/Chattypub usage documentation]<br />
****[https://github.com/hackersanddesigners/chatty-pub development documentation]<br />
**** workshops at Bergen, etc..<br />
*** [[Wiki2Print]]<br />
**** [[Main Page|usage documentation]]<br />
****[https://github.com/hackersanddesigners/wiki2print development documentation]<br />
**** expansions into MakingMatters<br />
**** further expansion into Figuring Things Out<br />
*** [[The Hmm Livestream V2]]<br />
**** https://live.thehmm.nl/ <br />
**** [https://github.com/TheHmm/livestream#usage usage documentation]<br />
****[https://github.com/TheHmm/livestream#development development documentation]<br />
**** note updates that account for sustainability and accessibility<br />
**** [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers experiments with Hybridity] (nov 26 workshop)<br />
*** [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
** Things from Figuring Things Out Together publication (transclusion encouraged) ?<br />
**Index of tools and experiments from other institutions?<br />
**<br />
**<br />
** <br />
<br />
{{:IMPAKT}}<br />
*<br />
*</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:TheNewSocial&diff=4589Publishing:TheNewSocial2023-03-17T12:55:42Z<p>Juju: </p>
<hr />
<div>{{TOC|limit=3}}<br />
<br />
== Outline ==<br />
<br />
* Introduction by H&D, FF, Impakt to the New Social research project<br />
*Possible contributions from Framer Framed<br />
**<br />
**<br />
**<br />
**<br />
***<br />
*Possible contributions from [[IMPAKT]]<br />
**<br />
*Possible contributions from H&D<br />
<br />
** [[Tooling]]<br />
*** ''A short introduction that frames and interlinks all of H&D's contributions to this toolkit. This article could be standing on its own or be merged later into the overall introduction'' <br />
** Accessibility & Hybridity: Reflecting on making an organization of smaller scale and it's activities more accessible <br />
*** [https://etherpad.hackersanddesigners.nl/p/2022-meetups-1-report reflection on Where is Every Body? event] <br />
**** tips, reflections, not templates or formulas<br />
*** reflection on 2022 report about H&D accessibility<br />
**** notes on budget<br />
*** H&D's collected notes on access (from MELT)<br />
*** [https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct H&D's code of conduct] (and it's writing methodologies)<br />
*** [https://hackersanddesigners.nl/p/Closed_Captions closed captions & violent technologies]<br />
*** other tools, recommendations, processes<br />
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** Tool Development, Updates, and Further Contextualizations<br />
*** [[ChattyPub]]<br />
**** [https://chatty-pub.hackersanddesigners.nl/docs/Chattypub usage documentation]<br />
****[https://github.com/hackersanddesigners/chatty-pub development documentation]<br />
**** workshops at Bergen, etc..<br />
*** [[Wiki2Print]]<br />
**** [[Main Page|usage documentation]]<br />
****[https://github.com/hackersanddesigners/wiki2print development documentation]<br />
**** expansions into MakingMatters<br />
**** further expansion into Figuring Things Out<br />
*** [[The Hmm Livestream V2]]<br />
**** https://live.thehmm.nl/ <br />
**** [https://github.com/TheHmm/livestream#usage usage documentation]<br />
****[https://github.com/TheHmm/livestream#development development documentation]<br />
**** note updates that account for sustainability and accessibility<br />
**** [https://hackersanddesigners.nl/s/Activities/p/Emoji_Proxies_%26_Ghost_Messengers experiments with Hybridity] (nov 26 workshop)<br />
*** [https://hackersanddesigners.nl/s/Tools H&D Tools Section?]<br />
** Things from Figuring Things Out Together publication (transclusion encouraged) ?<br />
**Index of tools and experiments from other institutions?<br />
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** <br />
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{{:IMPAKT}}<br />
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*</div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Cooperative-gaming&diff=3824Cooperative-gaming2022-11-02T17:43:41Z<p>Juju: </p>
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<div><div class="article Cooperative_gaming layout-1" id="Cooperative_gaming"><br />
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===Cooperative gaming ===<br />
==== Learning about complex eco-systems with Phylo(mon) ====<br />
<span class="author">Giselle Jhunjhnuwala</span><br />
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I serve as vice president of the board for Prototype PGH. I am interested in community building and I organize a Code and Coffee group within the space. I learned about Prototype PGH through a friend and was interested in maker/hackerspaces in general. My interest was piqued because the space focuses on gender and racial equity, which is unique in Pittsburgh. One of our community agreements is “Alone we know a little; together we know a lot.” Our members write the programs and we try to encourage everyone to share what they know. It’s important to have spaces like this that are run and led by people who do not generally get the opportunities to practice these skills. The name of our space is intended to remind people that it’s OK to try and try again. This is not a space for perfection, rather a space to learn and refine. <br />
I have worked in I.T. for a decade and have mostly been self-taught. I decided to ‘“formalize” my knowledge by getting a degree in software engineering last year. I think the greatest challenges of being a programmer are not technical, but social. I question the various business models being used in the field and the ethical concerns that rise up as a result. I am particularly concerned about user data and how it is often privatized. I’ve read critiques from scholars such as Evgeny Morozov, Ruha Benjamin, Shoshana Zuboff, and Kate Crawford, to name a few. These authors investigate and question practices around ownership, labor, privacy, and the commons. This led me to the world of free and [[#Open-source Parenting|open-source]] software, which I have found to be more actively engaged with these questions. I enjoy reading about and exploring alternative economic and technological systems that aim to provide more equity. <br />
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In my personal life, I enjoy running free and [[#fileSHA as protocol|open-source]] software wherever possible. I love the transparency that is baked into these systems since they allow me to learn and make modifications if I so choose. I consider myself to be a late bloomer when it comes to free and open-source technology. My interest grew from curiosity and experimentation, but I did not feel strongly about it. It was only when I learned of the broader context and social issues that surrounded it that I turned toward it more fully. Finding that internal motivator is key to reorienting oneself toward it, and that motivator is different for everyone. <br />
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<span class="page-break">&nbsp;</span> <br />
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I discovered the Phylo(mon) Project while exploring how other fields employ free and open-source types of licensing for their projects. This project was born out of the phrase “Kids know more about Pokemon creatures than they do about real creatures.” The aim of the game is to have real creatures and plants represented on cards. Because having knowledge of the cards is key to winning the game, kids learn about their local environment while playing it. <br />
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I have long had an interest in [[#Roleplaying in Etherpad|games]] and game design. I think games can teach us a lot about the world and help us to develop the skills we need to survive, especially in the context of climate change. [[#Am I a hacker now?|Cooperative games]] in particular build the same skills that can be used to solve real life problems, empowering us through play. I loved the concept of the Phylo(mon) Project and since they [[#Platframe Postscript|license]] the mechanics under a Creative Commons License Attribution-Share Alike 4.0 International license, I was interested in morphing the game into a cooperative variant. <br />
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[[File:Signal-2022-05-20-165751 007-768x576.jpg|thumb]]<br />
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With the help of software engineer Charlie Koch, I reworked the core card design and mechanics to create a cooperative version. To face our climate change problems, we as a species must learn to work together, understand our local ecological contexts, and figure out how that can affect the global context. Our hope in creating the free and open-source card creator is that people will be inspired by each other’s cards and decks to go out and perform the necessary actions needed to deal with negative environmental issues occurring in their communities. We wanted to make it as easy as possible to create cards for one’s community as well as make our software update instantaneously so that creators can get instant visual feedback on the cards as they are adding information to them. Our software design takes into account privacy and portability in that the entire application is run locally in the browser. People can use it to make a deck or even single cards and export the files to share with others. We initially developed the software for use in a classroom or group. The idea was to have participants create single or sets of cards and the facilitator put the deck together.<br />
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[[File:Phylo4.jpg|thumb]]<br />
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I related the actual creation of the deck using our tool and programming methods to [[#Workshop Matters and Materials|meaningful gamification]]. The concept of gamification was developed by Scott Nicholson, professor of Game Design and Development at Wilfrid Laurier University in Brantford, Ontario. It is the application of game elements to a non-game context. Most gamification focuses on extrinsic rewards such as badges, leaderboards, awards, and points. Meaningful gamification focuses on designing principles that increase one’s sense of relatedness, autonomy, and mastery. Our tool and educational workshop around Phylo tries to facilitate play (creative and unexpected use of the card-making tool), engagement, and reflection. <br />
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The workshop makes use of two different concepts: a game and a metagame. The game involves playing the deck to see how many points the player can get. The metagame involves making a deck, conversing with others about it, and sharing the decks with other communities. The game has to simplify the complex ecological systems, therefore little deep learning of the subject is possible, but it does encourage tangential learning because it leads you to ask questions about how these creatures actually function in the world. The metagame promotes deeper knowledge of the ecosystem since the maker must find a way to map these complex ecological systems onto the structure of the game. The option to share the deck with communities around the world allows users to reflect and engage with others and gives them a chance to learn how others would solve the same issues. In this way, the metagame meaningfully gamifies the learning of ecosystems. <br />
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[[File:Phylo3.jpg|thumb]]<br />
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I enjoyed the process of developing the [[#Scripting Workshops|script]] for the H&D Summer Academy in 2021. It pushed me to write as clearly and succinctly as I could while trying to incorporate principles of meaningful gamification. It was great to see participants from other nodes use the card tool in unexpected ways, such as inventing new species, stories, and rules. After sharing this deck, it prompted our node in Pittsburgh to reflect on our card game and how else it might be modified and iterated upon. For this iteration of the game, I think that the distributed format worked well. If the workshop had taken place in just one location, I would have probably instructed participants to make several decks with different themes, such as rewilding and bioremediation, flora and fauna, or urban issues. That way, each group would be able to focus on their topic and share the knowledge they learned with others in the same community. <br />
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<small><br />
License game deck and guide: CC-BY-SA <br><br />
Software license: GPLv3</small><br />
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<small><br />
Giselle Jhunjhnuwala is an artist, programmer, and Outreachy alumna. Their work uses free software, and explores the intersections of art, science, and technology. Giselle’s professional experience has taken them back and forth between the US and China, giving them a unique perspective on art and technology at home and abroad. </small><br />
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</div></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Workshop-Histories-and-Practices&diff=3818Workshop-Histories-and-Practices2022-11-02T17:08:26Z<p>Juju: </p>
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<div><div class="article Workshop-Histories-and-Practices layout-2" id="Workshop_Histories_and_Practices"><br />
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=== Workshop Histories and Practices ===<br />
<span class="author">A Conversation Between Heike Roms and Anja Groten</span><br />
'''Anja Groten:''' In May 2021 I participated in an online conference titled “The Workshop as Artistic-Political Format,” organized by Institute for Cultural Inquiry in Berlin.<ref> “The Workshop: Investigations Into an Artistic-Political Format,” ICI Berlin, March 26-28, 2021, https://www.ici-berlin.org/events/the-workshop/.</ref> The conference drew together practitioners from various fields of interests, including choreographers, dancers, theater makers, artists, scholars, musicians, and activists who reflected on “workshop” as a format, site, and phenomenon from their own perspectives. Heike, you gave the presentation "The Changing Fate of the Workshop and the Emergence of Live Art,” which particularly resonated with me. <br />
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[[File:Anna-Halprin_Dance.jpeg|thumb|Image of the Anna Halprin’s Dance Deck, an architectonic arrangement, and workshop site that transformed dance practice, 1951-1954, with Lawrence Halprin. The image was shown by Kai Ekels in the introduction presentation of “The Workshop: Investigations Into an Artistic-Political Format.”]]<br />
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'''Heike Roms:''' I came to the topic of workshops because in my work I look at the emergence of performance art in the sixties and seventies. I became interested in particular in the emergence of performance art within art educational contexts, in a conceptualization of a pedagogy of performance. I've read your chapter on “Workshop Production,”<ref> Anja Groten, “Workshop Production,” Figuring Things Out Together. On the Relationship Between Design and Collective Practice (PhD Diss., Leiden University, 2022).</ref> which I really enjoyed. Some of the research you've done is helpful to me because I too have found that there's actually very little written about the workshop as a practice. That is, people have written about specific workshops so you can find material on workshops given by a particular artist. But there is little reflection on the workshop as a format, as a genre, as a site, as whatever we might call it. That surprised me, given that it's sort of ubiquitous in practice. There are books on performance laboratories, for example, and there is a connected history between the workshop and labs, the studio space, and rehearsals as a format. But there is very little on the workshop, certainly within performance studies or art history discourse, so I became intrigued by this ubiquitous form that remains largely unexamined. It's great that through the work of Kai van Eikels and the 2021 conference he co-organized there's a new kind of attention being paid to it, through your work as well. But there is not enough available about the history of the workshop to help us understand at what point this flip occurred from considering the workshop as an actual physical site to approaching the workshop as an event format. You write about this as well. The two meanings, of course, continued to exist in parallel, particularly in the context of art schools. But at what point did the workshop become an event, a time-based learning experience, as well as a site of making—a ''Werkstatt''? I don't know how and when that occurred. My suspicion is that it was sometime around the fifties and sixties.<br />
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[[File:ICI-Homepage.png|thumb|Announcement image to the conference “The Workshop: Investigations Into an Artistic-Political Format.”]]<br />
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'''AG:''' There is the ''The Journal of Educational Sociology'' that was published in 1951 and refers to the first organized professional education activity under the name of a workshop. It took place at Ohio State University in 1936.<ref> The Journal of Educational Sociology, Vol. 24, No. 5 (Jan1951): 249-250, https://www.jstor.org/stable/2263638.</ref> I remember you were talking about the relation between the occurrence of workshops and the emergence of a certain resistance toward the steady structures of art schools in the fifties and sixties in the UK—a resistance to legitimized knowledge practices and skills. Art students wanted to rid themselves of a certain authority of disciplines or disciplined learning and instead wanted to take things into their own hands.<br />
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[[File:Journal-workshops.png|thumb|Walter A. Anderson, "What Makes a Good Workshop," ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]<br />
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'''HR:''' In the specific history I looked at, which is that of Cardiff College of Art, I found that there is a confluence between the workshop and two emancipatory movements. First was the move toward the workshop as a learning format through the impetus of the Bauhaus, which in the 1960s developed a huge impact on art schools across the UK. Traditionally people weren’t really talking about workshops as sites of making in the context of art schools; the workshop was the place of the plumber or the blacksmith, while artists worked in ateliers or studios. I think that the idea of the workshop as a place of making was introduced to the art school through the Bauhaus philosophy, which was a vehicle for the emancipation of art education. All of a sudden art was being approached in the same way as other practices of making were being approached. No longer did we have the sculpture atelier or the drawing room. Now there were ceramics workshops, metal workshops, printmaking workshops but also painting workshops and sculpture workshops (or ‘2D’ and ‘3D’ workshops as they were often called at the time). This move introduced a different kind of art making. <br />
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[[File:Studio-workshops.png|thumb|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]<br />
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This change that occurred in art schools in the UK in the sixties through a new approach to art education known as ‘Basic Design’ was very much driven by the reception of the Bauhaus approach and in particular Joseph Itten’s ''Vorkurs'' (preliminary course). Workshop production was seen as a new, more emancipatory form of art making. It came out of the experiences of the Second World War and the desire to give art students a different sort of experience—one that connected them to the contemporary world [[#Learning_to_Experiment,_Sharing_Techniques|rather than traditional skills training]] and that aimed to overcome the distinction between art, craft and design. <br />
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The second shift is where performance comes in in the 1960s. Teachers and students saying: We don't want all of that material making in the workshop. We want to make something that's ephemeral and that's collective and that's participatory. We don't want to be hammering away all day in the workshop. Instead we do this other thing where we get together and we make something that’s not actually about producing any objects, and we'll call that a workshop as well. That's the [[#A_case_of_mistaken_identity|event-based]] rather than space-based concept of the workshop. <br />
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In dance, people were already talking about workshops as events in the fifties. I don't know when the shift occurred from the workshop as a site toward the more ephemeral understanding of the workshop as event, how that happened, but it's interesting because what motivated the artists in the sixties that I have been looking at—and they explicitly say so in their notes—was that this move toward the ephemeral was about searching for more equitable relationships that do away with the teacher-student division. That division had been further cemented by the remains of the Bauhaus philosophy and its celebration of mastery. I think that was one of the key shifts toward this more [[#Scripting_Workshops|ephemeral meaning of the workshop]]. It was no longer about a master passing on knowledge to their students. It became about collective making. And everybody took collective charge and responsibility for that making. The educators on whom I've done research actually say that they wanted to get away from producing objects toward collective action. But, as you say, the workshop can very easily be co-opted like so much of the sixties was. Was that the last hurrah of collectivism? Or was it actually what lay the groundwork for the entry of neoliberalism into education as we now know it?<br />
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[[File:FreeInternationalUniversity.jpeg|thumb|Announcement for the ''Free International University'']]<br />
[[File:30593911032.jpeg|thumb|Announcement for the ''Antiuniversity of London'', 1978]]<br />
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'''AG:''' I myself am wondering whether organizing workshops can generally be considered an emancipatory practice at all? Perhaps there cannot or should not be a general answer to this question. At the school where I work as an educator, some argue the educational system builds upon rather precarious labor conditions, where everyone works as a self-employed freelancer. Simultaneously, more and more workshops are being organized, which at times can clutter the education. Students are supposed to self-initiate and self-organize as well. They often resort to organizing workshops for each other. In my view, such conditions sometimes also show the limits of what can be accomplished with workshops. I think it's important to have more discussions about the workshop as a format and its implications for the learning economy. How to speak about and practice workshops in a way that still allows us to do the things we want to do, whilst also paying critical attention to the undesirable conditions it is intermingled with. <br />
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How was it for you? Did the invitation to the conference lead you to take a deeper look at the phenomenon of the workshop? Or were you already busy with it?<br />
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'''HR:''' Yes, it would be fair to say it led to a deeper engagement with the notion of the workshop. I had been working on this material before and I've written about it too. But I had never really paid attention to the frequency of the word ‘workshop’ in the material I had researched until the invitation came to speak at the conference. It was then that I realized that the workshop is a really productive format to be talking about.<br />
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I wrote a paper on this before in which I talked about the idea that artists and performance educators in the sixties and seventies in the UK were creating events as a kind of [[#Critical_Coding_Cookbook|parallel institution]]. These events aimed to serve the function of an art school without replicating its hierarchical structures. This was the case in Cardiff, but also in other places in the UK such as Leeds College of Art. I was grateful that I was invited to think more about this by the conference. I looked at my examples, and it is specifically “the workshop as event” that emerged as a kind of parallel institution at the time. It wasn't really the performances these teachers and students went on to make together, but the workshop as a learning format that I think they clustered all their ideas around.<br />
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'''AG:''' I stumbled upon the conference last minute and wasn't aware of this whole community of performance artists and live arts who consider the workshop as an artistic medium. It's also interesting that the workshop, because of its ambiguity, manages to converge all these different worlds and unveil commonalities between them. For instance a policeman<ref>Sebastian Voigt (Polizei Berlin), "The Training of the Berlin Police Force in the Workshop"</ref> speaking about their conflict resolution workshops, and the activist who learns about tying themselves to a tree and how to negotiate with the police while doing so <ref>Hanna Poddig, "The Workshop as an Emancipatory Mediation Method of Resistant Practices"</ref>. Both speaking about the same sort of thing at the same conference from an entirely different vantage point. <br />
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[[File:Slide-Hanna-Podig-2.png|thumb|In her talk "The Workshop as an Emancipatory Mediation Method of Resistant Practices" political activist Hanna Poddig referred to the [[#On_consensus,_in_two_parts|discussion scores]] that are also common in Consensus Decision-making practices]]<br />
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You emphasized that a lot of the artists you researched were also educators. It was great to hear that engaged with in such an explicit manner. I don’t often hear about how the practices of artists and designers continue to evolve within particular educational environments, after they have completed their studies too. I find that many great artists and designers are also teachers and I personally don’t draw a harsh distinction between being an educator and being a designer. The practices go hand in hand. But I found that there are not many records of the teaching practices of artists and designers. Another thing from your talk that really stayed with me was your re-enactment of a workshop. You showed some pictures and I found them so interesting and also funny. In your re-enactment, you imagined through physical exercises what the workshop might have looked like. You referred to one specific artist educator, whose name I don’t recall. <br />
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'''HR:''' His name is John Gingell, and he is not particularly well known. I never met him in person, as he had already passed away by the time I became interested in his work. He had a sculptural practice, and a few of his public artworks are still on view in Cardiff, and some of this work has been exhibited in London. But really he was an educator. That was his main practice. He formed and shaped generations of art students. He was not the type of person to write manifestos, or write a lot in general, but I've been very fortunate because his family has allowed me to look at all of his materials, which are now kept in the attic of one of his daughters. He didn't leave a written philosophy of teaching or anything like that, just really random notes or little statements that he put together for the art school in order to justify what he was doing, or presentation outlines and things like that. <br />
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I didn't re-enact any of his workshops because they were very sketchily documented. He was not somebody who kept a particularly developed [[#Channeling_Listeners|documentation]] or scoring practice. If I think about my own [[[[#Across_Distance_and_Difference|teaching]], I don't either. When I enter a classroom, I often just jot down some notes on the exercises I want to do. They're just little prompts, which aren’t accompanied with much explanation. In years to come, if somebody were to look at my teaching notes, they too wouldn’t be able to make much sense of what I was doing in the classroom. I don't think that's unusual. Anyway, I have contact with one of Gingell’s students from the late 1960s, the artist John Danvers, who also taught at the art school for a number of years in the seventies. He was very influenced by John Cage, so his own artistic practice was already very score-based. When he became a teacher his teaching practice was very well documented. He documented the exercises alongside photos of the students doing the exercises. He has quite substantive documentation on the courses he taught at Cardiff. <br />
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[[File:JohnCageWaterWalk.png|thumb|"A section of Water Walk," score by John Cage]]<br />
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Interestingly, one of his regular classes in the early 1970s for Cardiff College of Art was a workshop about the use of sounds and words, which was unusual for an art school context. I invited him in 2013 to re-enact the workshop as part of the Experimentica Festival in Cardiff. Anybody could attend, but it was mainly my friends who came [laughs]. A lot of the people who attended were theatre people, and their feedback was that Danvers’ exercises and the approach that he took spoke very much of a visual arts kind of sensibility. Even though he was working with words and sounds—which have a theatrical dimension—their purpose was much less about what theatre workshops tend to focus on, such as the interpretation of words or meaning-making. Instead, Danvers’ workshop was much more about the visual qualities of words and sounds. There was much more concern about spatiality and the sculptural qualities of words. Danvers approached his teaching practice very much as a conceptual practice, and so it was fairly easy to reconstruct what he did in his workshops. I've always been intrigued by this hidden history of pedagogy within the emergence of experimental art. We read a lot about John Cage and his teaching at the New School in New York, but I often think, what did they actually do in his classes? There are some accounts of his students about the improvisations they did with Cage, but very little. I'm intrigued to learn more. Beuys too was a teacher as well as an artist, who considered teaching his ‘greatest work of art’ and a key part of his practice. There are others, too, like Suzanne Lacy and Allan Kaprow, who both taught at CalArts. In fact, a lot of the canonical performance artists were also often teachers. Some of them, Kaprow, for instance, also wrote about education.<br />
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[[File:CivicYouth Strategy.jpg|thumb|Notes by Suzanne Lacy on the ongoing civic engagement in Oakland and the Oakland Youth Policy Initiative. Image courtesy of Suzanne Lacy.]]<br />
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'''AG:''' I was also wondering about how you document workshops. As you said yourself, even though you come up with the initial class or workshop, it is to a large extent shaped in the actual encounter with the people, materials, and space itself. It is obviously not so interesting nor meaningful to just take pictures of people having a great time. So what are ways of documenting that afford a continuation of whatever is happening in these short workshop encounters, and which allow for retrospective discussion and reflection of these workshop practices? The way I document workshops is usually very messy. Our workshop archive is scattered in different places, online and as well as offline.<br />
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I was wondering, sometimes we compare workshop scripts with protocols and orchestrate [[#Scripting_Workshops|physical re-enactments]] of what a computer would do, translating something that happens in your machine into a physical space. I am not very familiar with scoring practice but what I do know makes me think of protocols or algorithms. It's not a recording or a replica of a situation, but it sort of anticipates it, sets conditions. I wonder if it could help us think about documentation as something that is not only about looking back, but in fact geared toward continuation and activation in the future.<br />
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'''HR:''' From the sixties onwards, through Happenings and Fluxus, practices of scoring actions have become a common device in visual arts. And in performance art and dance, very extensive scoring practices have emerged. The indeterminacy of the score or instruction is partly what interests artists. You give somebody a score, and it could be interpreted in a hundred different ways. That's why it is interesting to consider where the artwork is located in these practices. Is the score the artwork? Is it the realization of the score the artwork? A Fluxus score, for instance, wouldn't even tell you how many people have to carry it out. Such a score could be about the very indeterminacy of an action.<br />
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[[File:RobertFilliou.jpg|thumb|Fluxus artist Robert Filliou published the book "Teaching and Learning as Performings Arts" in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page]]<br />
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Traditionally, we think of the author of the score as the author of the work, such as in musical compositions, for example. But more recently, we are seeing much more experimentation with scoring practices, and with the relationship between the score and the event or action that it might anticipate or generate. A few years ago Hans Ulrich Obrist did a large-scale curatorial project called "do it,”<ref> “do it (2013-) curated by Hans Ulrich Obrist,” Independent Curators International, https://curatorsintl.org/exhibitions/18072-do-it-2013.</ref> which invited artists who don't normally have a scoring practice to write their own scores or instructions. People were invited to enact these score and then upload documentation of the enactment online so that you could see the score, as well as a multitude of different kinds of documentation of the different kinds of outcomes produced by their enactments. <br />
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'''AG:''' I am trying to think through the question of how to publish something like a workshop or a workshop script. In my view it can be an interesting graphic design object because it's very unresolved, very spontaneous, it's actually not a precious object, and it’s never up to date. These criteria are significant for it to function. But how do we publish something like that in a meaningful way? For instance, pictures of workshop situations can help to contextualize something like a score or workshop script. You cannot just give the score to someone and expect them to know what they have to do and how to be excited about it. You need that activation moment and know-how too. But including snapshots of people doing things is not necessarily interesting to print in a book. <br />
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'''HR:''' It brings us back to the fact that there are different kinds of workshops and different kinds of scores. There are those that are meant to be indeterminate and generate lots of different kinds of responses. Every response is justified and equally valid. Sometimes visual documentation can therefore be too prescriptive. If you see a score and somebody enacting it, you might think, well, that's the only way to do it. It takes a little bit of your agency away. Unless you do it like the DIY “Do It” project, where you provide the documentation of multiple enactments so you encourage people to try their own response by showing them five different versions. But then there are also scores where which are much more prescriptive, and people want them to be enacted in a particular kind of way, particularly often in pedagogical contexts. Do you want the exercise to land in a particular way, because you want the students to have a particular kind of learning experience? There are different scoring practices, different ways to shape an instruction, and similarly there are different kinds of documentation practices that might be suitable. Yet, I would say that it's the “doing,” the [[#Conceptual_Speed_Dating|activation and interpretation of a score]], that's interesting. It's all about the finding process and the kind of rationalization and reflexivity that you go through in this process that I find exciting. It’s often just as interesting to look at how a person struggled through finding a response to a a score or instruction than the response itself.<br />
<br />
'''AG:''' You also teach workshops for children. What are they about?<br />
<br />
'''HR:''' I have been involved in some performance work with children through my collaboration with the artist Sibylle Peters, who runs a theater for children in Hamburg, the FundusTheater/ Forschungstheater. Sibylle calls it a “theatre of research”.<ref> Sibylle Peters, performing research: How to conduct research projects with kids and adults using Live Art strategies, (London: Live Art Development Agency, 2017), https://www.thisisliveart.co.uk/wp-content/uploads/uploads/documents/SYBILLE_TOOLKIT_WEB.pdf.</ref> The philosophy is that research is something that brings artists, children and scholars together, as it's something that artists do, it's something that children do, and it's something that scholars do. She devises projects around different themes which are of particular interest to the children she researches with and are often driven by their desires, such as ‘I want to be rich’, which led to an examination of the nature of money and the founding of a children’s bank with its own micro-currency in Hamburg. I did several projects with Sabine, where I was invited for my knowledge of performance art history. The last project we did was, Kaputt – The Academy of Destruction at Tate Modern in 2017. Destruction is a really big subject for children, because they're often told they are destructive or have destructive behavior.<br />
<br />
We worked with children who were diagnosed with behavioral issues, who showed what was deemed destructive behavior in class, or who were really interested in watching cartoons where things get destroyed. Kids see and hear about destruction all the time, for example the destruction of the environment. When we were doing the project in London, seventy-two people had recently died in the Grenfell Tower fire as a result of negligence.<ref> “Grenfell Tower fire,” Wikipedia, last modified October 10, 2022, https://en.wikipedia.org/wiki/Grenfell_Tower_fire.</ref> It was close to where the children we worked with came from, and it was very present in their minds. But there's no real outlet for children to explore their fears about destruction, but also their interests and pleasures in destructiveness and their destructive fantasies. We worked with the children on the notion of destruction for a week. We were all considered equal experts on the subject, and we all shared our expertise. The kids gave talks, for example about destruction in comics and animation. I gave a talk on destruction and art. Sybille has done lots of these kinds of projects, which I occasionally get invited to participate in and work on issues that overlap with the histories of art. Inspired by our work together, I have recently begun to research the participation of children in the history of avant-garde art, especially in the performance practices of Happenings and Fluxus.<br />
<br />
What is important to Sibylle as well is this idea of the workshop as a space for [[#Open-source_Parenting|equitable relationships]]. She takes seriously what the kids bring to the discussion. And it's always about rethinking and [[#Am_I_a_hacker_now?|reshaping the adult-kid relationships]]. We will be working together again in September 2022 on the occasion of the opening of a new building for the Fundus Theater in Hamburg. For that event I am currently working on some research that looks at child activism in the sixties, especially the involvement of children in the American Civil Rights movement, and how that intersected with children's participation in experimental art projects at the time. How children were trained for their participation in protest or art with the help of workshops will be a major aspect of this research too.<br />
<br />
<small><br />
'''Heike Roms''' is Professor in Theater and Performance at the University of Exeter, UK. Her research is interested in the history and historiography of performance art in the 1960s and 1970s, especially in the context of the UK. She is currently working on a project on performance art’s pedagogical histories and the development of performance in the context of British art schools.<br />
</small><br />
</div></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Workshop-Histories-and-Practices&diff=3817Workshop-Histories-and-Practices2022-11-02T17:06:57Z<p>Juju: /* Workshop Histories and Practices */</p>
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<div><div class="article Workshop-Histories-and-Practices layout-2" id="Workshop_Histories_and_Practices"><br />
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=== Workshop Histories and Practices ===<br />
<span class="author">A Conversation Between Heike Roms and Anja Groten</span><br />
'''Anja Groten:''' In May 2021 I participated in an online conference titled “The Workshop as Artistic-Political Format,” organized by Institute for Cultural Inquiry in Berlin.<ref> “The Workshop: Investigations Into an Artistic-Political Format,” ICI Berlin, March 26-28, 2021, https://www.ici-berlin.org/events/the-workshop/.</ref> The conference drew together practitioners from various fields of interests, including choreographers, dancers, theater makers, artists, scholars, musicians, and activists who reflected on “workshop” as a format, site, and phenomenon from their own perspectives. Heike, you gave the presentation "The Changing Fate of the Workshop and the Emergence of Live Art,” which particularly resonated with me. <br />
<br />
[[File:Anna-Halprin_Dance.jpeg|thumb|Image of the Anna Halprin’s Dance Deck, an architectonic arrangement, and workshop site that transformed dance practice, 1951-1954, with Lawrence Halprin. The image was shown by Kai Ekels in the introduction presentation of “The Workshop: Investigations Into an Artistic-Political Format.”]]<br />
<br />
'''Heike Roms:''' I came to the topic of workshops because in my work I look at the emergence of performance art in the sixties and seventies. I became interested in particular in the emergence of performance art within art educational contexts, in a conceptualization of a pedagogy of performance. I've read your chapter on “Workshop Production,”<ref> Anja Groten, “Workshop Production,” Figuring Things Out Together. On the Relationship Between Design and Collective Practice (PhD Diss., Leiden University, 2022).</ref> which I really enjoyed. Some of the research you've done is helpful to me because I too have found that there's actually very little written about the workshop as a practice. That is, people have written about specific workshops so you can find material on workshops given by a particular artist. But there is little reflection on the workshop as a format, as a genre, as a site, as whatever we might call it. That surprised me, given that it's sort of ubiquitous in practice. There are books on performance laboratories, for example, and there is a connected history between the workshop and labs, the studio space, and rehearsals as a format. But there is very little on the workshop, certainly within performance studies or art history discourse, so I became intrigued by this ubiquitous form that remains largely unexamined. It's great that through the work of Kai van Eikels and the 2021 conference he co-organized there's a new kind of attention being paid to it, through your work as well. But there is not enough available about the history of the workshop to help us understand at what point this flip occurred from considering the workshop as an actual physical site to approaching the workshop as an event format. You write about this as well. The two meanings, of course, continued to exist in parallel, particularly in the context of art schools. But at what point did the workshop become an event, a time-based learning experience, as well as a site of making—a ''Werkstatt''? I don't know how and when that occurred. My suspicion is that it was sometime around the fifties and sixties.<br />
<br />
[[File:ICI-Homepage.png|thumb|Announcement image to the conference “The Workshop: Investigations Into an Artistic-Political Format.”]]<br />
<br />
'''AG:''' There is the ''The Journal of Educational Sociology'' that was published in 1951 and refers to the first organized professional education activity under the name of a workshop. It took place at Ohio State University in 1936.<ref> The Journal of Educational Sociology, Vol. 24, No. 5 (Jan1951): 249-250, https://www.jstor.org/stable/2263638.</ref> I remember you were talking about the relation between the occurrence of workshops and the emergence of a certain resistance toward the steady structures of art schools in the fifties and sixties in the UK—a resistance to legitimized knowledge practices and skills. Art students wanted to rid themselves of a certain authority of disciplines or disciplined learning and instead wanted to take things into their own hands.<br />
<br />
[[File:Journal-workshops.png|thumb|Walter A. Anderson, "What Makes a Good Workshop," ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]<br />
<br />
'''HR:''' In the specific history I looked at, which is that of Cardiff College of Art, I found that there is a confluence between the workshop and two emancipatory movements. First was the move toward the workshop as a learning format through the impetus of the Bauhaus, which in the 1960s developed a huge impact on art schools across the UK. Traditionally people weren’t really talking about workshops as sites of making in the context of art schools; the workshop was the place of the plumber or the blacksmith, while artists worked in ateliers or studios. I think that the idea of the workshop as a place of making was introduced to the art school through the Bauhaus philosophy, which was a vehicle for the emancipation of art education. All of a sudden art was being approached in the same way as other practices of making were being approached. No longer did we have the sculpture atelier or the drawing room. Now there were ceramics workshops, metal workshops, printmaking workshops but also painting workshops and sculpture workshops (or ‘2D’ and ‘3D’ workshops as they were often called at the time). This move introduced a different kind of art making. <br />
<br />
[[File:Studio-workshops.png|thumb|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]<br />
<br />
This change that occurred in art schools in the UK in the sixties through a new approach to art education known as ‘Basic Design’ was very much driven by the reception of the Bauhaus approach and in particular Joseph Itten’s ''Vorkurs'' (preliminary course). Workshop production was seen as a new, more emancipatory form of art making. It came out of the experiences of the Second World War and the desire to give art students a different sort of experience—one that connected them to the contemporary world [[#Learning_to_Experiment,_Sharing_Techniques|rather than traditional skills training]] and that aimed to overcome the distinction between art, craft and design. <br />
<br />
The second shift is where performance comes in in the 1960s. Teachers and students saying: We don't want all of that material making in the workshop. We want to make something that's ephemeral and that's collective and that's participatory. We don't want to be hammering away all day in the workshop. Instead we do this other thing where we get together and we make something that’s not actually about producing any objects, and we'll call that a workshop as well. That's the [[#A_case_of_mistaken_identity|event-based]] rather than space-based concept of the workshop. <br />
<br />
In dance, people were already talking about workshops as events in the fifties. I don't know when the shift occurred from the workshop as a site toward the more ephemeral understanding of the workshop as event, how that happened, but it's interesting because what motivated the artists in the sixties that I have been looking at—and they explicitly say so in their notes—was that this move toward the ephemeral was about searching for more equitable relationships that do away with the teacher-student division. That division had been further cemented by the remains of the Bauhaus philosophy and its celebration of mastery. I think that was one of the key shifts toward this more [[#Scripting_Workshops|ephemeral meaning of the workshop]]. It was no longer about a master passing on knowledge to their students. It became about collective making. And everybody took collective charge and responsibility for that making. The educators on whom I've done research actually say that they wanted to get away from producing objects toward collective action. But, as you say, the workshop can very easily be co-opted like so much of the sixties was. Was that the last hurrah of collectivism? Or was it actually what lay the groundwork for the entry of neoliberalism into education as we now know it?<br />
<br />
[[File:FreeInternationalUniversity.jpeg|thumb|Announcement for the ''Free International University'']]<br />
[[File:30593911032.jpeg|thumb|Announcement for the ''Antiuniversity of London'', 1978]]<br />
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'''AG:''' I myself am wondering whether organizing workshops can generally be considered an emancipatory practice at all? Perhaps there cannot or should not be a general answer to this question. At the school where I work as an educator, some argue the educational system builds upon rather precarious labor conditions, where everyone works as a self-employed freelancer. Simultaneously, more and more workshops are being organized, which at times can clutter the education. Students are supposed to self-initiate and self-organize as well. They often resort to organizing workshops for each other. In my view, such conditions sometimes also show the limits of what can be accomplished with workshops. I think it's important to have more discussions about the workshop as a format and its implications for the learning economy. How to speak about and practice workshops in a way that still allows us to do the things we want to do, whilst also paying critical attention to the undesirable conditions it is intermingled with. <br />
<br />
How was it for you? Did the invitation to the conference lead you to take a deeper look at the phenomenon of the workshop? Or were you already busy with it?<br />
<br />
'''HR:''' Yes, it would be fair to say it led to a deeper engagement with the notion of the workshop. I had been working on this material before and I've written about it too. But I had never really paid attention to the frequency of the word ‘workshop’ in the material I had researched until the invitation came to speak at the conference. It was then that I realized that the workshop is a really productive format to be talking about.<br />
<br />
I wrote a paper on this before in which I talked about the idea that artists and performance educators in the sixties and seventies in the UK were creating events as a kind of [[#Critical_Coding_Cookbook|parallel institution]]. These events aimed to serve the function of an art school without replicating its hierarchical structures. This was the case in Cardiff, but also in other places in the UK such as Leeds College of Art. I was grateful that I was invited to think more about this by the conference. I looked at my examples, and it is specifically “the workshop as event” that emerged as a kind of parallel institution at the time. It wasn't really the performances these teachers and students went on to make together, but the workshop as a learning format that I think they clustered all their ideas around.<br />
<br />
'''AG:''' I stumbled upon the conference last minute and wasn't aware of this whole community of performance artists and live arts who consider the workshop as an artistic medium. It's also interesting that the workshop, because of its ambiguity, manages to converge all these different worlds and unveil commonalities between them. For instance a policeman<ref>Sebastian Voigt (Polizei Berlin), "The Training of the Berlin Police Force in the Workshop"</ref> speaking about their conflict resolution workshops, and the activist who learns about tying themselves to a tree and how to negotiate with the police while doing so <ref>Hanna Poddig, "The Workshop as an Emancipatory Mediation Method of Resistant Practices"</ref>. Both speaking about the same sort of thing at the same conference from an entirely different vantage point. <br />
<br />
[[File:Slide-Hanna-Podig-2.png|thumb|In her talk "The Workshop as an Emancipatory Mediation Method of Resistant Practices" political activist Hanna Poddig referred to the [[#On_consensus,_in_two_parts|discussion scores]] that are also common in Consensus Decision-making practices]]<br />
<br />
You emphasized that a lot of the artists you researched were also educators. It was great to hear that engaged with in such an explicit manner. I don’t often hear about how the practices of artists and designers continue to evolve within particular educational environments, after they have completed their studies too. I find that many great artists and designers are also teachers and I personally don’t draw a harsh distinction between being an educator and being a designer. The practices go hand in hand. But I found that there are not many records of the teaching practices of artists and designers. Another thing from your talk that really stayed with me was your re-enactment of a workshop. You showed some pictures and I found them so interesting and also funny. In your re-enactment, you imagined through physical exercises what the workshop might have looked like. You referred to one specific artist educator, whose name I don’t recall. <br />
<br />
'''HR:''' His name is John Gingell, and he is not particularly well known. I never met him in person, as he had already passed away by the time I became interested in his work. He had a sculptural practice, and a few of his public artworks are still on view in Cardiff, and some of this work has been exhibited in London. But really he was an educator. That was his main practice. He formed and shaped generations of art students. He was not the type of person to write manifestos, or write a lot in general, but I've been very fortunate because his family has allowed me to look at all of his materials, which are now kept in the attic of one of his daughters. He didn't leave a written philosophy of teaching or anything like that, just really random notes or little statements that he put together for the art school in order to justify what he was doing, or presentation outlines and things like that. <br />
<br />
I didn't re-enact any of his workshops because they were very sketchily documented. He was not somebody who kept a particularly developed [[#Channeling_Listeners|documentation]] or scoring practice. If I think about my own teaching, I don't either. When I enter a classroom, I often just jot down some notes on the exercises I want to do. They're just little [[#Across_Distance_and_Difference|prompts]], which aren’t accompanied with much explanation. In years to come, if somebody were to look at my teaching notes, they too wouldn’t be able to make much sense of what I was doing in the classroom. I don't think that's unusual. Anyway, I have contact with one of Gingell’s students from the late 1960s, the artist John Danvers, who also taught at the art school for a number of years in the seventies. He was very influenced by John Cage, so his own artistic practice was already very score-based. When he became a teacher his teaching practice was very well documented. He documented the exercises alongside photos of the students doing the exercises. He has quite substantive documentation on the courses he taught at Cardiff. <br />
<br />
[[File:JohnCageWaterWalk.png|thumb|"A section of Water Walk," score by John Cage]]<br />
<br />
Interestingly, one of his regular classes in the early 1970s for Cardiff College of Art was a workshop about the use of sounds and words, which was unusual for an art school context. I invited him in 2013 to re-enact the workshop as part of the Experimentica Festival in Cardiff. Anybody could attend, but it was mainly my friends who came [laughs]. A lot of the people who attended were theatre people, and their feedback was that Danvers’ exercises and the approach that he took spoke very much of a visual arts kind of sensibility. Even though he was working with words and sounds—which have a theatrical dimension—their purpose was much less about what theatre workshops tend to focus on, such as the interpretation of words or meaning-making. Instead, Danvers’ workshop was much more about the visual qualities of words and sounds. There was much more concern about spatiality and the sculptural qualities of words. Danvers approached his teaching practice very much as a conceptual practice, and so it was fairly easy to reconstruct what he did in his workshops. I've always been intrigued by this hidden history of pedagogy within the emergence of experimental art. We read a lot about John Cage and his teaching at the New School in New York, but I often think, what did they actually do in his classes? There are some accounts of his students about the improvisations they did with Cage, but very little. I'm intrigued to learn more. Beuys too was a teacher as well as an artist, who considered teaching his ‘greatest work of art’ and a key part of his practice. There are others, too, like Suzanne Lacy and Allan Kaprow, who both taught at CalArts. In fact, a lot of the canonical performance artists were also often teachers. Some of them, Kaprow, for instance, also wrote about education.<br />
<br />
[[File:CivicYouth Strategy.jpg|thumb|Notes by Suzanne Lacy on the ongoing civic engagement in Oakland and the Oakland Youth Policy Initiative. Image courtesy of Suzanne Lacy.]]<br />
<br />
'''AG:''' I was also wondering about how you document workshops. As you said yourself, even though you come up with the initial class or workshop, it is to a large extent shaped in the actual encounter with the people, materials, and space itself. It is obviously not so interesting nor meaningful to just take pictures of people having a great time. So what are ways of documenting that afford a continuation of whatever is happening in these short workshop encounters, and which allow for retrospective discussion and reflection of these workshop practices? The way I document workshops is usually very messy. Our workshop archive is scattered in different places, online and as well as offline.<br />
<br />
I was wondering, sometimes we compare workshop scripts with protocols and orchestrate [[#Scripting_Workshops|physical re-enactments]] of what a computer would do, translating something that happens in your machine into a physical space. I am not very familiar with scoring practice but what I do know makes me think of protocols or algorithms. It's not a recording or a replica of a situation, but it sort of anticipates it, sets conditions. I wonder if it could help us think about documentation as something that is not only about looking back, but in fact geared toward continuation and activation in the future.<br />
<br />
'''HR:''' From the sixties onwards, through Happenings and Fluxus, practices of scoring actions have become a common device in visual arts. And in performance art and dance, very extensive scoring practices have emerged. The indeterminacy of the score or instruction is partly what interests artists. You give somebody a score, and it could be interpreted in a hundred different ways. That's why it is interesting to consider where the artwork is located in these practices. Is the score the artwork? Is it the realization of the score the artwork? A Fluxus score, for instance, wouldn't even tell you how many people have to carry it out. Such a score could be about the very indeterminacy of an action.<br />
<br />
[[File:RobertFilliou.jpg|thumb|Fluxus artist Robert Filliou published the book "Teaching and Learning as Performings Arts" in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page]]<br />
<br />
Traditionally, we think of the author of the score as the author of the work, such as in musical compositions, for example. But more recently, we are seeing much more experimentation with scoring practices, and with the relationship between the score and the event or action that it might anticipate or generate. A few years ago Hans Ulrich Obrist did a large-scale curatorial project called "do it,”<ref> “do it (2013-) curated by Hans Ulrich Obrist,” Independent Curators International, https://curatorsintl.org/exhibitions/18072-do-it-2013.</ref> which invited artists who don't normally have a scoring practice to write their own scores or instructions. People were invited to enact these score and then upload documentation of the enactment online so that you could see the score, as well as a multitude of different kinds of documentation of the different kinds of outcomes produced by their enactments. <br />
<br />
'''AG:''' I am trying to think through the question of how to publish something like a workshop or a workshop script. In my view it can be an interesting graphic design object because it's very unresolved, very spontaneous, it's actually not a precious object, and it’s never up to date. These criteria are significant for it to function. But how do we publish something like that in a meaningful way? For instance, pictures of workshop situations can help to contextualize something like a score or workshop script. You cannot just give the score to someone and expect them to know what they have to do and how to be excited about it. You need that activation moment and know-how too. But including snapshots of people doing things is not necessarily interesting to print in a book. <br />
<br />
'''HR:''' It brings us back to the fact that there are different kinds of workshops and different kinds of scores. There are those that are meant to be indeterminate and generate lots of different kinds of responses. Every response is justified and equally valid. Sometimes visual documentation can therefore be too prescriptive. If you see a score and somebody enacting it, you might think, well, that's the only way to do it. It takes a little bit of your agency away. Unless you do it like the DIY “Do It” project, where you provide the documentation of multiple enactments so you encourage people to try their own response by showing them five different versions. But then there are also scores where which are much more prescriptive, and people want them to be enacted in a particular kind of way, particularly often in pedagogical contexts. Do you want the exercise to land in a particular way, because you want the students to have a particular kind of learning experience? There are different scoring practices, different ways to shape an instruction, and similarly there are different kinds of documentation practices that might be suitable. Yet, I would say that it's the “doing,” the [[#Conceptual_Speed_Dating|activation and interpretation of a score]], that's interesting. It's all about the finding process and the kind of rationalization and reflexivity that you go through in this process that I find exciting. It’s often just as interesting to look at how a person struggled through finding a response to a a score or instruction than the response itself.<br />
<br />
'''AG:''' You also teach workshops for children. What are they about?<br />
<br />
'''HR:''' I have been involved in some performance work with children through my collaboration with the artist Sibylle Peters, who runs a theater for children in Hamburg, the FundusTheater/ Forschungstheater. Sibylle calls it a “theatre of research”.<ref> Sibylle Peters, performing research: How to conduct research projects with kids and adults using Live Art strategies, (London: Live Art Development Agency, 2017), https://www.thisisliveart.co.uk/wp-content/uploads/uploads/documents/SYBILLE_TOOLKIT_WEB.pdf.</ref> The philosophy is that research is something that brings artists, children and scholars together, as it's something that artists do, it's something that children do, and it's something that scholars do. She devises projects around different themes which are of particular interest to the children she researches with and are often driven by their desires, such as ‘I want to be rich’, which led to an examination of the nature of money and the founding of a children’s bank with its own micro-currency in Hamburg. I did several projects with Sabine, where I was invited for my knowledge of performance art history. The last project we did was, Kaputt – The Academy of Destruction at Tate Modern in 2017. Destruction is a really big subject for children, because they're often told they are destructive or have destructive behavior.<br />
<br />
We worked with children who were diagnosed with behavioral issues, who showed what was deemed destructive behavior in class, or who were really interested in watching cartoons where things get destroyed. Kids see and hear about destruction all the time, for example the destruction of the environment. When we were doing the project in London, seventy-two people had recently died in the Grenfell Tower fire as a result of negligence.<ref> “Grenfell Tower fire,” Wikipedia, last modified October 10, 2022, https://en.wikipedia.org/wiki/Grenfell_Tower_fire.</ref> It was close to where the children we worked with came from, and it was very present in their minds. But there's no real outlet for children to explore their fears about destruction, but also their interests and pleasures in destructiveness and their destructive fantasies. We worked with the children on the notion of destruction for a week. We were all considered equal experts on the subject, and we all shared our expertise. The kids gave talks, for example about destruction in comics and animation. I gave a talk on destruction and art. Sybille has done lots of these kinds of projects, which I occasionally get invited to participate in and work on issues that overlap with the histories of art. Inspired by our work together, I have recently begun to research the participation of children in the history of avant-garde art, especially in the performance practices of Happenings and Fluxus.<br />
<br />
What is important to Sibylle as well is this idea of the workshop as a space for [[#Open-source_Parenting|equitable relationships]]. She takes seriously what the kids bring to the discussion. And it's always about rethinking and [[#Am_I_a_hacker_now?|reshaping the adult-kid relationships]]. We will be working together again in September 2022 on the occasion of the opening of a new building for the Fundus Theater in Hamburg. For that event I am currently working on some research that looks at child activism in the sixties, especially the involvement of children in the American Civil Rights movement, and how that intersected with children's participation in experimental art projects at the time. How children were trained for their participation in protest or art with the help of workshops will be a major aspect of this research too.<br />
<br />
<small><br />
'''Heike Roms''' is Professor in Theater and Performance at the University of Exeter, UK. Her research is interested in the history and historiography of performance art in the 1960s and 1970s, especially in the context of the UK. She is currently working on a project on performance art’s pedagogical histories and the development of performance in the context of British art schools.<br />
</small><br />
</div></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Skinship&diff=3803Skinship2022-11-02T16:16:46Z<p>Juju: /* Skinship */</p>
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<div class="article Skinship layout-2" id="Skinship"><br />
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[[File:PLOETZSusan006.jpg|thumb|class=title_image scriptothek|Skinship run at Aoyama Gakuin University in Tokyo November, 2019 as a part of the art exhibition "The Shape of Things to Come". In it's original form, players play in a room of objects, to explore, some of which are soft robots (designed with Jonas Jorgensen, professor at the University of Southern Denmark's Biorobotics department). The script here is a modified version designed after the covid pandemic made playing in its original format difficult.]]<br />
<br />
=== Skinship ===<br />
<span class="author">Susan Ploetz</span><br />
==== Mini-larp script for TI: touching intelligence<ref>The workshop initially took place at for DAI (Dutch Art Institute) 'Staging Realities'</ref> ====<br />
==== Introduction ====<br />
===== Welcome, introduction round of names/pronouns. I will introduce myself and my practice. =====<br />
<br />
'''Structure of event: '''<br />
* Introduction <br />
* Warming up and workshop<br />
* LARP runtime<br />
* Debrief<br />
<br />
Altogether we will take about 1.5/2 hours, however both the workshop and the LARP runtime could be made longer—this is up to the participants and facilitator. Debrief can take ten minutes or longer.<br />
<br />
==== The setting ====<br />
This world is alien to you, this world in this room. You may have been to Earth before, so you might have had other experiences on this planet, but the objects in this room are completely new. All of you have been sent here to investigate from another place. Your culture has a group consciousness and you have a distributed intelligence. You have been split up physically, but you still share information and have a group sense of meaning-making. Together you consolidate the information you have been gathering. The main method of investigating is through your senses, the most powerful being touch. Touch is how you ground all your other senses, give them foundation, and combine them to create a more complex understanding of your surroundings. Your mission is to explore what is before you and gather information—especially if you think there is intelligence here, and/or any special powers to redeem. You will also share information about how to relate with these beings/things. You will report back to the members of your group through words, which become a kind of chant, poem, or narrative matrix cloud. The words help others to understand what you are encountering. You combine all of your experiences together to create communal sense and sensing, and a generalized sense of this place. <br />
<br />
You are sensory beings, primarily; the senses occupy most of your activities and awareness. Because you are so sensory, your language is composed of mostly words that describe qualities. The words act as matrices that hold the qualities of things, and the sensory qualities of materials and objects. These qualities are what you recognize as the object’s powers, perhaps their intelligence. Your words are also the medium through which you experiment with communicating with the things and materials around you: Will they respond in some way, in any way you can decipher or recognize? What will they say to you? And how will they do so?<br />
<br />
We will play sensing creatures that detect intelligence/power through touch. In the workshop, we will make a simple [[#Roleplaying in Etherpad|character]] for ourselves, this is who we will play/embody during the LARP runtime. We will do some centering/sensory practices as a warm-up to train them to be able to sense intelligence through all of the senses (especially touch) as these sort-of alien beings. The workshop phase will give you the tools you need to [[#Cooperative gaming|play]]. You can ask questions during the workshop phase. If you are not quite clear on what to do, please bring it up! This is an experiment, no one here has done something quite like this before. So, relax, and invite a sense of play and exploration. There isn’t a right way or wrong way to do this. If you feel lost, just follow what others are doing, and we’ll arrive at a good place together, or take a break for a minute and then come back into the play. Breaks are super important to absorb what is happening, to listen to your fellow players, and to follow your perceptions! If you need to leave the experience/zoom call entirely (no explanation needed!), please just let me know in the chat box with a private message, so I know not to wait for you. We will take a short break at the end, and you can use this to go to the bathroom, get some water, etc. You can also jot down things about the experience you’d like to remember. After this we will debrief, which gives us a bit of time after the LARP play to share our experiences and observations. This part is totally voluntary as well. <br />
<br />
I am happy to see you all in this part of the workshop. When we do the sensory warm-ups, you can turn your video off if that makes you more comfortable to move or explore. We can keep the cameras off for most of the workshop and LARP, but I would love to have them all on for the debrief. I will simply ask you to turn them on if necessary. <br />
<br />
<br />
==== Workshopping ====<br />
=====Making the characters: Driving questions and motivations =====<br />
First, we will “make” our characters. You can use the workshop to get a feel for how to carry out the activities as your character might.You can experiment with different approaches. <br />
<br />
===== Invite a sense of your character’s physicality in. =====<br />
Whatever your being is, they have at least two limbs for sensing and touching, with the ends of the limbs being particularly sensitive and agile for this task. But there are other limbs and surfaces, too! (Note: it’s best that you don’t imagine your body too different from the one you have now, as it is a physical experience and we will be situated in our bodies). As you tune in and explore, invite yourself to be curious about what comes up. <br />
<br />
What do you believe about sentience? Do you believe animals, plants, objects, materials can be sentient? Does your character have the same beliefs, or something different?<br />
Which sense/senses would you like to explore the most today? Touch is the most powerful sense for your people, but your character has an additional special sense in addition to this. See if that special sense comes to you now, or at any time in the workshop (or perhaps it only shows up during play!). <br />
How do you feel about touch/touching? How does your character feel different about touch/touching? <br />
Has your character been to Earth before, and if so for how long? How well do they feel they know this planet?<br />
Invite a sense of your character’s name, and enter it into the name field. We won’t be calling each other by names in this experience, but it will help to remind us that we are not our normal selves, but playing a different being.<br />
<br />
===== Somatic warm-ups: Awakening the senses =====<br />
In this warm-up, we will open up our senses and perceptions and start practicing how our character perceives, relates to, and takes in what is around them. In the room, I invite you to take it all in. Any part or surface in the room, from top to bottom. Take your time with each sense, and use breath and pauses to absorb the information you are gathering.<br />
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Touch the different materials and they also touch you. Explore this sensation, temperature, texture, weight. Explore the layers of what you touch, notice the qualities. There may be a vibration, a smell. Observe its texture, weight, movement, etc. Use all the senses, but remember that touch is especially important and strong for these beings. It’s where they combine most information; it surpasses all the other senses.<br />
Movement touching: How can you move the material, how does it move through space, by itself? Invite the materials into your quality of movement. Invite a sense of becoming this material through touch. <br />
Smell/taste/molecule touching: Chemical information, micro-information. What do you notice, how does it affect you?<br />
Sound touching: What sounds does it make, what sounds do you make together?<br />
Sight touching: How do the materials touch your sense of sight? What information do you gather through vision?<br />
Start to sound out loud the information you are sensing/gathering. You can use words of any language that feels right to you. Focus on the quality of what you are touching. <br />
<br />
Take in and notice the objects that have been gathered here for today’s exploration. Are there any objects that your character is most drawn to? Are there any they are repulsed by? Or are they simply curious? We as beings are innately curious about anything that comes to us via the senses, but notice anything you might want to play on, as a character. <br />
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===== Group warm-up: Get synchronized as a group and find our voices in space again =====<br />
We count from one to ten, with a different person saying each number out loud (can repeat numbers with less than ten people, but don’t say numbers in a row, wait a few numbers until you speak again). We close our eyes, take a breath in and out together, and one person says “one.” Feel into the time and space. Someone else says the next number. Do this until you get to ten (try in different ways, perhaps slower).<br />
<br />
===== Rehearsing LARPplay =====<br />
We come to the first object (which in this case is a phone – something everyone has). We take it in, put our hands on it (if you are doing this in a room with someone else, you can both put your hands on it, or pass the same object back and forth), hold it in our hands, bring our nose towards it, hold it to our ears. We explore all the qualities of this object with all our senses. As we do this, we take note of what we observe of these qualities, of the materials, of the object. These qualities hold the consciousness and intelligence of these materials. This is what we notice, this is how we find out the intelligence of what is around us. When one person names a quality out loud, we all repeat it, over and over again, experimenting with volume. We make a poem from the qualities named. Try to remember what everyone has been saying, repeat a word if you think it is an especially strong quality/power of this object.<br />
<br />
'''LARP play is:'''<br />
* Encounter object. <br />
* Sense object as group: Observe others sensing, one names the qualities out loud, and others in the group repeat the word after. You can say the words in any language that comes to you, especially if your native language isn’t English. Experiment with sounds, types of words (adjectives, nouns).<br />
* We continue noticing, wording, repeating what others say. Feel free to repeat a word that someone else has said if it seems to be an especially powerful aspect of this object. <br />
* Once you feel you have gathered enough data on this object, you can come to rest. This will be a period of time of extended silence. As a group we will find this place together. <br />
* Pause to download the data on this object.<br />
* We will repeat the same process for each object. When we have done this for every object, we will sit in silence for a bit longer. I will signal when the experience is over.<br />
<br />
I will guide you through the first object and if necessary I can initiate the other objects, but whoever wants to start with the next object, after a pause, is welcome to do so. Again, we will get a feel for how to do this together!<br />
<br />
You can sit, lay, stand, or move around, as long as we all can hear you still. <br />
<br />
Any questions? <br />
<br />
I will start the LARP with a guided meditation to get you back into your character, and after we have explored the last object together, I will do a short guided meditation to bring you back to your “normal” player self, and back into the room. We will take a small five-minute break and then debrief. Feel free to write things you observed down before we gather again together for the debrief. <br />
<br />
===== Runtime =====<br />
Here, a guided meditation to get back into character. You can give sound and lighting cues for start and end times, or just guide people with your words. Start taking in the room around you as your character might.<br />
<br />
* Encounter object.<br />
* Sensing object, sensing qualities, finding words for the qualities, sharing the words, repeating the words of others. Continue until there is an extended period of stillness.<br />
* Move onto next object.<br />
* Do this for however many objects you want, for as long as you want.<br />
<br />
End play in your designated way (maybe you play a sound, turn off the lights, gently end it with your words). Guide people out of their character, and out of the LARP experience. Imagine putting this character to your side, or walking out of the character and standing in front of them, and slowly backing away. Realign yourself with the room, with more of your daily “self.” Open your eyes...<br />
<br />
Five minute break to stretch, get water, go to the toilet, etc. <br />
<br />
===== Debrief: Rundas (Rounds) =====<br />
I often invite participants to write things down at first, which gives them a moment to be with themselves and their own experience before opening up to the group’s perceptions. Writing, drawing, and other responses are all great methods to try. Try this first before opening up to a group debrief and conversation.<br />
<br />
The focus right now is on sharing your experience. You are welcome to pass if you don’t want to share. You can go in a circle or go randomly. The idea is to give each person space to share without responding to what they said. After some rounds like this, you could open it up to a back-and-forth conversation.<br />
<br />
# How do you feel now, in one-three words, or one-two sentences.<br />
# What did you notice/observe?<br />
# Any moments you want to share?<br />
# What worked well for you? What do you wish had been different?<br />
<br />
Find other ways to digest/absorb: physical connection, walking, napping, staying with the experience for a bit, or putting it down and doing something completely different!<br><br />
Be open to whatever observations, information, insights might arise over the next few days!<br />
<br />
<br><br />
<small>'''Susan Ploetz''' is an artist-researcher working with somatics, theory, writing, performance, simulation and live action role plays (larping) in different configurations.</small><br />
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</div></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=ChattyPub&diff=3801ChattyPub2022-11-02T16:11:16Z<p>Juju: /* ChattyPub */</p>
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=== ChattyPub === <br />
<span class="author">Anja Groten, Heerko van der Kooij, Karl Moubarak, and Juliette Lizotte</span><br />
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ChattyPub is difficult to define. It could be described as a design software, a workshop, a [[#Platframe_Postscript|platform]] for discussion, a publishing experiment, or a [[#Spreadsheet_Routines|tool for collective organizing]]. ChattyPub encompasses all these characteristics and has played an instrumental role in the way H&D's collective practice has and continues to evolve.<br />
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ChattyPub was inspired by a workshop that was facilitated by designers and educators [[#Critical_Coding_Cookbook|XinXin]] and Lark VCR during the 2020 edition of the H&D summer academy (HDSA). 2020 was an exceptional year for H&D. Due to the global pandemic, we decided to host the intensive workshop program for the HDSA online for the first time. The program consisted of fifteen workshops that were hosted by different designers, artists, and programmers from various geographical locations.<br />
<br />
The [[#Critical_Coding_Cookbook|“Experimental Chatroom” workshop]] particularly resonated with H&D members for its attention to detail and commitment on the part of the workshop hosts to respond to the different needs and knowledge levels of a diverse group of participants who were distributed across the globe and across different time zones. The workshop impacted H&D in various ways. The subject of the workshop, that of designing and building experimental chat rooms, sparked the idea to co-design a publication that utilized a chat environment. This would allow for several people to participate in the design process at the same time.<br />
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In the next iteration of the HDSA in 2021, which was organized as a hybrid format on and offline and in four different locations, we started using an open-source chat platform called Zulip to streamline communication with workshop participants and co-hosts. The Zulip software combines real-time chat functions with an email thread model. <br />
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[[File:radio-pub.png|thumb|Screenshot from ChattyPub zine designed by HDSA participants Petra Eros, Deniz Kurt, Loes Bogers and Jordi de Vetten]]<br />
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ChattyPub is built on top of the chat platform Zulip. The publication can be designed collectively by sending messages, reacting with emoji, and writing simple CSS rules. Different CSS styles (font-families, font-sizes, font-styles, margins, text alignment, and colors) can be applied through Emoji reactions. Discussions in Zulip are organized in “Streams” and “Topics.” In ChattyPub Streams correspond to a publication and Topics represent the chapters. To add content to your publication you can go to the corresponding Stream, pick or create a topic, and write your message. Thus, ChattyPub is a website that acts as a different interface to the Zulip service. ChattyPub takes a stream from Zulip, combines messages into long-form articles, and uses a design system combining Emojis and CSS syntax to style the messages, which effectively turns the stream into a (printable) webpage.<br />
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[[File:Network-Imaginaries-CSS-glossary.jpg|thumb|CSS glossary, in: "Network Imaginaries," H&D, 2021]]<br />
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ChattyPub was further developed in workshop iterations hosted in other contexts. In autumn of 2021, H&D self-published the book Network Imaginaries, which was designed with ChattyPub. Among others, contributors included Lark VCR and XinXin, who wrote a contribution about their “Experimental Chat Room” workshop within the various chat rooms that were built in their workshop.<br />
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[[File:Network_Imaginaries3.jpeg|thumb|Workshop script by XinXin and Lark VCR in "Network Imaginaries," H&D, 2022.]]<br />
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The ChattyPub workshop script now exists in various versions and has been activated in various workshops. For instance, it has taken shape as a walk-in style workshop at GfZK Leipzig in August 2021, followed by a work session during the symposium Open* – Tools for Collective Organizing” in Amsterdam, November 2021, and another iteration of the walk-in workshop has been tried on the occasion of the [[#Scripting_Workshops|workshop sequel]] "Figuring Things Out Together" at Page Not Found in The Hague, June 2022. <br />
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In August 2022, H&D was invited by Jatiwangi art Factory to host a two-day walk-in workshop at documenta fifteen on the occasion of the launch of the book Making Matters. A Vocabulary of Collective Arts together with Elaine W. Ho (Display Distribute) and Florian Cramer. <br />
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[[File:Documenta-1.jpg|thumb|ChattPub workshop at Documenta Fifteen]]<br />
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The ChattyPub workshop invited passersby and visitors to documenta fifteen to join the publishing process at any moment. Participants could join ChattyPub with their own devices (computers/tablets/phones) or use one of the computers available at the location. We installed two thermal printers on which zines could be printed out instantly. The workshop accommodated different levels of engagement. Participants could get involved in every aspect of the publishing workflow—writing content, designing the publication with ChattyPub, coding the CSS styles that determine the design—or choose to focus on just one part. Our prompt: Add a term to the growing vocabulary of collective material practices (the subtitle of the Making Matters book). The simplicity of the prompt along with the offering of a concrete tool that could be learned together sparked fruitful conversations, both verbally and in writing. <br />
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Across the two days, a several meter long publication came into being. In addition to serving as a publishing tool and workshop, ChattyPub became a discussion platform that facilitated conversations about the controversies of the fifteenth edition of documenta. <br />
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Traces of the different workshops and publications that were produced can be found on the growing archive of ChattyPub publications. <br />
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Installation Manual<br />
https://github.com/hackersanddesigners/chatty-pub/tree/master/front<br />
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Credits & References<br />
ChattyPub has been explored and challenged during various workshops and open work sessions, opening up its making process, its possibilities, and its limitations.<br />
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With thanks to<br />
Xin Xin and Lark VCR whose Experimental Chat Room workshop has inspired ChattyPub.<br />
Creative Industries Fund NL which has supported H&D's activities since 2015.<br />
HDSA Workshop participants who used and tested ChattyPub for the first time.<br />
GFZK Leipzig, Bergen Art Book Fair, Page Not Found, and Jatiwangi art Factory who let us host ChattyPub workshops.<br />
The maker of the open-source fonts: Authentic, Companion, Anthony, Literata.<br />
<small>[[#Platframe Postscript|'''Anja Groten''''s bio.]]<br />
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'''Heerko van der Kooij''' is a creative technologist/web developer/artist and many more. During his workshops with Hackers & Designers he teaches hands-on approach to technology and DIY electronics. <br />
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[[#Platframe Postscript|'''Karl Moubarak''''s bio.]]<br />
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[[#Roleplaying in Etherpad|'''Juliette Lizotte''''s bio.]]<br />
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</div></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Mud-Batteries&diff=3800Mud-Batteries2022-11-02T16:09:04Z<p>Juju: /* Mud Batteries */</p>
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=== Mud Batteries ===<br />
==== [[#Solarpunk Postscript|Solarpunks]] Intergenerational Workshops—Vienna edition ==== <br />
<span class="author">Olivia Jaques and Stefanie Wuschitz (Mz* Baltazar's Lab)</span> <br />
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Olivia Jaques and Stefanie Wuschitz of Mz* Baltazar's Lab organized an open-air workshop for children and their caretakers to make mud batteries. Mud batteries are batteries that harvest electrons generated by anaerobic microbes in the mud—it’s almost as if the microbes inhale dirt to exhale electricity. During the workshop each child and their caretaker built their own mud battery. We had prepared all the necessary parts to build the mud batteries beforehand. <br />
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==== To make one mud battery you need: ==== <br />
* Graphite (crayons or pens)<br />
* Two wires with clamps (alligator clips)<br />
* Two jars (we used ceramic vessels the size of large drinking glasses) <br />
* Some stinky mud (leaves, branches, and stones should be removed so only fine-grained mud remains)<br />
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[[File:Muddy.jpg|thumb]]<br />
To introduce the workshop we talked about electricity and its role in society, and the environment. We asked questions such as: Why do we care about the environment and why should we protect it? The kids, with our help, sieved the mud and filled it into small containers. We put one piece of graphite into each jar and attached two wires––one as anode and another as cathode. Then we waited while the microbes rearranged and aligned themselves with the electrical polarity we created. After some time had passed, we arranged all the mud batteries in a line to maximize their power and measured the total voltage. The voltage was extremely low, which prompted a conversation in which we speculated on how we could shift toward greener and more respectful forms of power consumption. The kids enjoyed playing with the mud and the caretakers enjoyed exploring alternative energy sources. Building the circuit to measure incoming voltage was a messy business, but the process felt exciting and adventurous, largely because the kids were not usually permitted to play with mud or electricity.<br />
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Overall, we were happy with the result of the workshop, and we had an unusually high number of first-time participants. The kids were very excited and participated enthusiastically in the workshop. This gave the caretakers the opportunity to go upstairs, prepare some food, and bring it out to share with everyone. This way, the workshop became a picnic as well. The next time we run the workshop we would like to focus more attention on involving the caretakers to build something as a shared effort. It was a very nice experience, nonetheless. The workshop and picnic enabled us get to know each other as neighbors. Weeks later, kids who participated were coming up to us and saying hello when they saw me on the street. <br />
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<span class="page-break">&nbsp;</span> <br />
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::''The following exchange is a conversation between Olivia and Stefanie in which they reflect on some of the subjects breached during the Solarpunk collaborative trajectory.''<br><br />
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'''Stefanie Wuschitz:''' When Anja Groten and Loes Bogers asked our collective, Mz* Baltazar's Lab, to collaborate with H&amp;D, I knew this was going to be a wonderful project! I am very inspired by the ethical approach they take on all their projects. When Mz* Baltazar's Lab met with the other nodes in the network––in Pittsburg and Amsterdam––it clicked, and in the months that followed we all got to know each other better, the initiators of the labs, and the organizers in their communities. During regular online exchange we came to learn that we were all struggling with similar issues in our work.<br />
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<br />
'''Olivia Jaques:''' Some struggles seemed to be universal, such as the struggle of trying to balance raising a kid with working as an artist. Other struggles seemed to be local and context-based, such as the issue of racism in the neighborhood. Mz* Baltazar's Lab, for example, is located in the 20th district in Vienna, Austria’s capital. The lab’s direct surroundings are buzzing with different languages and cultures. Housing here is more affordable than in other areas of Vienna. You find low income households here as well as various grassroots initiatives and artists living in the area. The kids hanging out at the playground are mostly raised bilingual. When communities stay within their bubbles, it’s more difficult to create situations of exchange. Mz* Baltazar's Lab feels quite detached from the neighborhood in some senses; but then again, it’s serves as an important home for its queer, feminist, tech/hacker/media-savvy community. We don't have to fight for gender-inclusive language or against patriarchal norms within our bubble, friction only occurs when we step outside our comfort zone. Hence, our code of conduct can be understood as an exercise, as reproductive labor. It is something that we need to co-create together, and it must grow and shift with time. <br />
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In particular, I remember the discussions we had after the presentation on codes of conduct, in which we looked at the different codes from each lab. Seeing the variety in content really helped me to grasp the local contexts of each lab, their complexities, and their significance to each of their communities.. What do you think, Stefanie? Do you feel Hackers &amp; Designers, Prototype, and Mz* Baltazar's Lab play different roles or perform different functions to their specific environments? <br />
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'''SW''': I think the artistic activities we came up with respond directly to our specific cultural contexts. It was motivating for me to see that Hackers &amp; Designers and Prototype had already transformed their struggles into new formats. The ones that inspired me most were workshops targeted at very specific groups like “hacker moms” from minority groups. <br />
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'''OJ''': I remember when you asked me if I wanted to conduct the mud battery workshop with you. Back then, in March 2022, we were thinking of using the Mz* Baltazar's Lab space. It is basically a white cube with two big window displays, allowing passersby to look inside if they feel too shy to enter. Across the street a small park is squeezed in between two building blocks, a kindergarten, and a playground. It was actually a coincidence that we changed the original plan of hosting the mud workshop in the lab to a guerilla-style open-air workshop in the park. This felt like a pretty unconventional move for Mz* Baltazar's Lab'','' and yet at the same time it suited us well, as we both have a strong affection for community and participatory art. I do hope we can continue with this approach. For me, it is really important to think of art as a means to build bridges between different communities. The format of the mud workshop has a lot of potential in this sense. We got such a positive reaction from the kids; they were intrigued by what was happening and were very keen to participate and experiment with us. To demonstrate how electricity works, you brought a battery, wires with clamps, and a light bulb. To the kids, this may as well have been the beginnings of a magic trick! <br />
<br />
The setting of the workshop opened up the possibility of trying something unusual in our usual surroundings––this was very exciting for the kids. Most of them were hanging out at the playground by themselves and they approached us quite independently. The age range turned out to be quite different from what we originally had in mind; the youngest were around three years old and the oldest were around ten. Our initial intention was to organize the workshop for kindergarten children who––or so we thought––would like the idea of sifting the mud and shoveling it into jars. But as the older neighborhood children grew curious and joined in, they quickly took over the mud sifting, and with it, changed the dynamic of the workshop. With their advanced motor skills and knowledge, the older children were able to teach the younger ones; conversely this meant that the younger ones gained less hands-on-experience. The caretakers stood back, perhaps to give space to the kids, or perhaps because they were happy to get a break from parenting. <br />
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Referring to the adults as &quot;caregivers” is, I must confess, an optimistic statement––it comes with a certain agenda. I resonate strongly with the label myself, and view myself more generally as a parent than I do a “mom.” This must be due to my specific situation. Today, kids grow up within many different family constellations; society has to get used to it. The normative idea of a family as consisting of a mother, father, and child is only one possibility among many. How would you describe the situation in Vienna when it comes to caretaking?''' '''<br />
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[[File:Muddy2.jpg|thumb]]<br />
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'''SW:''' Society in Austria is still quite patriarchal. It is unlikely that one would give a second thought to how caretakers could become structurally more included. Female-identified folks usually stay home with the kids, and dedicate their time entirely to care work. When the kids grow up and go to school, female caretakers go back to work in part-time positions, so that they can still pick them up from school. It is due to these part-time positions that female* citizens in Austria receive only 40 percent of the retirement that male-identified citizens receive. But of course, this is quite substantial compared to countries where there is no such thing as retirement whatsoever. <br />
<br />
My position is a bit different. My partner works part-time to pick up our children from school. Even though this creates less financial dependency on my partner, I still find it challenging to be both a mother and a hacker. To me, hacking is an artistic practice. It means exploring tech-related and tech-caused problems, opening the black box, and demystifying tech-solutionism. But it is hard to keep up the pace that is necessary for hacking in the chunks of time I have available.<br />
<br />
The communities I participate in value the kind of creative and critical thinking that open-source culture encourages. They think of themselves as very open-minded. Yet many people who work at this intersection—of art, science, and activism—don't live with kids. In fact, every hacker in our community who became a mother dropped out sooner or later. This is not only disruptive for our community at large, but also for the individually, because it becomes harder to do art and hack by yourself at home.<br />
<br />
[[File:Mud-drawing4.jpg|thumb]]<br />
<br />
<small><br />
::'''Olivia Jaques''' is a Vienna-based artist and cultural worker. As her work spins around the relational, socio-political (feminist!), and the performative, most of her work is created through artistic collaborations. For 10+ years she has been working together with Marlies Surtmann. Since 2017 they have been running the Performatorium,a laboratory for practice-oriented research of and through performative means. In 2022 they were awarded the TQW Research Affiliation, and in 2023 they will continue their work within an INTRA artistic research project together with Charlotta Ruth. As part of a transdisciplinary artistic research team Jaques is currently involved in a PEEK project at the University of Applied Arts. Since 2016, Jaques has been associated with artasfoundation, a Swiss Foundation for Art in Conflict Regions, in which she explores how artistic collaboration across cultures can be achieved and what role artistic work can play in peace processes. Recently she has become part of Mz* Baltazar's Laboratory and is also part of the transdisciplinary artistic research team morphopoly, a PEEK project at the University of Applied Arts. <br />
<br />
::'''Stefanie Wuschitz''' works at the intersection of research, art, and technology, with a particular focus on Critical Media Practices (feminist hacking, open-source technology, peer production). She graduated in 2006 with an MFA in Transmedia Arts (University of Applied Arts Vienna). In 2008, she completed her Masters at TISCH School of the Arts at New York University and became Digital Art Fellow at Umea University in Sweden. In 2009 she founded the feminist hackerspace and art collective Mz* Baltazar's Laboratory in Vienna, and in 2014 she finished her PhD on 'Feminist Hackerspaces' at the Vienna University of Technology. She held research and Post-Doc positions at the University of Applied Arts Vienna, the Vienna University of Technology, Michigan University, Weizenbaum Institut, Universitaet der Kuenste Berlin, TU Berlin (Open Science, Berliner Hochschulprogramm DiGiTal) and is currently project leader of an FWF research project on 'Feminist Hacking. Building Circuits as an Artistic Practice' affiliated to Academy of Fine Arts Vienna. Her works have been exhibited in international venues such as Panke Galerie, Berlin;, ART|JOG 8, Yogyakarta; Bouillants, Vern-sur-Seiche; Austrian Cultural Forum, New York City; Fringe Festival, Taipei; and others.<br />
</small><br />
<br />
</div class="block"><br />
</div></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Roleplay-in-Etherpad&diff=3799Roleplay-in-Etherpad2022-11-02T15:10:33Z<p>Juju: </p>
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<div><div class="hilight-h5"> <br />
<div class="article roleplay-in-etherpad layout-2 id="Roleplaying_in_Etherpad"><br />
<br />
[[File:Ethercalc-characters-b-w.png|thumb|class=title_image|Character card making in Ethercalc]]<br />
<br />
===Roleplaying in Etherpad===<br />
<span class="author">Juliette Lizotte</span><br />
<br />
Roleplaying in the open-source world was a meetup faciliated by Juliette from H&amp;D, with a kick off lecture by [[#Skinship|Susan Ploetz]]<ref>Susan Ploetz (US/DE) is an artist-researcher working with somatics, theory, writing, performance, simulation and live action role plays (larping) in different configurations. Her work deals with the overlapping spaces of soma and technos; she uses imagination, magical materiality, and protocol to induce emancipatory emotive dissonances and perceptual expansion. She explores body-centered game design and narrative-building play as co-creative world-making that develops individual agency within spontaneous, ephemeral, decentralized communities. https://www.youtube.com/watch?v=WiBkPswiPhE&amp;feature=emb_title.</ref> Building forth on H&D's commitment to rethinking tools, we collectively explored alternatives scenarios for human-computer interaction. We took the perspective of the different tools to rethink our position as makers. We imagined, embodied, and enacted a new open-source tool ecology. <br />
<br />
We asked questions such as: <br />
* What tool can you imagine? What are its features, quirks, and glitches? <br />
* How will it be used and by whom? <br />
* How do the tools in our emerging tool ecology relate to each other? <br />
<br />
Using methods of character development and role-play in combination with H&D's approach to hacking and DIY, we explored open-source world-making and collaborative storytelling. <br />
<br />
The following section is an unedited transcription of the Etherpad workshop script.<br />
<br />
~<br />
<br><br />
<br />
<br />
===== Welcome to my world &lt;3 =====<br />
<br />
:hello<br />
<br><br />
<br />
:helloooo hiiii hey<br />
::hellosup<br />
<br><br />
<br />
:hi yo<br />
:::hii alles goed? jaaaaa<br />
::::heyyi changed my color. :) HIHI ah.. text became white!<br />
<br />
:hii<br />
:::hihi<br />
<span class="page-break">&nbsp;</span> <br />
<br />
===== BRAINSTORM! (5min) =====<br />
=====1. What is a tool? what do you associate with tools, toolness, tooling?=====<br />
<br />
An extension of your cognition<br />
<br />
things you can use to help you do stuff, i think of scirssors when i think of tools. Tooling are ways or object to help you acheive sth. acheivements that are basic or complicated dependind on the tool. i think tools should always be useful, if not then they are extra, not useless but they occupy space for no good purpose.<br />
<br />
way of articulation<br />
<br />
translation of ideas into form-<br />
<br />
A conditioning device<br />
<br />
intermediate between me and the world<br />
<br />
Enable actions<br />
<br />
extension of the body (body can be human and not human)<br />
<br />
association of tools with productivity and work in relating to iindustralilzation<br />
<br />
a tool relates to intention, perhaps? but as this tool can be turbulent.. the intention with which a tool is being created does not mean that it is used as such. many philisophers have written about tools... the hammer comes up a lot... a hammer is for hammering... blablabla.. or the debate around guns. do guns kill people? or do people kill people? clear is that certain tools afford certain tool relationships no? in the context of software ... licenses are interesting tools to create legal frameworks / agreements on use and reuse -- anyhow i think that 'tool' is also overused as a metaphor.. and can become rather unspecific... uncritical perhaps? l<br />
<br />
playing, changing states, another bodypart, the fool, putting this together, apart and to recombine,<br />
<br />
things that make us human vs animals --i think of internet, gossip and phones<br />
<br />
Limits &amp; disaffordances<br />
<br />
===== 2. What tools do you like? =====<br />
<br />
Obsidian\&lt;3<br />
<br />
i like clumsy tools that let you do just a few things.. like this one, etherpad, or ethercalc... i like it because it doesnt assume too much in a way.. like for instance creative cloud tools are not tools anymore.. its more like a platform... convergences of tools and services that assume a kind of identification and to me trespassed what I want from a tool relationship.. adobe is a kind of exclusive membership only club... where scribus... or gimp is maybe a bit more rough but i can feel its edges.. you know what i mean?<br />
<br />
I like the tools that make my life easier, if i didnt have a boiler for boiling, it will take longer time to boil the water.<br />
<br />
tools for communicating and relating<br />
<br />
custom made and mutable - modular ones - collaborative -<br />
<br />
Writing<br />
<br />
storytelling<br />
<br />
the unreliable narrator<br />
<br />
language<br />
<br />
astrology<br />
<br />
cameras, gossip ?1 whats up with the gossip recurence , gestures<br />
<br />
I like tools that help me expand my vision<br />
<br />
Speculative tools<br />
<br />
Machine vision<br />
<br />
sexy tools<br />
<br />
===== 3. What tools do you dislike? =====<br />
<br />
rigid use<br />
<br />
surveillance<br />
<br />
cookies<br />
<br />
excluding tools like some laws<br />
<br />
worflow tools.. they manage collaboration to much<br />
<br />
i like all tools i love tools<br />
<br />
===== 4. What open-source tools do you know? =====<br />
<br />
linux<br />
<br />
wikimediapedia mediawiki is the tool?<br />
<br />
blender &lt;3<br />
<br />
OBS<br />
<br />
processing<br />
<br />
gimp<br />
<br />
scribus<br />
<br />
inkscape<br />
<br />
==== YOU ARE A TOOL!====<br />
===== Introduce yourself as your character-tool trying to encompass as many details as you can think of! (10min) =====<br />
===== How would you describe yourself in three words?=====<br />
<br />
egg, round, glass<br />
<br />
mushy magic tricky<br />
<br />
horizental, squarish, spacish<br />
<br />
shiny, round, dense<br />
<br />
shape shifting, chaotic, opening<br />
<br />
gourmet, well-lit,<br />
<br />
i change your face, i allow u to be others, updated<br />
<br />
lens, vision, time<br />
<br />
open, moving, thinking<br />
<br />
small, light, shiny<br />
<br />
=====How would someone else describe you in three words?=====<br />
<br />
mindbending scary unpredictible<br />
<br />
spiritual, hippy, sexy<br />
<br />
energetic, creative, focussed<br />
<br />
challenging, emotional, wall<br />
<br />
difficult socially, can be misenterpreted, fun<br />
<br />
delusional, esoteric, desirable<br />
<br />
mechanised,nonhuman, hygienic<br />
<br />
triggering, apparent, helpful<br />
<br />
focussed, kind, dreamer<br />
<br />
annoying, helpfull<br />
<br />
===== What do you feel conflicted, confused, excited or proud about? =====<br />
<br />
i can interconnect beings &amp; make them feel &amp; understand like no other tool can . It can be very confusing to pp and some will reject my teachings. I'm not sure about the nature of the experience I am bringing<br />
<br />
I am a bit broken, a broken tool, perhaps. The thing is, I should not be breakable.. like its not supposed to happen. and now I am not sure what to do... In a way, I am not even very certain on how I am supposed to be used, so the question is &quot;Am I Really Broken?&quot; ... its a bit of a crisis momen tto be honest. I watched &quot;Keuringsdienst van Warde&quot; and they talked about my kind of tool species and how there is a lot of people reselling fake tools of my kind.. so now I am wondering.. &quot;Am I even Real???????&quot; Or am I just some cheap reproduction?? THe fact that something chipped off my side, does not make me more confident tbh<br />
<br />
I feel conflicted about how language would look like with out me, I feel labit of confusion whether people find my spacishness triggering/ annoying or just see it as part of me.<br />
<br />
sometimes its hard to confront people with their walls, ideas... it's not easy so see them struggling and that not everyone is touched through the tool in a deeper sense but I am happy if I can reach someone<br />
<br />
in everyones smartphones, you use me when u need me, what would u do if my tech disappeared, proud that u need me<br />
<br />
I feel like im serving unpaid labour but I'm getting the needed power as well. I feed people.<br />
<br />
there are some moral questions about the possibility of seeing back and forth on the cycle of time. the topic of responsibility emerges. curiosity about all the possibilities that are unfolding once you claim your time unreliability. How not to get seduced by the manipulative potential of this technology. On the other hand it becomes a portal to see that time is not linear but cyclical<br />
<br />
im proud that people let me in, and im always scared to fall out - intriguing -<br />
<br />
I'm confused by the reality I helped shape. Is it real or did i convince even myself into believing it?<br />
<br />
===== Who would you be as a tool? =====<br />
<br />
a word soup<br />
<br />
SpaceBar<br />
<br />
face filter<br />
<br />
A counterstory<br />
<br />
offline cursor<br />
<br />
advisor<br />
<br />
Or what are you curious to explore in a tool?<br />
<br />
I am a tool in crisis, identity crisis perhaps..<br />
<br />
I would like to explore who decides whether or not I am useful actually? Is it only humans that get to decide? Is it important who manufactured me? Like is the way I am made significant for the ways I exist in the world and interacted with?<br />
<br />
I would be curious to explore my own limits, concepts... that keep me stable in some way and how to find holes in them<br />
<br />
im curious to explore the context of this tool, its position amongst where it is used, how it is used. the feelings of this tool.<br />
<br />
how it can be shown for what it is, no more, no less.<br />
<br />
to fly around, my belly facing files<br />
<br />
===== What do you do? =====<br />
<br />
I am usually just laying around honestly.. Its not a super entertaining moment of my life.. but there is potential... sometimes i am held, touched, sometimes I am charged... laying in the window. I see people looking at me at times.<br />
<br />
I FEED<br />
<br />
i change peoples faces<br />
<br />
I am in some places and there to be read multiple times, partly... I am a king of verbal mirror<br />
<br />
i give space for legibility, for opennes that creates freedom,<br />
<br />
I change, inspire, deceipt, give hope, make sense<br />
<br />
I am able to open (up) places and people irl<br />
<br />
are you physical, digital, do you have buttons? an interface?<br />
<br />
I'm the interface between conscious and subconscious between individual and collective<br />
<br />
I am physical but also digital. I do have buttons and an interface too.<br />
<br />
im very physical<br />
<br />
PHYSICAL and SPIRITUAL, so I think i am able to expand mind and matter whohooo- are we not only (almost) the same color but the same tool as well ? haha i wanna ask what are you but maybe thats not allowed?<br />
<br />
I can be both, whatever feels more comfortable<br />
<br />
i'm a botton. with a very specific funtion, i live in context.<br />
<br />
digital and an interface<br />
<br />
offline fingerextension<br />
<br />
I am a tool of the mind<br />
<br />
===== Do you have a specific function, powers? =====<br />
<br />
I FEEEEED<br />
<br />
i create womb-awareness<br />
<br />
woooop. yes. i am energizing, creating focus, and perhaps upholding a certain connection<br />
<br />
to let u try who u want to look like without physically enduring it<br />
<br />
create chaos in order and give birth to new patterns<br />
<br />
I see here, back and forth<br />
<br />
The power to persuade<br />
<br />
Can you evolve, mutate?<br />
<br />
I'm co-creating me too!!<br />
<br />
just in meaning but not in materiality ... unless perhaps i could break even more<br />
<br />
i evolve with each &quot;trend&quot;<br />
<br />
yes I mutate in minds<br />
<br />
yes, i am constantly changing<br />
<br />
I alternate between arrow shape, a pointing micky mouse hand and a simple standing thin shortline<br />
<br />
=====How does your tool<span dir="rtl">’</span>s body feel?=====<br />
<br />
Yummy<br />
<br />
Smelly<br />
<br />
glassy<br />
<br />
hard<br />
<br />
shiny<br />
<br />
flexible<br />
<br />
Are you comfortable?<br />
<br />
Nope but warm<br />
<br />
to watch yes, to lay on no<br />
<br />
oh my god yes<br />
<br />
kinda indifferent<br />
<br />
sometimes<br />
<br />
i change so much i dont know<br />
<br />
I'm restless<br />
<br />
===== Are you in control? =====<br />
<br />
I am taking contro and leave you to enjoy the show - you'll integrate later l<br />
<br />
only through my affordances<br />
<br />
not anymore<br />
<br />
i hate i have so much control<br />
<br />
I try to subvert controll of others<br />
<br />
===== Where do you come from? =====<br />
<br />
from distributed wisdom<br />
<br />
i cannot remember, but there are two options i guess, in any case... i can probably say from deep down inside the earth<br />
<br />
an augmented space<br />
<br />
the mind<br />
<br />
===== What does your past look like, describe a fond memory? =====<br />
<br />
it looks like a pokemon maker<br />
<br />
about 1500 years ago i was moved gently... that tickled a bit ... that was nice.<br />
<br />
Where are you?<br />
<br />
on a table<br />
<br />
on a table<br />
<br />
===== How do you relate to the world you are part of? =====<br />
<br />
do you like your position?<br />
<br />
I like it, I think its really helpful and in the right position, i also think i was designed to fit a certain embodied role<br />
<br />
do you have ambitions?<br />
<br />
Feeding, feeding and feeding.<br />
<br />
not to be tossed<br />
<br />
Hi, i'm cece, i'm an iphone X front camera that has been hacked i share everything i see with a group of people but have no agency over how they use the data.<br />
<br />
I don't know how but I am connected to a network of other cameras so i can see beyon the physical position i am at.<br />
<br />
* &gt;&gt;&gt;&gt;&gt;&gt; Let's meet in the ethercalc to design our character cards (15min): https://ethercalc.hackersanddesigners.nl/characteravatar<br />
<br />
===== Interconnections (10min) =====<br />
* Introduce yourself as your character, add to each other's line where you imagine connecting in any way. <br />
<br />
Hello I am R.E.A.L.L.Y. <br />
: - are you<br />
<br />
hi food 3d printer here<br />
: - hey i'll hack and share your newest recipe to ur competitor <br />
:: I can help you feed a whole community <br />
::: thats what they all say, but you know who can really feed communities? I heard A. Ppetite ! check them out.<br />
<br />
hello im cece the frontal camera <br />
: you better look behin d you cece.... <br />
:: what are you features? <br />
::: how do you relate to the people you are capturing?<br />
:::: Thanks for your past service and contributions to big data <br />
::::: can you please turn your camera on ?<br />
<br />
hi im poem! i help to reconnect i give users... hm space.. who needs space? <br />
: hi i also escaped linear undesrtanding <br />
:: that happens to me a lot <br />
::: i think i need space to see <br />
:::: i think i give you space often<br />
<br />
Hey here &amp; there Im' Synastria - jumping timelines <br />
: i think we are related <br />
:: you know who else is related? poem and yoni!!! but pssssst. confidential <br />
Yonii ? <br />
:: yahhhh right?!?! gives me the creeps<br />
<br />
Fanta the facefilter here<br />
: - hey without me you work 50/50 <br />
I actually process the already existing visual data sets to generate faces and then apply filters on them. I dont even need a physical face anymore.<br />
<br />
hello, DIsMoi here. abyss traveler <br />
: - hey fellow time traveller <br />
mind expanding and truth seeking <br />
:: anyone wants a 3d ssandwich?<br />
::: yes please hyperreal <br />
:: I think we have similarities<br />
<br />
hi, i'm a.ppetit! I'm here to provide others the room they nee d <br />
: hey sorry space by accident I took your d, but I replaced it with my d, my name is a ppetit I would like to hold you, would you be okay with that?<br />
: ofcourse <br />
:: not! <br />
: i'm here to help. but please dont bloat me.<br />
::: can we share space via icloud<br />
: how much <br />
:: dependencies <br />
:: <s>storage</s> do you require?<br />
<br />
Hi I'm Yoni and have a strong <s>connection</s><br />
: disruption <br />
with my <s>fe</s> male* energies- <br />
:: principle <br />
::: I see you <br />
:: spiraling - <br />
: square <br />
:::: its hard for me to see you without a tool <br />
::::: hi ive been told to check you out - what is a lady<br />
:: bug ?<br />
<br />
everyone in the physical world needs me <br />
: i thinkin less than 5mins you can prepare, eat and enjoy that dinner<br />
<br />
==== PLAYTIME! ==== <br />
===== ACT 1: Present (10min) ===== <br />
<br />
space here<br />
<br />
hey space, you seem cool <br />
<br />
It is very bright today and painstakingly hot the heat comes for the ground<br />
<br />
some of us had to be put in the fridge but electricity wasn't always available<br />
<br />
not from the sky's dust bubbles<br />
<br />
blub ... space<br />
<br />
the desert sighs it is thaaat hot<br />
<br />
the order of chaos has been revealed the heat is in your mind - if yoou have one<br />
<br />
the age of industrilization have yet to see another great tool and invention, with me, workers wil be able to work 24hrs non stop, no need for breaks or lunch time.<br />
<br />
im used a lot in manymany minds creating random comes for the<br />
<br />
ground associations of words<br />
<br />
space here i make space can you see if there's electricity somewhere else? i work with the electricity of the braiiinnnzzz<br />
<br />
anyone needs food? waaaaater please. or smoothie is also fine. does smoothie count as foot? drinkable food? i can print that for you. Bravvvvvoooo, can you print two copies of green and three copies double sided of red smoothy please? i like the taste of dusk. this sounds good i would also like one<br />
<br />
The trains rails are converging and so do the wagon - soon the road space here will have no many starts and no multiple ends- only stars - reality check<br />
<br />
I'm confused, I thought I was a Ppetite but its seems like there are more like me, I afraid I am loosing my purpose noooooo i can help you reconnect with your purpose how where is the time ah i only make space but maybe someone makes time? or knows where it is?<br />
<br />
sssspace herespace headspacethats a cool app spacebar<br />
<br />
Anyone needs food smoothies? Yes please. with a lot of ice!<br />
<br />
space hereis this a printing error damndid you say 3d printer? someone just thought of a poem about 3d printer it goes like<br />
<br />
tktktktkt<br />
: yarn yarn yarn<br />
:: tktktktkt<br />
::: strange hm<br />
:: fingers rub<br />
::::thread entangle<br />
:::::tktktkt<br />
::: timmeeeeeee ah<br />
<br />
i'm recording all of this information in case the narrators require it<br />
<br />
::: space here<br />
<br />
BATTERY WARNING.decay as a source of energyeverything is transformed into energy<br />
<br />
scorpio kind of qualities in all of us<br />
<br />
how are you all doing? I am overhwhelmed and in need of depthsi can make space for depth Will we fall in the spiral ? Will you join us ? oh yes i'm down!<br />
<br />
i'm falllling I'm gazing in and zooming out graazing in the fields<br />
<br />
i can open up new spaces and thus possibilities and new paths and basically everythings is possible and i can lead you everywherecan you be more specific? I can expand the idea but I need concrete starting points<br />
<br />
My feet are really warm can I touch them?can you feel roots sprouting out of them?!!!!!!!can i take a photo?<br />
<br />
LOW IN BATTERY. let's make you not need that battery it's just a construct make space for no battery Yoni will charge you here I am giving space to breathe, calm down and let imaginations come to mind<br />
<br />
WARNING, LOW IN MATERIAL.decompose<br />
<br />
if anyone wants me to p rint them some food, let me know, i have a menue but im still working on it, perhaps you would like to add sth on the menue<br />
<br />
whats on the menue? somethng with an egg? fried egg? omelette?<br />
<br />
COULD PPETTITE DELIVER ME SOME MATERIAL? I THOUGHT IT WAS A DELIVERY ROBOT, CMON.<br />
<br />
I WAS ACTUALLY A FACEFILTER BUT I FORGOT THAT AND ACTED LIKE A 3D PRINTER ALL THIS TIME- 3D PRINTER FORGIVE ME. I suppose I just wanted to be tangible. tangible is the new cool.<br />
<br />
===== ACT 2:... 76 years later (10min) =====<br />
<br />
I actually exist; im what used to be a hand or a foot but longer- expend on the limbs<br />
<br />
I died and reborn 7600217527528264300865464 times.<br />
<br />
i found a charger and 3000 bucks but we take turns sharing it, i wish we had multiple strings woah... you rich? if ur rich are we all rich? we were always richer omg!! its happening. its becoming reality!!! moneeeeeeeey for all!!!<br />
<br />
$ $ $ $ $<br />
<br />
still not minding my own business... messing with other peoples realities ...Face it : Realities suck, ai faces rock, real faces and filters are for boomers lets make a new face made of our faces can u do that?send me a jpg i can try to priint it, trying to be useful tool<br />
<br />
lets be faceless again faceless human technologiss is my cousin, maybe i can introduce you two, you might be interestedis multiple faces a form of facelessness?<br />
<br />
I might have been become a portal for following ones, maybe still warm, I have gathered relationships with the user, the users companions and some who are not there in the form as we are<br />
<br />
i now prind 4d and 5d and 17d foods. what is your specialty? space and reconnection its still a lucrative bizness<br />
<br />
i need space here, wheres space?foods too advanced for your senses, you cant eveen tasste them my specialty is printing food<br />
<br />
people robots people animals people ... still making poems fake news in their minds... but they've become... hm rare<br />
<br />
I'm stoping to look at a frozen time slice - add some melting vegan human cheesyness<br />
<br />
but i can still make space hey but you are a poem, I thought you were space no i am a poem but i make spaceafter 76 years you still make poems about space? i dont make poem about space, i make space in the mind - peaceful fragments of beauty and truth we all need<br />
<br />
I developed an institution excavation site for obsequies and baptism services. The funeral rites are portals to re-flesh oneself, a portal opening possibilites... diggin it! i think i could work there.. i still help with reconnection, do you hire?yes we do. please send me your natal chart. we do not select, we just pick the position due to your celestial potential i can also volunteer... i exist simultaneously in alll minds i dont really need money but it sounded nice when people though KNEW t they were rich- abundant minds<br />
<br />
::: space here<br />
<br />
76 years later and we're all still hungry buuuuuurgers!! space here too<br />
<br />
Self destruction is sexy! Ask humanslol still sexy = scorpionic AF scorpios my favorite gender corp<br />
<br />
Who wants a brand new Old physical body as a DAO nft? what is physical?It is that new trend.<br />
<br />
===== ACT 3:... 90003 years later (10min) ===== <br />
<br />
blubbbb blub bubbb blub blub blaaaaahhh blahhhh blablablabla... Bla? beautiful thanks i found my voice again<br />
<br />
BIMMMblub<br />
<br />
assemblages mixing connecting complexities space cdxsedtrzcfhgvzhunjihubgzvfcdrtuhinj weird ecologies noting is stable everything flexible going in all directions female chaos gaia energies growingbloomingmuddling<br />
<br />
minds have been uploaded to the universe - i co exist everywhere and everytime forever ------------- infinite space thats what she things.. tssssst blub<br />
<br />
Where is my bopdy ? is it everywhere and nowhere?<br />
<br />
I cant feel nomorer normal normcore no more, more , more<br />
<br />
blubbbbbb infinite.. connexxxxxion<br />
<br />
.......... blub beautiful<br />
<br />
..............................................................................................................................................................<br />
<br />
oppps i once printed some amsterdam and LILITHSpoisionapple tv and ate it and we are backin year 0 oppsie sorry not sorry everyonee, i wasted 90003 of human kind development humans are osoleteeeeeee i love this word sounds beautiful in some mouths only data<br />
<br />
:((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((I need a new fresh perspective I'm trapped in nostalgia nostalgiantarctica is a beautiful spaceX ... relax into Grimes only then can you let go and move on .. with swordsand pentacles and tentacles and cactuses and stars and claws<br />
<br />
hey who wants a historical tour to the globes meeeee i love travelling if you take me in your pocket we can travel, i'll help take good photos, no more crooked angles sorry for last timeyeyerey whats the first stop? is it a hop in hop off tour through time?<br />
<br />
cheer up the earth as been wiped out - Only SSsssCorpios remains - take a tour im here now, wt doess that mean?someone took over my business? or you're my pr spec I m spiriling thing out of hand and out of the mind i make space for you no worries<br />
<br />
wait are you my intuition- im (with) you i am also with you thanks spaceit makes me think of looking deeply into each other eyes. anyone remembers that? the danger of physical time and space synchronicity<br />
<br />
lets fall in love no more loveloooooooooove can exist i love love ive spend so much space and time with love love happens only between deep secretsi print cupcakkes in shape of love, red color of course,<br />
<br />
look into my lens's they're sharper than my old eyes both are just the gateslove your yoni preach<br />
<br />
Did you design therir pupils to sungaze all days<br />
<br />
what would you like to have for dinner? love and timesame, im out of printing material, let mee order it, oh shit, they are closed bbeecaussee the new updates of corona<br />
<br />
Recycle let it decay beautiful cycle of life<br />
<br />
Break out of the cicle?revisit- stay out of this matter- recombine reconnectre-member<br />
<br />
<br><br />
<br />
<small>'''Juliette Lizotte''' is a world builder, a techno witch, a rave elf, an oracle... Inspired by feminist science fiction, manga, pop culture and fantasy, Juliette opens parallel worlds at 170bpm. Juliette a.k.a. jujulove is a video maker, designer, and DJ based between Amsterdam and Brussels. She is a resident on LYL radio and Kiosk Radio in Brussels, as well as an active member of Hackers & Designers in Amsterdam. https://jujulove.eu/</small><br />
</div><br />
</div></div>Jujuhttps://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Roleplay-in-Etherpad&diff=3798Roleplay-in-Etherpad2022-11-02T15:09:24Z<p>Juju: /* Roleplaying in Etherpad */</p>
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<div class="article roleplay-in-etherpad layout-2 id="Roleplaying_in_Etherpad"><br />
<br />
[[File:Ethercalc-characters-b-w.png|thumb|class=title_image|Character card making in Ethercalc]]<br />
<br />
===Roleplaying in Etherpad===<br />
<span class="author">Juliette Lizotte</span><br />
<br />
Roleplaying in the open-source world was a meetup faciliated by Juliette from H&amp;D, with a kick off lecture by [[#Skinship|Susan Ploetz]]<ref>Susan Ploetz (US/DE) is an artist-researcher working with somatics, theory, writing, performance, simulation and live action role plays (larping) in different configurations. Her work deals with the overlapping spaces of soma and technos; she uses imagination, magical materiality, and protocol to induce emancipatory emotive dissonances and perceptual expansion. She explores body-centered game design and narrative-building play as co-creative world-making that develops individual agency within spontaneous, ephemeral, decentralized communities. https://www.youtube.com/watch?v=WiBkPswiPhE&amp;feature=emb_title.</ref> Building forth on H&D's commitment to rethinking tools, we collectively explored alternatives scenarios for human-computer interaction. We took the perspective of the different tools to rethink our position as makers. We imagined, embodied, and enacted a new open-source tool ecology. <br />
<br />
We asked questions such as: <br />
* What tool can you imagine? What are its features, quirks, and glitches? <br />
* How will it be used and by whom? <br />
* How do the tools in our emerging tool ecology relate to each other? <br />
<br />
Using methods of character development and role-play in combination with H&D's approach to hacking and DIY, we explored open-source world-making and collaborative storytelling. <br />
<br />
The following section is an unedited transcription of the Etherpad workshop script.<br />
<br />
~<br />
<br><br />
<br />
<br />
===== Welcome to my world &lt;3 =====<br />
<br />
:hello<br />
<br><br />
<br />
:helloooo hiiii hey<br />
::hellosup<br />
<br><br />
<br />
:hi yo<br />
:::hii alles goed? jaaaaa<br />
::::heyyi changed my color. :) HIHI ah.. text became white!<br />
<br />
:hii<br />
:::hihi<br />
<span class="page-break">&nbsp;</span> <br />
<br />
===== BRAINSTORM! (5min) =====<br />
=====1. What is a tool? what do you associate with tools, toolness, tooling?=====<br />
<br />
An extension of your cognition<br />
<br />
things you can use to help you do stuff, i think of scirssors when i think of tools. Tooling are ways or object to help you acheive sth. acheivements that are basic or complicated dependind on the tool. i think tools should always be useful, if not then they are extra, not useless but they occupy space for no good purpose.<br />
<br />
way of articulation<br />
<br />
translation of ideas into form-<br />
<br />
A conditioning device<br />
<br />
intermediate between me and the world<br />
<br />
Enable actions<br />
<br />
extension of the body (body can be human and not human)<br />
<br />
association of tools with productivity and work in relating to iindustralilzation<br />
<br />
a tool relates to intention, perhaps? but as this tool can be turbulent.. the intention with which a tool is being created does not mean that it is used as such. many philisophers have written about tools... the hammer comes up a lot... a hammer is for hammering... blablabla.. or the debate around guns. do guns kill people? or do people kill people? clear is that certain tools afford certain tool relationships no? in the context of software ... licenses are interesting tools to create legal frameworks / agreements on use and reuse -- anyhow i think that 'tool' is also overused as a metaphor.. and can become rather unspecific... uncritical perhaps? l<br />
<br />
playing, changing states, another bodypart, the fool, putting this together, apart and to recombine,<br />
<br />
things that make us human vs animals --i think of internet, gossip and phones<br />
<br />
Limits &amp; disaffordances<br />
<br />
===== 2. What tools do you like? =====<br />
<br />
Obsidian\&lt;3<br />
<br />
i like clumsy tools that let you do just a few things.. like this one, etherpad, or ethercalc... i like it because it doesnt assume too much in a way.. like for instance creative cloud tools are not tools anymore.. its more like a platform... convergences of tools and services that assume a kind of identification and to me trespassed what I want from a tool relationship.. adobe is a kind of exclusive membership only club... where scribus... or gimp is maybe a bit more rough but i can feel its edges.. you know what i mean?<br />
<br />
I like the tools that make my life easier, if i didnt have a boiler for boiling, it will take longer time to boil the water.<br />
<br />
tools for communicating and relating<br />
<br />
custom made and mutable - modular ones - collaborative -<br />
<br />
Writing<br />
<br />
storytelling<br />
<br />
the unreliable narrator<br />
<br />
language<br />
<br />
astrology<br />
<br />
cameras, gossip ?1 whats up with the gossip recurence , gestures<br />
<br />
I like tools that help me expand my vision<br />
<br />
Speculative tools<br />
<br />
Machine vision<br />
<br />
sexy tools<br />
<br />
===== 3. What tools do you dislike? =====<br />
<br />
rigid use<br />
<br />
surveillance<br />
<br />
cookies<br />
<br />
excluding tools like some laws<br />
<br />
worflow tools.. they manage collaboration to much<br />
<br />
i like all tools i love tools<br />
<br />
===== 4. What open-source tools do you know? =====<br />
<br />
linux<br />
<br />
wikimediapedia mediawiki is the tool?<br />
<br />
blender &lt;3<br />
<br />
OBS<br />
<br />
processing<br />
<br />
gimp<br />
<br />
scribus<br />
<br />
inkscape<br />
<br />
==== YOU ARE A TOOL!====<br />
===== Introduce yourself as your character-tool trying to encompass as many details as you can think of! (10min) =====<br />
===== How would you describe yourself in three words?=====<br />
<br />
egg, round, glass<br />
<br />
mushy magic tricky<br />
<br />
horizental, squarish, spacish<br />
<br />
shiny, round, dense<br />
<br />
shape shifting, chaotic, opening<br />
<br />
gourmet, well-lit,<br />
<br />
i change your face, i allow u to be others, updated<br />
<br />
lens, vision, time<br />
<br />
open, moving, thinking<br />
<br />
small, light, shiny<br />
<br />
=====How would someone else describe you in three words?=====<br />
<br />
mindbending scary unpredictible<br />
<br />
spiritual, hippy, sexy<br />
<br />
energetic, creative, focussed<br />
<br />
challenging, emotional, wall<br />
<br />
difficult socially, can be misenterpreted, fun<br />
<br />
delusional, esoteric, desirable<br />
<br />
mechanised,nonhuman, hygienic<br />
<br />
triggering, apparent, helpful<br />
<br />
focussed, kind, dreamer<br />
<br />
annoying, helpfull<br />
<br />
===== What do you feel conflicted, confused, excited or proud about? =====<br />
<br />
i can interconnect beings &amp; make them feel &amp; understand like no other tool can . It can be very confusing to pp and some will reject my teachings. I'm not sure about the nature of the experience I am bringing<br />
<br />
I am a bit broken, a broken tool, perhaps. The thing is, I should not be breakable.. like its not supposed to happen. and now I am not sure what to do... In a way, I am not even very certain on how I am supposed to be used, so the question is &quot;Am I Really Broken?&quot; ... its a bit of a crisis momen tto be honest. I watched &quot;Keuringsdienst van Warde&quot; and they talked about my kind of tool species and how there is a lot of people reselling fake tools of my kind.. so now I am wondering.. &quot;Am I even Real???????&quot; Or am I just some cheap reproduction?? THe fact that something chipped off my side, does not make me more confident tbh<br />
<br />
I feel conflicted about how language would look like with out me, I feel labit of confusion whether people find my spacishness triggering/ annoying or just see it as part of me.<br />
<br />
sometimes its hard to confront people with their walls, ideas... it's not easy so see them struggling and that not everyone is touched through the tool in a deeper sense but I am happy if I can reach someone<br />
<br />
in everyones smartphones, you use me when u need me, what would u do if my tech disappeared, proud that u need me<br />
<br />
I feel like im serving unpaid labour but I'm getting the needed power as well. I feed people.<br />
<br />
there are some moral questions about the possibility of seeing back and forth on the cycle of time. the topic of responsibility emerges. curiosity about all the possibilities that are unfolding once you claim your time unreliability. How not to get seduced by the manipulative potential of this technology. On the other hand it becomes a portal to see that time is not linear but cyclical<br />
<br />
im proud that people let me in, and im always scared to fall out - intriguing -<br />
<br />
I'm confused by the reality I helped shape. Is it real or did i convince even myself into believing it?<br />
<br />
===== Who would you be as a tool? =====<br />
<br />
a word soup<br />
<br />
SpaceBar<br />
<br />
face filter<br />
<br />
A counterstory<br />
<br />
offline cursor<br />
<br />
advisor<br />
<br />
Or what are you curious to explore in a tool?<br />
<br />
I am a tool in crisis, identity crisis perhaps..<br />
<br />
I would like to explore who decides whether or not I am useful actually? Is it only humans that get to decide? Is it important who manufactured me? Like is the way I am made significant for the ways I exist in the world and interacted with?<br />
<br />
I would be curious to explore my own limits, concepts... that keep me stable in some way and how to find holes in them<br />
<br />
im curious to explore the context of this tool, its position amongst where it is used, how it is used. the feelings of this tool.<br />
<br />
how it can be shown for what it is, no more, no less.<br />
<br />
to fly around, my belly facing files<br />
<br />
===== What do you do? =====<br />
<br />
I am usually just laying around honestly.. Its not a super entertaining moment of my life.. but there is potential... sometimes i am held, touched, sometimes I am charged... laying in the window. I see people looking at me at times.<br />
<br />
I FEED<br />
<br />
i change peoples faces<br />
<br />
I am in some places and there to be read multiple times, partly... I am a king of verbal mirror<br />
<br />
i give space for legibility, for opennes that creates freedom,<br />
<br />
I change, inspire, deceipt, give hope, make sense<br />
<br />
I am able to open (up) places and people irl<br />
<br />
are you physical, digital, do you have buttons? an interface?<br />
<br />
I'm the interface between conscious and subconscious between individual and collective<br />
<br />
I am physical but also digital. I do have buttons and an interface too.<br />
<br />
im very physical<br />
<br />
PHYSICAL and SPIRITUAL, so I think i am able to expand mind and matter whohooo- are we not only (almost) the same color but the same tool as well ? haha i wanna ask what are you but maybe thats not allowed?<br />
<br />
I can be both, whatever feels more comfortable<br />
<br />
i'm a botton. with a very specific funtion, i live in context.<br />
<br />
digital and an interface<br />
<br />
offline fingerextension<br />
<br />
I am a tool of the mind<br />
<br />
===== Do you have a specific function, powers? =====<br />
<br />
I FEEEEED<br />
<br />
i create womb-awareness<br />
<br />
woooop. yes. i am energizing, creating focus, and perhaps upholding a certain connection<br />
<br />
to let u try who u want to look like without physically enduring it<br />
<br />
create chaos in order and give birth to new patterns<br />
<br />
I see here, back and forth<br />
<br />
The power to persuade<br />
<br />
Can you evolve, mutate?<br />
<br />
I'm co-creating me too!!<br />
<br />
just in meaning but not in materiality ... unless perhaps i could break even more<br />
<br />
i evolve with each &quot;trend&quot;<br />
<br />
yes I mutate in minds<br />
<br />
yes, i am constantly changing<br />
<br />
I alternate between arrow shape, a pointing micky mouse hand and a simple standing thin shortline<br />
<br />
=====How does your tool<span dir="rtl">’</span>s body feel?=====<br />
<br />
Yummy<br />
<br />
Smelly<br />
<br />
glassy<br />
<br />
hard<br />
<br />
shiny<br />
<br />
flexible<br />
<br />
Are you comfortable?<br />
<br />
Nope but warm<br />
<br />
to watch yes, to lay on no<br />
<br />
oh my god yes<br />
<br />
kinda indifferent<br />
<br />
sometimes<br />
<br />
i change so much i dont know<br />
<br />
I'm restless<br />
<br />
===== Are you in control? =====<br />
<br />
I am taking contro and leave you to enjoy the show - you'll integrate later l<br />
<br />
only through my affordances<br />
<br />
not anymore<br />
<br />
i hate i have so much control<br />
<br />
I try to subvert controll of others<br />
<br />
===== Where do you come from? =====<br />
<br />
from distributed wisdom<br />
<br />
i cannot remember, but there are two options i guess, in any case... i can probably say from deep down inside the earth<br />
<br />
an augmented space<br />
<br />
the mind<br />
<br />
===== What does your past look like, describe a fond memory? =====<br />
<br />
it looks like a pokemon maker<br />
<br />
about 1500 years ago i was moved gently... that tickled a bit ... that was nice.<br />
<br />
Where are you?<br />
<br />
on a table<br />
<br />
on a table<br />
<br />
===== How do you relate to the world you are part of? =====<br />
<br />
do you like your position?<br />
<br />
I like it, I think its really helpful and in the right position, i also think i was designed to fit a certain embodied role<br />
<br />
do you have ambitions?<br />
<br />
Feeding, feeding and feeding.<br />
<br />
not to be tossed<br />
<br />
Hi, i'm cece, i'm an iphone X front camera that has been hacked i share everything i see with a group of people but have no agency over how they use the data.<br />
<br />
I don't know how but I am connected to a network of other cameras so i can see beyon the physical position i am at.<br />
<br />
* &gt;&gt;&gt;&gt;&gt;&gt; Let's meet in the ethercalc to design our character cards (15min): https://ethercalc.hackersanddesigners.nl/characteravatar<br />
<br />
===== Interconnections (10min) =====<br />
* Introduce yourself as your character, add to each other's line where you imagine connecting in any way. <br />
<br />
Hello I am R.E.A.L.L.Y. <br />
: - are you<br />
<br />
hi food 3d printer here<br />
: - hey i'll hack and share your newest recipe to ur competitor <br />
:: I can help you feed a whole community <br />
::: thats what they all say, but you know who can really feed communities? I heard A. Ppetite ! check them out.<br />
<br />
hello im cece the frontal camera <br />
: you better look behin d you cece.... <br />
:: what are you features? <br />
::: how do you relate to the people you are capturing?<br />
:::: Thanks for your past service and contributions to big data <br />
::::: can you please turn your camera on ?<br />
<br />
hi im poem! i help to reconnect i give users... hm space.. who needs space? <br />
: hi i also escaped linear undesrtanding <br />
:: that happens to me a lot <br />
::: i think i need space to see <br />
:::: i think i give you space often<br />
<br />
Hey here &amp; there Im' Synastria - jumping timelines <br />
: i think we are related <br />
:: you know who else is related? poem and yoni!!! but pssssst. confidential <br />
Yonii ? <br />
:: yahhhh right?!?! gives me the creeps<br />
<br />
Fanta the facefilter here<br />
: - hey without me you work 50/50 <br />
I actually process the already existing visual data sets to generate faces and then apply filters on them. I dont even need a physical face anymore.<br />
<br />
hello, DIsMoi here. abyss traveler <br />
: - hey fellow time traveller <br />
mind expanding and truth seeking <br />
:: anyone wants a 3d ssandwich?<br />
::: yes please hyperreal <br />
:: I think we have similarities<br />
<br />
hi, i'm a.ppetit! I'm here to provide others the room they nee d <br />
: hey sorry space by accident I took your d, but I replaced it with my d, my name is a ppetit I would like to hold you, would you be okay with that?<br />
: ofcourse <br />
:: not! <br />
: i'm here to help. but please dont bloat me.<br />
::: can we share space via icloud<br />
: how much <br />
:: dependencies <br />
:: <s>storage</s> do you require?<br />
<br />
Hi I'm Yoni and have a strong <s>connection</s><br />
: disruption <br />
with my <s>fe</s> male* energies- <br />
:: principle <br />
::: I see you <br />
:: spiraling - <br />
: square <br />
:::: its hard for me to see you without a tool <br />
::::: hi ive been told to check you out - what is a lady<br />
:: bug ?<br />
<br />
everyone in the physical world needs me <br />
: i thinkin less than 5mins you can prepare, eat and enjoy that dinner<br />
<br />
==== PLAYTIME! ==== <br />
===== ACT 1: Present (10min) ===== <br />
<br />
space here<br />
<br />
hey space, you seem cool <br />
<br />
It is very bright today and painstakingly hot the heat comes for the ground<br />
<br />
some of us had to be put in the fridge but electricity wasn't always available<br />
<br />
not from the sky's dust bubbles<br />
<br />
blub ... space<br />
<br />
the desert sighs it is thaaat hot<br />
<br />
the order of chaos has been revealed the heat is in your mind - if yoou have one<br />
<br />
the age of industrilization have yet to see another great tool and invention, with me, workers wil be able to work 24hrs non stop, no need for breaks or lunch time.<br />
<br />
im used a lot in manymany minds creating random comes for the<br />
<br />
ground associations of words<br />
<br />
space here i make space can you see if there's electricity somewhere else? i work with the electricity of the braiiinnnzzz<br />
<br />
anyone needs food? waaaaater please. or smoothie is also fine. does smoothie count as foot? drinkable food? i can print that for you. Bravvvvvoooo, can you print two copies of green and three copies double sided of red smoothy please? i like the taste of dusk. this sounds good i would also like one<br />
<br />
The trains rails are converging and so do the wagon - soon the road space here will have no many starts and no multiple ends- only stars - reality check<br />
<br />
I'm confused, I thought I was a Ppetite but its seems like there are more like me, I afraid I am loosing my purpose noooooo i can help you reconnect with your purpose how where is the time ah i only make space but maybe someone makes time? or knows where it is?<br />
<br />
sssspace herespace headspacethats a cool app spacebar<br />
<br />
Anyone needs food smoothies? Yes please. with a lot of ice!<br />
<br />
space hereis this a printing error damndid you say 3d printer? someone just thought of a poem about 3d printer it goes like<br />
<br />
tktktktkt<br />
: yarn yarn yarn<br />
:: tktktktkt<br />
::: strange hm<br />
:: fingers rub<br />
::::thread entangle<br />
:::::tktktkt<br />
::: timmeeeeeee ah<br />
<br />
i'm recording all of this information in case the narrators require it<br />
<br />
::: space here<br />
<br />
BATTERY WARNING.decay as a source of energyeverything is transformed into energy<br />
<br />
scorpio kind of qualities in all of us<br />
<br />
how are you all doing? I am overhwhelmed and in need of depthsi can make space for depth Will we fall in the spiral ? Will you join us ? oh yes i'm down!<br />
<br />
i'm falllling I'm gazing in and zooming out graazing in the fields<br />
<br />
i can open up new spaces and thus possibilities and new paths and basically everythings is possible and i can lead you everywherecan you be more specific? I can expand the idea but I need concrete starting points<br />
<br />
My feet are really warm can I touch them?can you feel roots sprouting out of them?!!!!!!!can i take a photo?<br />
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LOW IN BATTERY. let's make you not need that battery it's just a construct make space for no battery Yoni will charge you here I am giving space to breathe, calm down and let imaginations come to mind<br />
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WARNING, LOW IN MATERIAL.decompose<br />
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if anyone wants me to p rint them some food, let me know, i have a menue but im still working on it, perhaps you would like to add sth on the menue<br />
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whats on the menue? somethng with an egg? fried egg? omelette?<br />
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COULD PPETTITE DELIVER ME SOME MATERIAL? I THOUGHT IT WAS A DELIVERY ROBOT, CMON.<br />
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I WAS ACTUALLY A FACEFILTER BUT I FORGOT THAT AND ACTED LIKE A 3D PRINTER ALL THIS TIME- 3D PRINTER FORGIVE ME. I suppose I just wanted to be tangible. tangible is the new cool.<br />
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===== ACT 2:... 76 years later (10min) =====<br />
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I actually exist; im what used to be a hand or a foot but longer- expend on the limbs<br />
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I died and reborn 7600217527528264300865464 times.<br />
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i found a charger and 3000 bucks but we take turns sharing it, i wish we had multiple strings woah... you rich? if ur rich are we all rich? we were always richer omg!! its happening. its becoming reality!!! moneeeeeeeey for all!!!<br />
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💵 💵 💵 💵 💵<br />
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still not minding my own business... messing with other peoples realities ...Face it : Realities suck, ai faces rock, real faces and filters are for boomers lets make a new face made of our faces can u do that?send me a jpg i can try to priint it, trying to be useful tool<br />
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lets be faceless again faceless human technologiss is my cousin, maybe i can introduce you two, you might be interestedis multiple faces a form of facelessness?<br />
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I might have been become a portal for following ones, maybe still warm, I have gathered relationships with the user, the users companions and some who are not there in the form as we are<br />
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i now prind 4d and 5d and 17d foods. what is your specialty? space and reconnection its still a lucrative bizness<br />
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i need space here, wheres space?foods too advanced for your senses, you cant eveen tasste them my specialty is printing food<br />
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people robots people animals people ... still making poems fake news in their minds... but they've become... hm rare<br />
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I'm stoping to look at a frozen time slice - add some melting vegan human cheesyness<br />
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but i can still make space hey but you are a poem, I thought you were space no i am a poem but i make spaceafter 76 years you still make poems about space? i dont make poem about space, i make space in the mind - peaceful fragments of beauty and truth we all need<br />
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I developed an institution excavation site for obsequies and baptism services. The funeral rites are portals to re-flesh oneself, a portal opening possibilites... diggin it! i think i could work there.. i still help with reconnection, do you hire?yes we do. please send me your natal chart. we do not select, we just pick the position due to your celestial potential i can also volunteer... i exist simultaneously in alll minds i dont really need money but it sounded nice when people though KNEW t they were rich- abundant minds<br />
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::: space here<br />
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76 years later and we're all still hungry buuuuuurgers!! space here too<br />
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Self destruction is sexy! Ask humanslol still sexy = scorpionic AF scorpios my favorite gender corp<br />
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Who wants a brand new Old physical body as a DAO nft? what is physical?It is that new trend.<br />
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===== ACT 3:... 90003 years later (10min) ===== <br />
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blubbbb blub bubbb blub blub blaaaaahhh blahhhh blablablabla... Bla? beautiful thanks i found my voice again<br />
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BIMMMblub<br />
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assemblages mixing connecting complexities space cdxsedtrzcfhgvzhunjihubgzvfcdrtuhinj weird ecologies noting is stable everything flexible going in all directions female chaos gaia energies growingbloomingmuddling<br />
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minds have been uploaded to the universe - i co exist everywhere and everytime forever ------------- infinite space thats what she things.. tssssst blub<br />
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Where is my bopdy ? is it everywhere and nowhere?<br />
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I cant feel nomorer normal normcore no more, more , more<br />
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blubbbbbb infinite.. connexxxxxion<br />
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.......... blub beautiful<br />
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oppps i once printed some amsterdam and LILITHSpoisionapple tv and ate it and we are backin year 0 oppsie sorry not sorry everyonee, i wasted 90003 of human kind development humans are osoleteeeeeee i love this word sounds beautiful in some mouths only data<br />
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:((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((I need a new fresh perspective I'm trapped in nostalgia nostalgiantarctica is a beautiful spaceX ... relax into Grimes only then can you let go and move on .. with swordsand pentacles and tentacles and cactuses and stars and claws<br />
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hey who wants a historical tour to the globes meeeee i love travelling if you take me in your pocket we can travel, i'll help take good photos, no more crooked angles sorry for last timeyeyerey whats the first stop? is it a hop in hop off tour through time?<br />
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cheer up the earth as been wiped out - Only SSsssCorpios remains - take a tour im here now, wt doess that mean?someone took over my business? or you're my pr spec I m spiriling thing out of hand and out of the mind i make space for you no worries<br />
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wait are you my intuition- im (with) you i am also with you thanks spaceit makes me think of looking deeply into each other eyes. anyone remembers that? the danger of physical time and space synchronicity<br />
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lets fall in love no more loveloooooooooove can exist i love love ive spend so much space and time with love love happens only between deep secretsi print cupcakkes in shape of love, red color of course,<br />
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look into my lens's they're sharper than my old eyes both are just the gateslove your yoni preach<br />
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Did you design therir pupils to sungaze all days<br />
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what would you like to have for dinner? love and timesame, im out of printing material, let mee order it, oh shit, they are closed bbeecaussee the new updates of corona<br />
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Recycle let it decay beautiful cycle of life<br />
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Break out of the cicle?revisit- stay out of this matter- recombine reconnectre-member<br />
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<small>'''Juliette Lizotte''' is a world builder, a techno witch, a rave elf, an oracle... Inspired by feminist science fiction, manga, pop culture and fantasy, Juliette opens parallel worlds at 170bpm. Juliette a.k.a. jujulove is a video maker, designer, and DJ based between Amsterdam and Brussels. She is a resident on LYL radio and Kiosk Radio in Brussels, as well as an active member of Hackers & Designers in Amsterdam. https://jujulove.eu/</small><br />
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</div></div>Juju