https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/api.php?action=feedcontributions&feedformat=atom&user=MaisaMaisa 2026-04-12T22:52:47Z User contributions MediaWiki 1.39.3 https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Relearning-Food&diff=4554 2022-11-25T23:56:35Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Reading_Food layout-2&quot; id=&quot;Reading_Food&quot;&gt;<br /> &lt;div class=&quot;hilight-h5&quot;&gt; <br /> <br /> ===Reading Food===<br /> <br /> &lt;span class=&quot;author&quot;&gt;Alice Strete, Santiago Pinyol, and Luke Murphy&lt;/span&gt;<br /> <br /> ====An exercise in tracing the journeys our food makes before it reaches our plates, with a focus on material processes, which are often concealed from us or difficult to unravel.====<br /> <br /> Duration: 2.5-3 hours<br /> <br /> Materials needed:<br /> * Shopping bags<br /> * Paper<br /> * Pens<br /> * Phones or computers with Internet access<br /> <br /> Other things:<br /> * Some cash (for food)<br /> * One or more nearby shops<br /> <br /> ====The Script:====<br /> <br /> ===== 10 minutes: Introduction =====<br /> <br /> &lt;blockquote&gt;<br /> &quot;Reading food also has important implications for how we understand different modes of spatial production. By thinking of space through our mouths (and all the ways food ends up in them) researchers, practitioners, professionals, activists, and denizens across the world have been able to make profound changes to the way we live with food and the spaces in which we live with it. Reading foods to understand space and politics can seed (pun intended) immediate, albeit often small-scale changes in our personal and collective food politics. Whether it’s by dissuading the purchase of certain products, encouraging the cultivation of others, prompting conversations about recipes, rituals, histories, and identities, or merely providing the sustenance for those conversations and others, framing space through food posits change at the tip of our tongues.&quot;&lt;ref&gt;Akil Scafe-Smith, “Going Banana, Becoming Plantain,” THE FUNAMBULUST, August 27, 2020, https://thefunambulist.net/magazine/politics-of-food/going-banana-becoming-plantain-by-akil-scafe-smith&lt;/ref&gt; &lt;/blockquote&gt;<br /> <br /> The Reading food workshop and methodology was connected to the subject of Relearn 2021: the materialities of the everyday. In Relearn we applied materialism as a methodology to think through different topics and places, tracing and mapping the routes of items, substances, and material agencies that run through us in the everyday. We were ultimately looking to engage with modes of doing that deviate from the predominant Western tendency toistance the human from the material world. <br /> <br /> ===== 15 minutes: Discuss and plan a meal together that can be made up of one or multiple dishes =====<br /> <br /> The meal should:<br /> * not take more than 30 min to cook/assemble<br /> * be able to be enjoyed by everyone in the group<br /> * take into consideration the conditions of the space in which you're meeting (i.e. is there a source of heat, is there water, etc.) <br /> <br /> ===== 30 minutes: Split the grocery list among the participants and shop for the ingredients at the closest shop/supermarket =====<br /> <br /> Note: Keep the grocery list to a reasonable number of ingredients, depending on the time you want to allocate to this exercise (5-6 ingredients, and no more than 10)<br /> <br /> While shopping:<br /> * take note of each ingredient you buy and write down/take a photo of its country of origin, brand and any other information available <br /> * ask the shop owner or an employee for information on the origin of that product if not available <br /> <br /> ===== 30 minutes: After returning to the gathering space, the group splits into two: one half prepares the ingredients together according to your agreed upon recipe, while the other half documents each separate ingredient that was purchased, along with any information already available on the packaging (country of origin, supplier, distributor, etc) ===== <br /> <br /> Participants can also switch between tasks.<br /> <br /> ===== 1 hour: Eating and Researching =====<br /> * Leave the food to rest for a few minutes <br /> * Split the ingredients among yourselves however you wish <br /> * Using your phone or computer, check for the country of origin, and note the exact location the product is sourced <br /> * Trace the route to your current location, going via the shop/market that provided the ingredient. Make note of other details you find along the way—shipping routes and duration, farming conditions, packaging, regional/national distribution centers, or even specific people who may have come in contact with the food along the way <br /> * If not enough information can be found, feel free to speculate in order to fill in the gaps <br /> * Serve the food and eat. During the meal, share, and discuss your findings <br /> * If necessary, more research can be done after the meal <br /> <br /> ===== 45 min-1.5 hours: Mapping =====<br /> * Take paper and a few pens and share them among the participants <br /> * Based on your research, work together on a map of all the routes of each ingredient that has reached your table <br /> * After the map is done, discuss together <br /> * Participants can then present their findings and discuss with other groups following this exercise <br /> * Take a photo of the map and add it to the Anarchive of Relearn 2021 - https://relearn2021.vvvvvvaria.org/ (more info on relearn and how to contribute to the Anarchive here: http://relearn.be/2021/) <br /> <br /> ====Recipes created during H&amp;D summer academy====<br /> '''Vegan Bowl'''<br /> <br /> All products are purchased at the Albert Heijn on MS van Riemsdijkweg 186 and cooked at Hackers &amp; Designers.<br /> <br /> Resources:<br /> https://www.ah.nl/suppliers/map<br /> <br /> The fruit and vegetables sold in Albert Heijn carry the GLOBAL-GAP certificate, which has a database for finding producers and products: https://database.globalgap.org/globalgap/search/SearchMain.faces?init=1<br /> Another certificate to look into is the SIVAF: https://www.idhsustainabletrade.com/initiative/sifav2025/<br /> <br /> * Cauliflower <br /> ** comes from France<br /> ** https://www.kampexport.com/en/white-cauliflower<br /> ** From: Saint Coulomb (or Saint Pol De Leon) harvested in Bretange region<br /> * Dates <br /> ** come from South Africa packed in Zaandam<br /> ** https://www.karsten.co.za/fruit/dates/<br /> ** Klein Palla date farm (there's also a nice guest house there)<br /> * Lemons <br /> ** come from South Africa<br /> ** Harvested April to August<br /> ** possibly from Citrusdal, distributed by Mouton Citrus Pty Ltd<br /> * Almonds<br /> ** 80% of all almonds come from California (are the AH ones from California?)<br /> * Cucumber <br /> ** comes from the Netherlands<br /> ** https://www.ah.nl/producten/product/wi54074/ah-komkommer<br /> * Grilled Paprika (jarred)<br /> ** https://www.ah.nl/producten/product/wi189682/ah-gegrilde-rode-paprika<br /> ** Packed in Zaandam<br /> ** Where have they been grilled?<br /> ** Where have they been produced? <br /> * Avocado 2 pieces <br /> ** packed in Zaandam <br /> ** comes from Columbia C.I. FLP COLOMBIA S.A.S. Caldas, Chinchiná, Columbia<br /> * Olive oil Iliada <br /> ** from Kalamata, Greece <br /> ** distributed by https://ambrosia.nu/ <br /> * Parsley <br /> ** comes from Netherlands <br /> ** packed in Zaandam<br /> * Basmati rice<br /> ** unknown origin - probably from India or Pakistan<br /> * Black pepper (drogheria)<br /> ** &quot;produced in Italy with imported resources&quot; &gt;&gt; says packaging<br /> ** Pepper comes from Vietnam<br /> <br /> <br /> '''Crazy goat toasties with salad'''<br /> <br /> * Avocado eat ripe - one not edible - Hass<br /> ** Origin: Colombia <br /> ** expires on 22.07.2021 <br /> ** Class 1, 2 pieces in a package <br /> ** recommended quantity - 250g of greens per day <br /> ** natural source of Vitamin E, K, B6, copper, and kalium<br /> ** no gluten, no milk<br /> ** Barcode: 8710400388142<br /> ** https://worldcrunch.com/world-affairs/colombian-farming-the-costs-of-replacing-coffee-with-avocados<br /> * Cucumber <br /> ** AH komkommer<br /> ** Country of origin: Netherlands<br /> ** 0.55g per piece<br /> ** barcode: 8710400200833<br /> ** not wrapped in plastic<br /> * Lemon<br /> ** South Africa<br /> ** Cherry tomatoes - red desire<br /> ** mini plum tomatoes trosttomaatje<br /> ** oorsprong Nederland E-29<br /> ** 200g klaas 1<br /> ** packaged by NL KCB 1027<br /> ** black cardboard tray and plastic over it<br /> ** Barcode: 8718907362108<br /> ** Not for fridge<br /> ** geen PMD<br /> ** plastic 1<br /> * Meerzaden sourdough bread<br /> ** Groningen: the factory that produces the flower <br /> ** Baked in Amsterdam<br /> ** Ingrediënten: wheat flour, rye flour, sunflower pits, lupine Gries <br /> * Feta Dodoni with PDO from Greece<br /> ** No1 feta in Greece<br /> ** Superior taste award - awarded by the International Taste and Quality Institute based in Brussels 2018 3 stars<br /> ** PDO<br /> ** Agrocert<br /> ** Pasteurized sheep and goat milk<br /> ** POC/683-10443.06<br /> ** QR code that goes to dodoni.nl<br /> ** Epirus<br /> ** Kostaki str 41500 Ioannina Greece<br /> ** Fresh milk from farmers arrives every day in Ioannina, even from the most distant and isolated parts of Epirus. From there, the taste of Epirus travels through its products to 46 countries around the world. <br /> * Goats cheese<br /> ** &quot;Van Nederlandse Bodem&quot; = &quot;from dutch soil&quot;<br /> * Lemon balm (citroenmelisse) from Zuid-Oost Amsterdam<br /> ** plant passport number: NL479577870<br /> ** tuinoptafel.nl<br /> ** NL-BIO-01<br /> ** NL landbouw<br /> ** barcode 8713024011397<br /> * Broccoli<br /> ** class 1 <br /> ** https://www.ah.nl/producten/product/wi4177/ah-broccoli<br /> ** country of origin: Spain<br /> * Soy sauce<br /> ** Made in Chiang Rai, north Thailand<br /> ** Barcode: 871174135479<br /> * Vierge Sesame oil <br /> ** not wrapped in plastic<br /> * Lemon<br /> ** Produced in California<br /> ** Barcode: 3245270000665<br /> * Pepper<br /> * Walnuts (not roasted)<br /> ** walnuts, in general, grow mainly in France, India, and the U.S.<br /> ** they are on the bonus: from 2.85 to 2.69<br /> ** trees are around 30m high<br /> ** barcode: 8718906502222<br /> ** Notification: little children can choke in nuts <br /> ** they are on the bonus: from 2.85 to 2,.9<br /> ** recommended to consume in a bowl with a wine/beer + the evening can begin<br /> ** https://www.ah.nl/producten/product/wi397907/ah-ongebrande-walnoten<br /> * Amandelen, pecannoten, pistachenoten, macadamianoten, walnoten:<br /> ** Sommige noten blijken waterverslinders te zijn, terwijl ze groeien in gebiedenwaar relatief minder water beschikbaar is. Uiterlijk in 2020 zullen wij samen met onze leveranciers van eigen merk amandelen, pecannoten, pistachenoten, macadamianoten en walnoten- producten de water-gerelateerde risico’s geïnventariseerd hebben en waar nodig vervolgstappen gedefinieerd hebben.<br /> ** Alle noten verwerkt in hoger risico landen:<br /> ** Bovendien moeten vanaf 2020 alle noten afkomstig uit hoog risico landen (als gedefinieerd door de Business Social Compliance Initative – BSCI) een social compliance audit hebben.<br /> ** the “okkernoot,” that's the same thing. By the way, the word walnut means “strange nut.” The Gauls got to know the nut species through the Celts, and we still use the name they gave it today.<br /> ** Bij Albert Heijn staat er geen land van herkomst op. Maar het zou wel eens China kunnen zijn, wereldwijd de grootste producent van walnoten.”<br /> ** Common walnut was part of the ancient Chinese flora too; 14C-dated leaf fossils and carbonized nuts found in Shandong and Hebei provinces were ca. 7,335 ± 100 years old. <br /> * Spinach bio/organic van biologische oorsprong<br /> ** 200g<br /> ** expires on 26-07-2021<br /> ** Barcode: 8718906111097<br /> ** packaged in plastic<br /> ** NL-Bio-01<br /> <br /> <br /> '''Fake and smoked chicken wraps'''<br /> https://ethercalc.hackersanddesigners.nl/wraps-ingredients-origins<br /> <br /> Item name - Packaging location - Brand - Country - Information number <br /> * Smoked chicken - Zaandam - AH - the Netherlands - ?<br /> * Vegetarian pulled chicken - Zaandam - AH - ? - ? <br /> * Black beans - (Eindhoven) - Bonduelle<br /> <br /> <br /> ReLearn Disclaimer: <br /> The format of Relearn allowed for spontaneous and non-guided exercises that were not necessarily directed by the organizers. During Relearn, we did not strictly follow the above script. Instead, we cooked together and shared many meals, while drawing attention to conversations around the source of our ingredients and the journey they make to arrive on our plates. Below is one example or a recipe that we followed together, accompanied by photos of the meal we shared in two different locations in Rotterdam: Ook Huis and Bollenpandje. All the ingredients for the recipe were bought from the supermarket Amazing Oriental, with the exception of the vegan chorizos that are from Albert Heijn. <br /> <br /> <br /> '''Vegan Tamales''' <br /> <br /> FFor 20 tamales you will need: <br /> <br /> For the dough:<br /> * 4 cups of pandan rice, origin: Thailand brand: Dynasty Jasmine Rice<br /> * 4 cloves of garlic (if you want more you can add), origin: China brand: X<br /> * 1 teaspoon of coconut oil, origin: Packed in Liverpool brand: KTC Coconut Oil<br /> * Salt to taste, origin: Netherlands,Danish brand: Jozo<br /> <br /> For the filling:<br /> * 12 tomatoes, peeled and diced, origin: Netherlands, brand: AO <br /> * 2 red onions chopped, origin: Netherlands, brand: AO <br /> * 2 or 3 bunches of green onions or long onions (approximately 1 and 1/2 cups), origin: Netherlands, brand: AO<br /> * 2 teaspoons cumin or to taste, origin: India, brand: TRS <br /> * 1 teaspoon of turmeric, origin: India, brand: TRS <br /> * Salt to taste, origin: Netherlands,Danish brand: Jozo<br /> * 6 sliced ​​potatoes (approximately) I have previously cooked them with salt but not completely. origin: Netherlands, brand: AO <br /> * 5 carrots, sliced, origin: Netherlands, brand: AO <br /> * Green olives to taste, origin: Italy, brand: Castellino<br /> * Vegan chorizos (we used six chorizos), origin: Krupka, Czech Republic or Haifa, Israel (according to their website) brand: Garden Gourmet <br /> * 1 1/2 cups of previously cooked chickpeas, origin: U.S., brand: Goya<br /> * 1 tablespoon of olive oil for the sauce, origin: Italy and Spain, brand: Sansa<br /> <br /> For the wrapping:<br /> * 3 packages of frozen banana leaves, origin: Thailand, brand: City fresh<br /> <br /> &lt;br&gt;<br /> &lt;small&gt;'''Alice Strete''' (1991, RO) is an artist and researcher interested in the intricate relationship between humans and the technologies they surround themselves with. Her work involves collaborative media art and publishing practices, and explores topics from women in technology to the socio-politics of food. She graduated with an MA from the Piet Zwart Institute in Media Design, Experimental Publishing, Willem de Kooning Academy.<br /> <br /> '''Luke Murphy''' (1988, IE) is a programmer and researcher based in Rotterdam, whose interests currently revolve around peer-to-peer systems, cypherspace, low-tech constraints, DIWO approaches, counterfoil research and community organising. He is a proud member of Varia Centre for Everyday Technology.<br /> <br /> '''Santiago Pinol''' (1982, CO) has worked for over 10 years as a founder and member of the collectives Laagencia and Carne Gallery Both of these collectives have functioned as para-institutions and critical agencies addressing neo-colonial structures in Latin America. Shifting functions as a project space and educational platform, a feel-tank, or an offshore artist-run gallery, these projects have strategically questioned their context and continually reimagined themselves in resulting temporary schools, publications, and exhibitions at art fairs, airbnbs, and partner galleries around the world. Since 2020 he has been teaching at the Autonomous Practice Department in the Willem de Kooning Academie. Relearn is a collective learning experiment with as many teachers as it has participants. It is motivated by the possibility to displace parameters of/for research, studying and learning.<br /> <br /> Together they form a research group (Fizz club) which is experimenting with fermentation in all shapes and forms. In order to deepen the exploration of our intimate relation with the microcosmos of bacteria, they are delving into the transformative biopolitical relations that emerge from fermentation processes and metaphors. They organized Relearn 2021, a collective learning experiment with as many teachers as it has participants, motivated by the possibility to displace parameters of/for research, studying and learning<br /> &lt;/small&gt;<br /> &lt;/div&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=A-Note-on-the-design&diff=4553 2022-11-25T23:45:49Z

<p>MaisaMaisa: /* A Note on the design of this publication */</p> <hr /> <div>&lt;div class=&quot;article A_Note_on_the_design_of_this_publication layout-1&quot; id=&quot;A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> === A Note on the design of this publication ===<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> The digital version of this book was built simultaneously with the content’s population and preparation for its journey to the printer. While Wiki was being fed with the contributions by the authors, and while the Pdf was stretching/shrinking its borders to accommodate them, the HTML was experimenting with switches between the two reading experiences: of the contributions and the scripts as their active companions. Although the layout of the digital publication prioritizes the reading of contributions first, it aims to unite them with their scripts as much as possible. <br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Platframe-Postscript&diff=4546 2022-11-20T21:43:57Z

<p>MaisaMaisa: /* Platframe Postscript */</p> <hr /> <div>&lt;div class=&quot;article platframe-postscript layout-2&quot; id=&quot;Platframe_Postscript&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-website&quot;&gt;<br /> [[File:CatalogOFFDigitalDiscomfort-1.jpg|thumb|class=title_image|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] [8] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<br /> [[File:CatalogOFFDigitalDiscomfort-scan-2.jpg|thumb|]]<br /> <br /> [[File:CatalogOFFDigitalDiscomfort-scan-1.jpg|thumb|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> <br /> [[File:Pages from obfuscation-website-fallback.jpg|thumb|Website fallback pdf: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/5/58/Obfuscation-website-fallback.pdf]]<br /> <br /> [[File:Page-post-script-print-10-12-21.jpg|thumb|Complete post script &quot;The 3rd Workshop on Obfuscation&quot;, Post-Script workflow and lay-out by Cristina Cochior and Manetta Berends: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/8f/Post-script-print-10-12-21.pdf]]<br /> <br /> [[File:Page-3rd_WO_BB_Bmanual.jpg|thumb|Big Blue Button How-to: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/80/3rd_WO_BB_Bmanual.pdf]]<br /> &lt;/div&gt;<br /> <br /> === Platframe Postscript ===<br /> &lt;span class=&quot;author&quot;&gt;Anja Groten and Karl Moubarak&lt;/span&gt;<br /> ==== Introduction ====<br /> ''Platframe'' refers to a website that was developed for the “3rd workshop on obfuscation.” &lt;ref&gt;https://3rd.obfuscationworkshop.org/&lt;/ref&gt; It converges and “frames” pre-existing tools to facilitate online encounters and collaborative content production. It is called a plat-frame rather than a plat-form because it attempts to make coherent boundaries and relationships between the many different tools, softwares, services, frameworks, and practices it combines. This postscript is a continuation of a collaboratively written [https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/1/13/Readme.pdf ReadMe] file and evolves from the conventional format of a step-by-step manual toward a more reflective document. It reflects on how the website came into being, its different “life cycles,” our expectations for it, and the conversations it facilitated.<br /> <br /> ==== How to preserve a platframe? ====<br /> &lt;div class=&quot;visual-footnote img&quot;&gt;<br /> [[File:Platframe01.png|thumb|'Reception' region of the platframe. Platframe visitors left messages on the canvas. Older messages are fading away]]&lt;/div&gt;<br /> A platframe is an assemblage of pre-existing tools, which, when arranged in a different order, creates new sets of relations and dependencies, meaning that it never reaches a singular final form. Our platframe grew, broke, and matured, sometimes in unexpected ways. This document grapples with the challenges we encountered from documenting something that is in constant flux. We chose to structure this document by its different “life cycles.” Screenshots will help to contextualize the way the website facilitated different encounters and how it challenged those who engaged with it.<br /> <br /> ==== Life cycles ====<br /> Our platframe has undergone various stages and states of being. Since its inception, the platframe’s configuration, features, and appearance has undergone considerable change. We refer to the different states as life cycles. Each life cycle enabled different types of encounters and demanded different intensities of interaction from those who participated in building the website. We also referred to the process of designing the platform as “choreography,” due to its spatial characteristics and dynamism, as well as its temporality.<br /> <br /> ===== Life cycle 0: Development =====<br /> In December 2020, H&amp;amp;D was invited to work with the organizers of the &amp;quot;3rd Workshop on Obfuscation”&lt;ref&gt;The aim of the Workshop on Obfuscation is to foster interaction among diverse communities of research, concern and practice interested in obfuscation, [for instance] art and science of privacy protection through obfuscation in contexts where actions are monitored and analyzed by humans, organizations or information technologies.” https://3rd.obfuscationworkshop.org/reception/about&lt;/ref&gt;—Jara Rocha, Seda Gürses, Ero Balsa—to conceptualize, design, and develop a digital platform that would facilitate an online workshop. Principles that were important to address were:<br /> <br /> * '''F/OSS:''' The extensibility and adaptability of tools and code we would use and develop.<br /> * '''Privacy and data security:''' Care for privacy and security of user data.<br /> * '''eSafe and welcoming online encounters:''' Writing a code of conduct and paying attention to chat moderation to create and sustain a safe(r) online environment that would be welcoming to all participants.<br /> * '''Collaboration across disciplines:''' Engaging in a collaborative and reflective making process across disciplinary boundaries and different knowledge domains that transgresses solution-driven approaches toward software development.<br /> * '''Digital Discomfort:''' The platframe challenged us more than the (now) habitual experience of meeting on Zoom, Teams, or Google Hangouts. As the Workshop on Obfuscation raised questions about inner workings, ethics, and socio-technological entanglements, the platframe challenged some of the conventions put forward by big tech, but also asked for more patience and endurance from participants than they were used to. In that context, Jara Rocha curated an anti-solutionist collection of formats for digital discomfort.<br /> <br /> ===== Map / Navigation =====<br /> We worked with the concept of a large canvas, which extended in every direction and could be navigated similarly to a map. The canvas was divided into so-called regions, which were called, for example, “reception,” “study room,” “resource library,” and “exhibition space.” Different regions facilitated different content and functionalities and varied in relevancy as the platframe passed through its different life cycles.<br /> <br /> &lt;div class=&quot;visual-footnote img&quot;&gt;<br /> [[File:Platframe-map.jpg|thumb|Map view of the navigation]]<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;video-center&quot;&gt;[[File:obfuscated1.mov|400px|Map navigation]]&lt;/div&gt;<br /> <br /> ===== Chat =====<br /> One of the platframe’s most distinctive functionalities was the “spatially” distributed chat, which allowed participants to leave messages anywhere on the canvas. As a result, the platframe became a “living” space; all participants could mark their presence with their messages and the traces of their cursors on the canvas.<br /> The discussion around obfuscation demanded a close inspection and consideration of networked privacy practices. Messages dropped on the platframe were assigned a duration by their authors, which would vanish once completed. As the message approached its expiration, the visibility of the message decreased, until it was deleted.<br /> &lt;div class=&quot;visual-footnote img&quot;&gt;<br /> [[File:Platframe02.png|thumb|Platframe visitors left messages on the canvas of the platframe. They help each other to navigate the unfamilar digital space and the different timezones.]] <br /> &lt;/div&gt;<br /> The moderator’s role was another important feature of the chat. To create an environment that was safe(r) and free of hostility we created a moderator login, which allowed a select group of trusted participants to erase or block access to the platframe if needed.<br /> <br /> ===== Cookies =====<br /> Technically the platframe did not use cookies. However, data submitted by participants—such as display name, position, cursor color, and messages—was sent to the H&amp;amp;D server and other participants. The server assigned a unique identifier (UID) to their browsers and stored it in the browser’s local storage, appearing as: “uid”: “266f429f2d4.” When a participant accessed the platframe, the server authenticated their UID against its store of users.<br /> We explored alternative methods that rely purely on peer-to-peer authentication without servers involved (see CRDTs), but this method could not guarantee that participants blocked by moderators would be permanently blocked from accessing the website again. It was always possible for participants to delete their own user profiles from the server.<br /> <br /> ===== Front and back: VueJS and Strapi =====<br /> This platframe was built with two open-source web development frameworks: Strapi&lt;ref&gt;See: https://strapi.io/&lt;/ref&gt; for the “back-end” and VueJS&lt;ref&gt;See: https://vuejs.org/&lt;/ref&gt; for the “front-end.”<br /> Strapi is a content management system that we installed and configured on the H&amp;amp;D server to manage all the static content on the website. It produces a framework agnostic public API that enabled us to define the so-called regions, write texts using a draft/publish system, manage the schedule, receive glossary submissions, and host the videos presented in the exhibition area.<br /> VueJS is a front-end Javascript framework with a template-oriented approach. It enabled us to design reusable (yet customizable) HTML templates to wrap the data produced in Strapi. The API created by the back-end on the server is “consumed” by the web pages created by the front-end in the browser.<br /> <br /> ==== Lifecycle 1: Preparation ====<br /> In this life cycle, the platframe mainly facilitated the work of the study group that collected, discussed, and prepared the workshop and populated the glossary and library. The group also provided us with a moment to test and collect feedback on the platframe.<br /> A crucial moment during this process was receiving the generous feedback of artist and researcher Ren Loren Britton, who screened the platframe for accessibility. While we scheduled this feedback moment rather late in the process, we were able to implement some changes to the styling of the website, which allowed visitors to “deobfuscate” the platframe, making it easier to read and navigate.<br /> Ren furthermore provided us with many helpful resources about designing for accessibility online. We have listed a few of those here, also to serve as a reminder to ourselves that accessibility should not come as an afterthought, but hand in hand with any web development project:<br /> * The importance of multiple points of access: https://www.mapping-access.com/ (working with description and redundancy.)<br /> * The work of scholar Aimi Hamraie addresses how accessibility shifts and is different for every person. What are ways to present, describe, and make accessible different parts of a website, for example by providing an alt-text and descriptions of what the website looks like? https://aimihamraie.wordpress.com/<br /> * Something we weren’t able to address in the short amount of time was the possibility to tab through and hit enter on the chat component of the platframe. The rest of the website is navigable with only the tab and enter buttons.<br /> * When implementing the live stream, we could have considered live captioning or providing a transcript after the talks.<br /> * While we enjoyed exploring “obfuscation” in the website design via the use of textures and the noise font (a font chosen because it is illegible to machines, specifically Optical Character Recognition software), we realized that certain conceptual and aesthetic choices made it difficult for people with low vision to access the content. To make the website more legible we implemented an option for users to increase contrast and to “strip” the CSS according to their needs. A great reference for implementing different CSS options, such as font choices to allow different points of access, is queer art collective Coven Berlin: https://www.covenberlin.com/contact/<br /> * For similar reasons we decided to add the option to reduce the colors to black and white to make the chat more legible.<br /> * We were not able to sufficiently test the site with screen readers. For instance, it would have been important to see how the spatially distributed chat could have been displayed and read to make it more screen reader friendly.<br /> * Finally, we created a guided tour of the platframe, which consisted of a step-by-step tutorial with instructions on navigation and interaction: https://3rd.obfuscationworkshop.org/readme/tour<br /> <br /> &lt;div class=&quot;video-center&quot;&gt;[[File:obfuscated3.mov|400px|Map navigation]]&lt;/div&gt;<br /> <br /> ===== Tools for collective organization: Ethercalc, Etherpad, Jitsi, Freenode =====<br /> Much of the preparatory and organizational work for the third Workshop on Obfuscation took place online, but was not hosted by the platframe. Instead, we used other tools for internal communication, budgeting, and responsibility management. For instance, we used Jitsi to meet, discuss, and keep tabs on the different ongoing processes. Etherpad hosted on the H&amp;amp;D and Constant servers, was used for taking notes and drafting documents, while spreadsheets created in Ethercalc were used to coordinate and keep track of task division schedules for moderators and technical bug reports. Finally, we used Freenode (IRC) as a temporary communication back channel for the conference days.<br /> <br /> ==== Lifecycle 2: The Vernissage—first public encounter with platframe ====<br /> At the Vernissage on May 4, 2021, the platframe had its first public encounter, with visitors able to populate the platframe’s distributed chat. In the “exhibition space,” platframe visitors watched videos by the contributors, which were interlinked with elements from the timetable and the contributors list. The video-making process was guided by Jara Rocha and Lucie de Bréchard; Lucie also led the video concept, design, and editing process.<br /> <br /> &lt;div class=&quot;visual-footnote img&quot;&gt;<br /> [[File:Platframe05.png|thumb|'Exhibition' region]]<br /> &lt;/div&gt;<br /> <br /> It was important that visitors could reach other regions easily and additional information related to the respective videos.<br /> The distributed chat and cursor visibility created a feeling of aliveness and togetherness. Visitors left messages close to the videos and engaged in conversations with each other about the content.<br /> During the Vernissage, BigBlueButton (BBB) links were distributed, allowing participants to speak face to face. In retrospect, it might have been livelier on the platframe had we had opted for only one form of interaction, instead of adding more possibilities and scattering the program across many different spaces.<br /> We initially arranged for thirteen videos to be exhibited in this region. However, throughout the process of developing the conference the number increased. Additionally, the idea to upload and exhibit “conference posters” was introduced last minute. The exhibition as a region thus expanded quite drastically and took over an unexpectedly large portion of the overall canvas.<br /> The choice to include introductory videos and explanatory posters by workshop contributors allowed participants to familiarize themselves with the conference materials. The materials didn’t have to be viewed simultaneously, but could accommodate the different time zones and availability of participants. The main incentives for this decision were to reduce time spent on video calls and to protect both the participants and servers from “liveness fatigue.”<br /> The platframe, including tools such as Etherpad and Ethercalc were hosted on a VPS provided by Greenhost in Amsterdam, which ran on wind power. Other measures taken to reduce the ecological footprint of the platframe were the shrinking of media such as videos, PDFs, and images into smaller, web-compatible files, as well as the implementation of load-balancing strategies on the server and in the browser to intentionally slow down live-communication processes when traffic increased. Nonetheless, the platframe was CPU-intensive and therefore not as accessible with lower bandwidth.<br /> During the Vernissage, the platframe’s capacity to host a high number of participants was put into question. A few days before the workshop, we proceeded to develop testBot—a script intended to choreograph a fluctuating number of visitors arriving on the platframe, interacting with it, and then leaving. Although testBot looked like a single participant on the platframe, it represented 100, 200, or even 500 active visitors. It enabled us to stress test the platframe’s performance and gauge the number of upgrades we needed to install on the server in preparation for the workshop. TestBot remained on the platframe for the entire duration of the conference for hardware performance-logging reasons.<br /> <br /> ==== Lifecycle 3: The workshop ====<br /> The platforme’s most active moment was the day of the workshop on May 7, 2021, when around 200 participants interacted with it. The platframe served as a central source of information on the third Workshop on Obfuscation. It contained the resource library, the directory of contributors and artworks, as well as a place for participants to converse. Yet the workshop actually took place on the BBB hosted by TU Delft. Our goal was not to try to recreate features of BBB, but to embed it within the convergence of tools. The platframe was designed to function as a springboard from which participants could navigate their way to workshop sessions or take part in informal hangouts.<br /> During the course of developing the platframe, Tobias Fiebig, the maintainer of the BBB instance hosted by TU Delft, worked on extending their installation of BBB with an option to live-stream conference calls via publicly accessible RTMP streams. This extension enabled us to give access to the workshops outside of BBB and display them in real time to a larger group of viewers on the platframe.<br /> During this life cycle the platframe was at its most active. Participants spent time in between sessions gathering their cursors around posters and videos in the exhibition, discussing, and mingling. The platframe’s management, moderation, and maintenance was similar to that of a physical conference, with dedicated hosts and moderators guiding participants around the canvas, continuously documenting the sessions and taking care of the space.<br /> <br /> ==== Life cycle 4: The archive ====<br /> New and changing requirements throughout the making process confronted us with the question of “scalability” and “adaptability” of this tool convergence. While we started off with the idea that this website would become something that served other contexts and be used by different communities for their own events, the platframe became too tailored and specific to the context of the third workshop on obfuscation.<br /> With regards to documenting and archiving this project, we are keen to develop the platframe so that it functions within other contexts as well. The full repository— as well as instructions on setting it up, hosting, and converging the different tools and layers—is available here: https://github.com/hackersanddesigners/obfuscation<br /> <br /> Please take note of the license: https://github.com/hackersanddesigners/obfuscation/blob/master/LICENSE&lt;br&gt;<br /> <br /> At some point, the chat will be turned off and the videos in the exhibition taken offline, marking the platframe''’''s final life cycle—at least in the context of the third workshop on obfuscation. The contributions have been collected and organized in a manner that makes them accessible for future reference. A workshop report—the postscript of which a previous version of this document is part of— was already published and distributed among workshop contributors and participants&lt;ref&gt;The 3rd Workshop on Obfuscation was organized by Ero Balsa, Seda Gürses, Helen Nissenbaum, and Jara Rocha. The Post-Script workflow and lay-out was made by Cristina Cochior, Manetta Berends. The Post-Script copy editing was done by Amy Pickles.&lt;/ref&gt;. Some of the platframe regions may stay accessible in a different form, such as the resources collected in the library; the glossary, the references of the different sessions; notes the ReadMe; and of course, the code repository.<br /> <br /> ''First published in “The 3rd Workshop on Obfuscation Post-Script”''<br /> <br /> &lt;small&gt;<br /> '''Karl Moubarak''' is a designer, tool-builder and amateur software developer. He joined Hackers &amp; Designers in 2020 after collaborating with H&amp;D as an intern during his bachelor studies.<br /> <br /> '''Anja Groten''' is a designer, educator and community organiser. In June 2013 Anja co-founded the initiative Hackers &amp; Designers together with James Bryan Graves and Selby Gildemacher. Anja furthermore runs the Design Master course at the Sandberg Instituut Amsterdam, Master of the Rietveld Academie.<br /> &lt;/small&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Platframe-Postscript&diff=4545 2022-11-20T21:43:21Z

<p>MaisaMaisa: /* Platframe Postscript */</p> <hr /> <div>&lt;div class=&quot;article platframe-postscript layout-2&quot; id=&quot;Platframe_Postscript&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-website&quot;&gt;<br /> [[File:CatalogOFFDigitalDiscomfort-1.jpg|thumb|class=title_image|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] [8] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<br /> [[File:CatalogOFFDigitalDiscomfort-scan-2.jpg|thumb|]]<br /> <br /> [[File:CatalogOFFDigitalDiscomfort-scan-1.jpg|thumb|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> <br /> [[File:Pages from obfuscation-website-fallback.jpg|thumb|Website fallback pdf: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/5/58/Obfuscation-website-fallback.pdf]]<br /> <br /> [[File:Page-post-script-print-10-12-21.jpg|thumb|Complete post script &quot;The 3rd Workshop on Obfuscation&quot;, Post-Script workflow and lay-out by Cristina Cochior and Manetta Berends: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/8f/Post-script-print-10-12-21.pdf]]<br /> <br /> [[File:Page-3rd_WO_BB_Bmanual.jpg|thumb|Big Blue Button How-to: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/80/3rd_WO_BB_Bmanual.pdf]]<br /> &lt;/div&gt;<br /> <br /> === Platframe Postscript ===<br /> &lt;span class=&quot;author&quot;&gt;Anja Groten and Karl Moubarak&lt;/span&gt;<br /> ==== Introduction ====<br /> ''Platframe'' refers to a website that was developed for the “3rd workshop on obfuscation.” &lt;ref&gt;https://3rd.obfuscationworkshop.org/&lt;/ref&gt; It converges and “frames” pre-existing tools to facilitate online encounters and collaborative content production. It is called a plat-frame rather than a plat-form because it attempts to make coherent boundaries and relationships between the many different tools, softwares, services, frameworks, and practices it combines. This postscript is a continuation of a collaboratively written [https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/1/13/Readme.pdf ReadMe] file and evolves from the conventional format of a step-by-step manual toward a more reflective document. It reflects on how the website came into being, its different “life cycles,” our expectations for it, and the conversations it facilitated.<br /> <br /> ==== How to preserve a platframe? ====<br /> &lt;div class=&quot;visual-footnote img&quot;&gt;<br /> [[File:Platframe01.png|thumb|'Reception' region of the platframe. Platframe visitors left messages on the canvas. Older messages are fading away]]&lt;/div&gt;<br /> A platframe is an assemblage of pre-existing tools, which, when arranged in a different order, creates new sets of relations and dependencies, meaning that it never reaches a singular final form. Our platframe grew, broke, and matured, sometimes in unexpected ways. This document grapples with the challenges we encountered from documenting something that is in constant flux. We chose to structure this document by its different “life cycles.” Screenshots will help to contextualize the way the website facilitated different encounters and how it challenged those who engaged with it.<br /> <br /> ==== Life cycles ====<br /> Our platframe has undergone various stages and states of being. Since its inception, the platframe’s configuration, features, and appearance has undergone considerable change. We refer to the different states as life cycles. Each life cycle enabled different types of encounters and demanded different intensities of interaction from those who participated in building the website. We also referred to the process of designing the platform as “choreography,” due to its spatial characteristics and dynamism, as well as its temporality.<br /> <br /> ===== Life cycle 0: Development =====<br /> In December 2020, H&amp;amp;D was invited to work with the organizers of the &amp;quot;3rd Workshop on Obfuscation”&lt;ref&gt;The aim of the Workshop on Obfuscation is to foster interaction among diverse communities of research, concern and practice interested in obfuscation, [for instance] art and science of privacy protection through obfuscation in contexts where actions are monitored and analyzed by humans, organizations or information technologies.” https://3rd.obfuscationworkshop.org/reception/about&lt;/ref&gt;—Jara Rocha, Seda Gürses, Ero Balsa—to conceptualize, design, and develop a digital platform that would facilitate an online workshop. Principles that were important to address were:<br /> <br /> * '''F/OSS:''' The extensibility and adaptability of tools and code we would use and develop.<br /> * '''Privacy and data security:''' Care for privacy and security of user data.<br /> * '''eSafe and welcoming online encounters:''' Writing a code of conduct and paying attention to chat moderation to create and sustain a safe(r) online environment that would be welcoming to all participants.<br /> * '''Collaboration across disciplines:''' Engaging in a collaborative and reflective making process across disciplinary boundaries and different knowledge domains that transgresses solution-driven approaches toward software development.<br /> * '''Digital Discomfort:''' The platframe challenged us more than the (now) habitual experience of meeting on Zoom, Teams, or Google Hangouts. As the Workshop on Obfuscation raised questions about inner workings, ethics, and socio-technological entanglements, the platframe challenged some of the conventions put forward by big tech, but also asked for more patience and endurance from participants than they were used to. In that context, Jara Rocha curated an anti-solutionist collection of formats for digital discomfort.<br /> <br /> ===== Map / Navigation =====<br /> We worked with the concept of a large canvas, which extended in every direction and could be navigated similarly to a map. The canvas was divided into so-called regions, which were called, for example, “reception,” “study room,” “resource library,” and “exhibition space.” Different regions facilitated different content and functionalities and varied in relevancy as the platframe passed through its different life cycles.<br /> <br /> &lt;div class=&quot;visual-footnote img&quot;&gt;<br /> [[File:Platframe-map.jpg|thumb|Map view of the navigation]]<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;video-center&quot;&gt;[[File:obfuscated1.mov|400px|Map navigation]]&lt;/div&gt;<br /> <br /> ===== Chat =====<br /> One of the platframe’s most distinctive functionalities was the “spatially” distributed chat, which allowed participants to leave messages anywhere on the canvas. As a result, the platframe became a “living” space; all participants could mark their presence with their messages and the traces of their cursors on the canvas.<br /> The discussion around obfuscation demanded a close inspection and consideration of networked privacy practices. Messages dropped on the platframe were assigned a duration by their authors, which would vanish once completed. As the message approached its expiration, the visibility of the message decreased, until it was deleted.<br /> &lt;div class=&quot;visual-footnote img&quot;&gt;<br /> [[File:Platframe02.png|thumb|Platframe visitors left messages on the canvas of the platframe. They help each other to navigate the unfamilar digital space and the different timezones.]] <br /> &lt;/div&gt;<br /> The moderator’s role was another important feature of the chat. To create an environment that was safe(r) and free of hostility we created a moderator login, which allowed a select group of trusted participants to erase or block access to the platframe if needed.<br /> <br /> ===== Cookies =====<br /> Technically the platframe did not use cookies. However, data submitted by participants—such as display name, position, cursor color, and messages—was sent to the H&amp;amp;D server and other participants. The server assigned a unique identifier (UID) to their browsers and stored it in the browser’s local storage, appearing as: “uid”: “266f429f2d4.” When a participant accessed the platframe, the server authenticated their UID against its store of users.<br /> We explored alternative methods that rely purely on peer-to-peer authentication without servers involved (see CRDTs), but this method could not guarantee that participants blocked by moderators would be permanently blocked from accessing the website again. It was always possible for participants to delete their own user profiles from the server.<br /> <br /> ===== Front and back: VueJS and Strapi =====<br /> This platframe was built with two open-source web development frameworks: Strapi&lt;ref&gt;See: https://strapi.io/&lt;/ref&gt; for the “back-end” and VueJS&lt;ref&gt;See: https://vuejs.org/&lt;/ref&gt; for the “front-end.”<br /> Strapi is a content management system that we installed and configured on the H&amp;amp;D server to manage all the static content on the website. It produces a framework agnostic public API that enabled us to define the so-called regions, write texts using a draft/publish system, manage the schedule, receive glossary submissions, and host the videos presented in the exhibition area.<br /> VueJS is a front-end Javascript framework with a template-oriented approach. It enabled us to design reusable (yet customizable) HTML templates to wrap the data produced in Strapi. The API created by the back-end on the server is “consumed” by the web pages created by the front-end in the browser.<br /> <br /> ==== Lifecycle 1: Preparation ====<br /> In this life cycle, the platframe mainly facilitated the work of the study group that collected, discussed, and prepared the workshop and populated the glossary and library. The group also provided us with a moment to test and collect feedback on the platframe.<br /> A crucial moment during this process was receiving the generous feedback of artist and researcher Ren Loren Britton, who screened the platframe for accessibility. While we scheduled this feedback moment rather late in the process, we were able to implement some changes to the styling of the website, which allowed visitors to “deobfuscate” the platframe, making it easier to read and navigate.<br /> Ren furthermore provided us with many helpful resources about designing for accessibility online. We have listed a few of those here, also to serve as a reminder to ourselves that accessibility should not come as an afterthought, but hand in hand with any web development project:<br /> * The importance of multiple points of access: https://www.mapping-access.com/ (working with description and redundancy.)<br /> * The work of scholar Aimi Hamraie addresses how accessibility shifts and is different for every person. What are ways to present, describe, and make accessible different parts of a website, for example by providing an alt-text and descriptions of what the website looks like? https://aimihamraie.wordpress.com/<br /> * Something we weren’t able to address in the short amount of time was the possibility to tab through and hit enter on the chat component of the platframe. The rest of the website is navigable with only the tab and enter buttons.<br /> * When implementing the live stream, we could have considered live captioning or providing a transcript after the talks.<br /> * While we enjoyed exploring “obfuscation” in the website design via the use of textures and the noise font (a font chosen because it is illegible to machines, specifically Optical Character Recognition software), we realized that certain conceptual and aesthetic choices made it difficult for people with low vision to access the content. To make the website more legible we implemented an option for users to increase contrast and to “strip” the CSS according to their needs. A great reference for implementing different CSS options, such as font choices to allow different points of access, is queer art collective Coven Berlin: https://www.covenberlin.com/contact/<br /> * For similar reasons we decided to add the option to reduce the colors to black and white to make the chat more legible.<br /> * We were not able to sufficiently test the site with screen readers. For instance, it would have been important to see how the spatially distributed chat could have been displayed and read to make it more screen reader friendly.<br /> * Finally, we created a guided tour of the platframe, which consisted of a step-by-step tutorial with instructions on navigation and interaction: https://3rd.obfuscationworkshop.org/readme/tour<br /> <br /> [[File:obfuscated3.mov|400px|Map navigation]]<br /> <br /> ===== Tools for collective organization: Ethercalc, Etherpad, Jitsi, Freenode =====<br /> Much of the preparatory and organizational work for the third Workshop on Obfuscation took place online, but was not hosted by the platframe. Instead, we used other tools for internal communication, budgeting, and responsibility management. For instance, we used Jitsi to meet, discuss, and keep tabs on the different ongoing processes. Etherpad hosted on the H&amp;amp;D and Constant servers, was used for taking notes and drafting documents, while spreadsheets created in Ethercalc were used to coordinate and keep track of task division schedules for moderators and technical bug reports. Finally, we used Freenode (IRC) as a temporary communication back channel for the conference days.<br /> <br /> ==== Lifecycle 2: The Vernissage—first public encounter with platframe ====<br /> At the Vernissage on May 4, 2021, the platframe had its first public encounter, with visitors able to populate the platframe’s distributed chat. In the “exhibition space,” platframe visitors watched videos by the contributors, which were interlinked with elements from the timetable and the contributors list. The video-making process was guided by Jara Rocha and Lucie de Bréchard; Lucie also led the video concept, design, and editing process.<br /> <br /> &lt;div class=&quot;visual-footnote img&quot;&gt;<br /> [[File:Platframe05.png|thumb|'Exhibition' region]]<br /> &lt;/div&gt;<br /> <br /> It was important that visitors could reach other regions easily and additional information related to the respective videos.<br /> The distributed chat and cursor visibility created a feeling of aliveness and togetherness. Visitors left messages close to the videos and engaged in conversations with each other about the content.<br /> During the Vernissage, BigBlueButton (BBB) links were distributed, allowing participants to speak face to face. In retrospect, it might have been livelier on the platframe had we had opted for only one form of interaction, instead of adding more possibilities and scattering the program across many different spaces.<br /> We initially arranged for thirteen videos to be exhibited in this region. However, throughout the process of developing the conference the number increased. Additionally, the idea to upload and exhibit “conference posters” was introduced last minute. The exhibition as a region thus expanded quite drastically and took over an unexpectedly large portion of the overall canvas.<br /> The choice to include introductory videos and explanatory posters by workshop contributors allowed participants to familiarize themselves with the conference materials. The materials didn’t have to be viewed simultaneously, but could accommodate the different time zones and availability of participants. The main incentives for this decision were to reduce time spent on video calls and to protect both the participants and servers from “liveness fatigue.”<br /> The platframe, including tools such as Etherpad and Ethercalc were hosted on a VPS provided by Greenhost in Amsterdam, which ran on wind power. Other measures taken to reduce the ecological footprint of the platframe were the shrinking of media such as videos, PDFs, and images into smaller, web-compatible files, as well as the implementation of load-balancing strategies on the server and in the browser to intentionally slow down live-communication processes when traffic increased. Nonetheless, the platframe was CPU-intensive and therefore not as accessible with lower bandwidth.<br /> During the Vernissage, the platframe’s capacity to host a high number of participants was put into question. A few days before the workshop, we proceeded to develop testBot—a script intended to choreograph a fluctuating number of visitors arriving on the platframe, interacting with it, and then leaving. Although testBot looked like a single participant on the platframe, it represented 100, 200, or even 500 active visitors. It enabled us to stress test the platframe’s performance and gauge the number of upgrades we needed to install on the server in preparation for the workshop. TestBot remained on the platframe for the entire duration of the conference for hardware performance-logging reasons.<br /> <br /> ==== Lifecycle 3: The workshop ====<br /> The platforme’s most active moment was the day of the workshop on May 7, 2021, when around 200 participants interacted with it. The platframe served as a central source of information on the third Workshop on Obfuscation. It contained the resource library, the directory of contributors and artworks, as well as a place for participants to converse. Yet the workshop actually took place on the BBB hosted by TU Delft. Our goal was not to try to recreate features of BBB, but to embed it within the convergence of tools. The platframe was designed to function as a springboard from which participants could navigate their way to workshop sessions or take part in informal hangouts.<br /> During the course of developing the platframe, Tobias Fiebig, the maintainer of the BBB instance hosted by TU Delft, worked on extending their installation of BBB with an option to live-stream conference calls via publicly accessible RTMP streams. This extension enabled us to give access to the workshops outside of BBB and display them in real time to a larger group of viewers on the platframe.<br /> During this life cycle the platframe was at its most active. Participants spent time in between sessions gathering their cursors around posters and videos in the exhibition, discussing, and mingling. The platframe’s management, moderation, and maintenance was similar to that of a physical conference, with dedicated hosts and moderators guiding participants around the canvas, continuously documenting the sessions and taking care of the space.<br /> <br /> ==== Life cycle 4: The archive ====<br /> New and changing requirements throughout the making process confronted us with the question of “scalability” and “adaptability” of this tool convergence. While we started off with the idea that this website would become something that served other contexts and be used by different communities for their own events, the platframe became too tailored and specific to the context of the third workshop on obfuscation.<br /> With regards to documenting and archiving this project, we are keen to develop the platframe so that it functions within other contexts as well. The full repository— as well as instructions on setting it up, hosting, and converging the different tools and layers—is available here: https://github.com/hackersanddesigners/obfuscation<br /> <br /> Please take note of the license: https://github.com/hackersanddesigners/obfuscation/blob/master/LICENSE&lt;br&gt;<br /> <br /> At some point, the chat will be turned off and the videos in the exhibition taken offline, marking the platframe''’''s final life cycle—at least in the context of the third workshop on obfuscation. The contributions have been collected and organized in a manner that makes them accessible for future reference. A workshop report—the postscript of which a previous version of this document is part of— was already published and distributed among workshop contributors and participants&lt;ref&gt;The 3rd Workshop on Obfuscation was organized by Ero Balsa, Seda Gürses, Helen Nissenbaum, and Jara Rocha. The Post-Script workflow and lay-out was made by Cristina Cochior, Manetta Berends. The Post-Script copy editing was done by Amy Pickles.&lt;/ref&gt;. Some of the platframe regions may stay accessible in a different form, such as the resources collected in the library; the glossary, the references of the different sessions; notes the ReadMe; and of course, the code repository.<br /> <br /> ''First published in “The 3rd Workshop on Obfuscation Post-Script”''<br /> <br /> &lt;small&gt;<br /> '''Karl Moubarak''' is a designer, tool-builder and amateur software developer. He joined Hackers &amp; Designers in 2020 after collaborating with H&amp;D as an intern during his bachelor studies.<br /> <br /> '''Anja Groten''' is a designer, educator and community organiser. In June 2013 Anja co-founded the initiative Hackers &amp; Designers together with James Bryan Graves and Selby Gildemacher. Anja furthermore runs the Design Master course at the Sandberg Instituut Amsterdam, Master of the Rietveld Academie.<br /> &lt;/small&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Introduction-Figuring-Things&diff=4543 2022-11-19T08:05:39Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Workshop_scripts_in_practice layout-1&quot; id=&quot;Workshop_scripts_in_practice&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<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. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/7/74/2263639.pdf]]<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 /> [[File:Slide-Hanna-Podig-2.png|thumb|In her talk &quot;The Workshop as an Emancipatory Mediation Method of Resistant Practices&quot; 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 /> [[File:JohnCageWaterWalk.png|thumb|&quot;A section of Water Walk,&quot; score by John Cage]]<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 /> [[File:RobertFilliou.jpg|thumb|Page from &quot;Teaching and Learning as Performings Arts&quot; in 1979. Find a downloadable pdf of the publication on: https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-2.jpg|thumb|Fluxus artist Robert Filliou published the book &quot;Teaching and Learning as Performings Arts&quot; in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-3.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-4.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-5.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-6.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-7.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-8.jpg|thumb]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg|thumb|Page from: 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.]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-1.jpg|thumb|The workshop and conceptual framework of 'open-source parenting' was developed as part of 'Solarpunk—Who owns the Web?'—a collaborative exploration resulting in a series of intergenerational online and offline workshop formats. Partner organizations were Hackers &amp; Designers in Amsterdam (The Netherlands), Mz* Baltazar’s Laboratory in Vienna (Austria) and Prototype PGH in Pittsburgh (USA). Along with the development of a series of solar punk workshops, the aim was to engage in an active peer exchange and support each other in the process of developing context-sensitive learning formats.]]<br /> <br /> [[File:Prototype-slides-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-3.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-4.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-5.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-6.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-7.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-8.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-1.jpg|thumb|Pages from Bloomcraft Agreements, Code of conduct of the Bloomcraft Building, which was founded in 2015 and is where Prototype Pittsburgh is located. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/0/00/BloomcraftAgreementswithallAttachments.pdf]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-2.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-3.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-4.jpg|thumb|]]<br /> <br /> [[File:CatalogOFFDigitalDiscomfort-scan-1.jpg|thumb|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> <br /> [[File:Pages from obfuscation-website-fallback.jpg|thumb|Website fallback pdf: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/5/58/Obfuscation-website-fallback.pdf]]<br /> <br /> [[File:Page-post-script-print-10-12-21.jpg|thumb|Complete post script &quot;The 3rd Workshop on Obfuscation&quot;, Post-Script workflow and lay-out by Cristina Cochior and Manetta Berends: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/8f/Post-script-print-10-12-21.pdf]]<br /> <br /> [[File:Page-3rd_WO_BB_Bmanual.jpg|thumb|Big Blue Button How-to: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/80/3rd_WO_BB_Bmanual.pdf]]<br /> <br /> [[File:4-Consensusdiagram-web.jpg|thumb|A basic diagram for doing consensus]]<br /> <br /> [[File:Consensus1.jpg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> <br /> [[File:Consensus2.jpeg|thumb|]]<br /> <br /> [[File:Consensus3.jpeg|thumb|]]<br /> <br /> [[File:Consensus4.jpeg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page01.jpg|thumb|Cover of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page02.jpg|thumb|Pages of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page03.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page04.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page05.jpg|thumb|]]<br /> <br /> [[File:Flowchart.png|thumb|Flowchart of the discussion process]]<br /> <br /> [[File:paper-prototype.jpg|thumb|Paper prototypes|Prompts: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/3/3e/Paper_Prototyping_%E2%80%93_Feminist_Search_Tool_%282%29.pdf]]<br /> <br /> [[File:Paper-prototype1.jpg|thumb]]<br /> <br /> [[File:Paper-prototype2.jpg|thumb]]<br /> <br /> [[File:Paper-prototype3.jpg|thumb]]<br /> <br /> [[File:Unbound-libraries-reader.jpg|thumb|The “Unbound Libraries” folder arrived in 2020 at the H&amp;D studio in Amsterdam. It was sent to us by Elodie, Martino and An of CAssociation for Arts and Media in Brussels in preparation for a one week work session. The work session “Unbound Libraries” took place online due to the global COVID-19 pandemic. The folder contained preparatory reading materials related to the session. It had a navigation system stapled to its front cover—an overview of the materials and a suggestion on how to approach them. It was not a fixated, bound reader but a loose collection—a repository of materials that can grow and changes over time. More information can be found on https://constantvzw.org/wefts/unboundlibraries_materials_index.en.html and https://feministsearchtools.nl/]]<br /> <br /> [[File:splitscreen.png|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 2.jpg|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 3.jpg|thumb|]]<br /> <br /> [[File:screenshot-bbb.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:whiteboard.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:1819-1600-max.jpg|thumb|]]<br /> <br /> [[File:BBB-drawing.png|thumb|]]<br /> <br /> [[File:wall-notes.jpg|thumb|]]<br /> <br /> [[File:2231-256.png|thumb|]]<br /> <br /> [[File:diagram.JPG|thumb|]]<br /> <br /> [[File:Screenshot_sexuality.png|thumb|]]<br /> <br /> [[File:Visualzation Sally.jpg|thumb|In this version of Myclines, the text corpus is based on the content from [[#Re-_and_Un-_Defining_Tools]]]]<br /> <br /> [[File:Screenshot 2022-10-18 at 21.05.16.png|thumb|]]<br /> <br /> [[File:Idk-ays-1.jpg|thumb|&quot;I don’t know. Are you sure?&quot; searches for a way of working together that actively engages with friction and appreciates differences instead of seeking the comforts of compromise and middle ground. The collection of fifteen collaborative methods is accompanied by short interviews reflecting on topics such as conflict, sharing skills and resources, and the resilience. A free pdf can be downloaded here: http://miokojima.com/idontknow-areyousure/idk-ays.pdf]]<br /> [[File:Idk-ays-2.jpg|thumb]]<br /> [[File:Idk-ays-5.jpg|thumb]]<br /> [[File:Idontknow-page7.jpg|thumb]]<br /> [[File:Idk-ays-8.jpg|thumb]]<br /> [[File:Idk-ays-9.jpg|thumb]]<br /> [[File:Idontknow-page10.jpg.jpg|thumb]]<br /> [[File:Idk-ays-11.jpg|thumb]]<br /> [[File:Idk-ays-12.jpg|thumb]]<br /> [[File:Idk-ays-13.jpg|thumb]]<br /> [[File:Idk-ays-14.jpg|thumb]]<br /> [[File:Idk-ays-15.jpg|thumb]]<br /> [[File:Idk-ays-17.jpg|thumb]]<br /> <br /> [[File:Scriptgrabriel.jpg|thumb|Channeling performance script, H&amp;D Summer Academy 2021, Gabriel Fontana]]<br /> [[File:Scriptgrabriel-2.jpg|thumb]]<br /> [[File:CharacterSheet_Xylen.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_OneRing.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_Dishonoured.png|thumb|Character card reference]]<br /> [[File:CharacterSheet_D_D.jpg|thumb|Character card reference]]|<br /> [[File:Ethercalc-roleplay-1.png|thumb|Character making in Ethercalc]]<br /> [[File:Ethercalc-roleplay-2.png|thumb|]]<br /> [[File:Ethercalc-roleplay-3.png|thumb|]]<br /> [[File:Ethercalc-roleplay-4.png|thumb|]]<br /> [[File:Ethercalc-roleplay-5.png|thumb|]]<br /> <br /> [[File:Etherpad-roleplay-1.png|thumb|]]<br /> [[File:Etherpad-roleplay-2.png|thumb|]]<br /> [[File:Etherpad-roleplay-3.png|thumb|]]<br /> [[File:Etherpad-roleplay-4.png|thumb|]]<br /> [[File:Etherpad-roleplay-5.png|thumb|]]<br /> [[File:Etherpad-roleplay-6.png|thumb|]]<br /> <br /> [[File:Screenshot 2022-08-24 at 09.44.58.png|thumb]]<br /> [[File:ethercalc-prompt-1.png|thumb]]<br /> [[File:ethercalc-prompt-2.png|thumb]]<br /> [[File:ethercalc-prompt-3.png|thumb]]<br /> [[File:ethercalc-prompt-4.png|thumb]]<br /> [[File:ethercalc-prompt-5.png|thumb]]<br /> [[File:ethercalc-prompt-6.png|thumb]]<br /> <br /> [[File:liquify.png|thumb]]<br /> <br /> [[File:Screenshot_2022-08-24_at_09.47.52.png|thumb]]<br /> [[File:Screenshot 2022-08-24 at 10.55.04.png|thumb]]<br /> [[File:time-table.png|thumb]]<br /> <br /> [[File:Experimene-Lernen-cover.jpg|thumb]]<br /> [[File:Perfect-robbery-Experimente-lernen.jpg|thumb|How-to &quot;The Perfect Robbery&quot; by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Give-and-take-Experimente-lernen.jpg|thumb|How-to &quot;Give and Take&quot; by Social Muscle Club,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Massumo-Experimente-lernen.jpg|thumb|How-to &quot;Conceptual Speed Dating&quot; by Brian Massumi,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen-web.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen2.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> <br /> [[File:Api-photo-archive.jpg|thumb|Page from scanned microfiches, “Api Kartini Djakarta: Jajasan Melati,” 1959-1964, Leiden University Library, Special Collection.]]<br /> [[File:Api-Selected-pages-1.jpg|thumb]]<br /> [[File:Api-Selected-pages-2.jpg|thumb]]<br /> [[File:Api-Selected-pages-10.jpg|thumb]]<br /> <br /> [[File:mud-how-to.jpg|thumb]]<br /> [[File:Mud-drawing3.jpg|thumb]]<br /> [[File:Mud-drawing2.jpg|thumb]]<br /> <br /> [[File:mz-baltazar-coc.png|thumb|<br /> Code of conduct of Mz* Baltazhar's Lab. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. CoC Mz*Baltazar’s Lab https://www.mzbaltazarslaboratory.org/code-of-conduct/]]<br /> <br /> [[File:Measurementbuttonsjuju.jpg|thumb|]]<br /> <br /> [[File:FANFARE beams 2-01.jpg|thumb|class=title_image|Technical drawing of the different components of the fanfare display system]]<br /> <br /> [[File:HD-Species-onesided Page 2.jpg|thumb|Phylomon card deck (HDSA–Amsterdam edition)]]<br /> [[File:HD-Species-onesided Page 3.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 4.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 5.jpg|thumb|]]<br /> [[File:HD-Events-onesided Page 1.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 2.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 3.jpg|thumb]]<br /> [[File:Workshop-GitBook.jpg|thumb|https://thinkcolorful.org/?p=1003]]<br /> <br /> [[File:Frankenstein-1.jpeg|thumb|Publication collectively made by Algolit: Piero Bisello, Sarah Garcin, James Bryan Graves, Anne Laforet, Catherine Lenoble, An Mertens, bots and PJ Machine]]<br /> [[File:Frankenstein-3.jpeg|thumb|]]<br /> [[File:Frankenstein-2.jpeg|thumb|]]<br /> [[File:frankie-2.jpeg|thumb|Documentation of PJ Machine: https://github.com/sarahgarcin/pj-machine-workshop]]<br /> [[File:Manual-photo.jpg|thumb|Documentation and user manual of the workshop &quot;ctrl-c&quot; at HFG Karlsruhe. During the hands-on workshop participants investigated ways to take apart and reassemble remote controllers and other battery powered toys in unusal ways. By saving redundant electronics from becoming e-waste we hacked our way into the mechanics of human computer interaction and user interfaces. At the same time we learned about electronics–all the while critically reflecting on the notion of control. The toy-tools were documented by participants in the form of a user manual that explained and demonstrated the main functionalities]]<br /> [[File:Image-MakeyMakey.jpeg|thumb|See “Interfacial Workout,” Hackers &amp;amp; Designers, October 24, 2019, https://hackersanddesigners.nl/s/Activities/p/Interfacial_Workout [https://github.com/hackersanddesigners/interfacial-workout &amp;quot;Interfacial Workout,&amp;quot; and “Workshop ctrl-c HFG Karlsruhe,” YouTube, May 24, 2018, https://youtu.be/T4YkgIshzVg, and “Workshop ctrl-c HFG Karlsruhe – 2,” YouTube, May 24, 2018, https://youtu.be/_rJZJrS40tc]]]<br /> <br /> [[File:Workshop-in-a-bag-3.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-2.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> [[File:Workshop-in-a-bag-1.jpg|thumb]]<br /> <br /> [[File:Workshop-in-a-bag-6.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-5.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-8.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-7.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-14.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-15.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-16.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-17.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-18.png|thumb|Script annotations by Pia Louwerens, Workshop reenactment, Troef Leiden, June 2022]]<br /> [[File:FiguringThingsOut-booklets-19.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-20.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-21.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-22.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-23.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-24.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-30.png|thumb|Workshop anecdotes, written by workshop participants, June 2022]]<br /> [[File:FiguringThingsOut-booklets-smaller-32.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-34.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-33.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-36.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-37.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-38.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-39.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-43.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-44.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-45.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-47.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-48.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-49.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-50.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-51.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-52.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-53.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-54.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-55.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-56.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-57.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-58.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-59.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-60.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-61.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-62.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-63.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-64.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-65.png|thumb|]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-1.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-66.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-67.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-70.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-71.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-72.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:pod-mapping.png|thumb|Pod Mapping: During one of the first work sessions with H&amp;D, Mz* Baltazar and Prototype Pittsburgh, Pernilla proposed to try the method &quot;Pod Mapping&quot; as developed by Mia Mingus for Bay Area Transformative Justice Collective (BATJC), June 2016. Find more information about the method and the worksheet: https://batjc.wordpress.com/resources/pods-and-pod-mapping-worksheet/]]<br /> <br /> [[File:Solar-teams.jpg|thumb|Sketch of workshop setup and game]]<br /> [[File:Solar-teams-html.jpg|thumb]]<br /> [[File:Solar-intro.jpg|thumb]]<br /> [[File:ChattyPub-code of conduct.jpg|thumb|Short version of the H&amp;D Code of Conduct. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct]]<br /> <br /> [[File:freegraphicdesign_professional_poster.jpg|thumb|Presentation Poster designed by Workshop Project]]<br /> <br /> [[File:coverGraph.jpg|thumb|https://criticalcode.recipes/resources from: &quot;Aesthetic Programming. A Handbook of Software Studies&quot; Winnie Soon &amp; Geoff Cox https://aesthetic-programming.net/]]<br /> <br /> [[File:Solderingscriptlale.jpg|thumb]]<br /> [[File:All-components.jpeg|thumb]]<br /> [[File:Radio-pub-0.jpg|thumb|Documentation made in ChattyPub during HDSA2021]]<br /> [[File:Radio-pub-1.jpg|thumb]]<br /> [[File:Radio-pub-2.jpg|thumb]]<br /> [[File:Radio-pub-3.jpg|thumb]]<br /> [[File:Radio-pub-4.jpg|thumb]]<br /> [[File:Radio-pub-5.jpg|thumb]]<br /> [[File:Radio-pub-6.jpg|thumb]]<br /> [[File:Radio-pub-7.jpg|thumb]]<br /> [[File:Radio-pub-8.jpg|thumb]]<br /> [[File:Radio-pub-9.jpg|thumb]]<br /> [[File:Radio-pub-10.jpg|thumb]]<br /> [[File:Radio-pub-11.jpg|thumb]]<br /> [[File:Radio-pub-12.jpg|thumb]]<br /> [[File:Radio-pub-13.jpg|thumb]]<br /> <br /> [[File:paper-radio.jpeg|thumb]]<br /> [[File:paper-radio-3.png|thumb]]<br /> [[File:paper-radio-2.png|thumb]]<br /> <br /> [[File:abake-project-swap.jpg|thumb|class=title_image|åbäke's Workshop assignment &quot;A Case of Mistaken Identity,&quot; 2010]] <br /> [[File:brief_Le-Magnifique_Avventure-horizontal.jpg|thumb|Prompt “Le Magnifique Avventure,” Yaïr Barelli, Maki Suzuki, 2012]] <br /> [[File:Pages-from-Unmaking 5 Anxieties IXDM and RIAT Trans.jpg|thumb|class=title_image|Matthias Tarasiewicz, Sophie-Carolin Wagner, Moritz Greiner-Petter, and Felix Gerloff, ''Unmaking 5: Anxieties'', Proceedings Transmediale (2016), 11, https://www.academia.edu/32875905/Unmaking_5_Anxieties_IXDM_and_RIAT_Transmediale_2016_]]<br /> <br /> [[File:Timetable.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration1.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration2.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Manifestation.jpg|thumb]]<br /> [[File:Manifestation-2.jpg|thumb]]<br /> [[File:Manifestation-3.jpg|thumb]]<br /> [[File:Manifestation-4.jpg|thumb]]<br /> [[File:Manifestation-5.jpg|thumb]]<br /> [[File:Tutorial-0.jpg|thumb]]<br /> [[File:Tutorial-1.jpg|thumb]]<br /> [[File:Tutorial-2.jpg|thumb]]<br /> [[File:Tutorial-3.jpg|thumb]]<br /> [[File:Tutorial-4.jpg|thumb]]<br /> [[File:Tutorial-5.jpg|thumb]]<br /> <br /> &lt;/div&gt;<br /> <br /> == First, Then… Repeat. ==<br /> === Workshop scripts in practice ===<br /> &lt;span class=&quot;author&quot;&gt;Hackers &amp; Designers (ed. Anja Groten)&lt;/span&gt;<br /> ==== Introduction ====<br /> &lt;blockquote&gt;<br /> Compress your files. Pick a story. Form a circle. Find yourself a spot on the spreadsheet. Write an anecdote. Run the script. Download the zip. Continue the thread. Install the package. Go on a stroll. Follow each other. Slowly. Like a worm. Rename the repository. Return. Close your eyes. Take turns. Repeat. Come prepared. Nothing to prepare. No prior knowledge required. Be kind. Don't assume. Scoop the mud. Pick a time. Wash your hands. Watch. Swap. Strip the wires. Connect. Take your time. Rearrange. Share the link. Go to line 42. Make a copy. Be patient. <br /> &lt;/blockquote&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> This publication draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers &amp; Designers (H&amp;D).&lt;ref&gt; H&amp;D started as a workshop-based meetup series in Amsterdam in 2013. Since then, we have been organizing workshops—sometimes self-organized, sometimes by invitation. H&amp;D workshops are informal and usually follow a hands-on and practical approach. Attendees mostly work at the intersection of technology, design, art, and education. Alongside organizing workshops, H&amp;D produce online and offline publications, and build open-source tools and platforms.&lt;/ref&gt; H&amp;D has been organizing workshops since 2013, and along the way has established social-technical affinities that are loose and stable, temporary and ongoing. We met and befriended many practitioners and sister organizations since, and got acquainted with manifold, peculiar pedagogical formats, and experimental approaches to working, learning, and being together. This publication 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 /> Situated somewhere between documentation and a call for action, the workshop scripts presented here 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 this 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 /> Documentation is rare, always incomplete, and it is therefore difficult to reconstruct what actually happens during such temporary collective learning communities. This is a challenge that art historian Heike Roms addresses in the conversation about [[#Workshop_Histories_and_Practices|workshop histories and practices]], which offers a wider historical scope for some of the questions addressed in this publication. In her work, Roms is interested in the history of artist initiatives that reformed art education through self-organized educational experiments in the 1960s and ‘70s in the UK, when artists and educators began to organize study-groups for teachers and students in their private homes. Such evening classes were structured around exercises, and became a kind of parallel institution. Roms suggests this was an attempt to create an equal status between the participants. Roms also points out that conducting research into such initiatives is difficult as usually they were not well documented. The emphasis of such practices was on the momentary collective experience, and not so much on what was being produced at the end, though often there were occasions where work was publicly shared. With some luck, there might be some leftover notes or printed materials, such as announcements, flyers, posters, and pamphlets that hint at the character and content of the activity. But few notes remain from the exercises. On occasion Roms found a prompt, a class outline, or a score. However, the ways in which such prompts were perceived, enacted, and iterated on is difficult to reconstruct. <br /> <br /> This publication addresses this challenge by drawing together workshop-based practices as a form of inquiry and by paying attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” This 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 /> Moving through manifold contexts—from institutional to grassroots informal—H&amp;D as a collective is constantly in the making. Along the way, we are developing “terms of transition”&lt;ref&gt; Lauren Berlant, “The commons: Infrastructures for troubling times,” Environment and Planning D: Society and Space 34, no. 3 (2016): 393–419.&lt;/ref&gt;—socio-technical conducts that help us to navigate and “stay in touch” in uncertain times. Workshop scripts are traces of such an attempt. They are ephemeral documents that may be written by hand or take shape in open-source spreadsheets and notepads, Git repositories, Wikis, and mailing lists. These documents are brought into conversation and circulation and as such reveal something about the ways collective practices weave together a range of places, legacies, objects, and people across practices and disciplines, timelines and geographies. They are pragmatic as well as imaginative, capturing approaches, techniques, and atmospheres that evolve from within specific communities and practices, while holding together the chaosmos of collective self-organization. <br /> <br /> For instance, the workshop script “[[#ChattyPub|ChattyPub]],” gives instructions on how to “run” ChattyPub as a workshop and as a platform for discussion and as a publishing tool that explores a decentralized process of designing a publication and as an organizational open-source collaboration software. The script does not solely document an instantaneous workshop situation but rather explores the intersections between workshop/tool/platform/documentation/distribution. The script is pragmatic and invites others to take it on and run with it, while accounting for its entanglements within a specific socio-technical context. <br /> <br /> As situation-specific and context-sensitive artifacts, workshop scripts take manifold shapes and roles in this publication. Some derived from the immediate or wider context of H&amp;D and its members, some are historical examples, and some are works of fiction. They are accompanied by—or enmeshed in—anecdotes, essays, graphic novels, speculative how-tos, and reflexive conversations that both activate and situate them within the respective communities and practices. This eclectic collection of workshop scripts reflects the continued effort of building collective ties through documentation, the practice of sharing with each other, and paying attention to the details. You won’t find a precise definition of what a workshop script is. Instead you will encounter different ways that workshop scripts are understood, materialized, and put into practice across various contexts. A workshop script may be concise or expansive; it may include instructions and install manuals, code snippets, timetables, and readmes. It may also include context-specific, personal and narrative aspects. <br /> <br /> This publication attempts to approach these scripts and the practices they involve not as products of linear or reproducible processes but as resulting from and implied in particular socio-economic, socio-technical conditions. As such, the publication resists a generalized approach to the reproduction of these scripts. When possible, the initial appearance of the scripts, their format, and layout are left intact, forgoing the impression of a blueprint. Thus, the contributions may require some commitment, some attunement, and “getting into.”<br /> <br /> The idea for publishing these situated documents and their stories derived from both the frustration and joy of working and being together while negotiating unstable times and conditions, and paying critical attention to the fleeting nature of formats of encounter, as well as the continuous effort of staying in touch with those who we encounter. The scripts are never finished, they always require more work. In some ways this publication can be considered a scriptothek—a script collection that continues collecting. The script + othek contains bibliotheek. In the German and Dutch languages, the ''Bibliothek/bibliotheek'' is a place of careful collecting, deciphering, making available, and preserving the documents it holds and handles. Often, it is through the work and personal investment of a ''Bibliothekar*in'' that such a place and the documents it holds are activated and brought into circulation. <br /> <br /> My approach as an editor is inspired by that of the Bibliothekar*in. Similarly, it is also through personal and to some extent subjective affinities that I collect, decipher, preserve, and circulate the stories intertwined with the documents this Scriptothek holds. It is rooted in—and energized by—a sort of distributed locality. For instance the workshop script “[[#A_case_of_mistaken_identity|A Case of Mistaken Identity]]” by the graphic design collective Åbäke has been sitting in a pile of pedagogical documents since I received it as a workshop participant in 2010. It has been activated throughout the years, in implicit and explicit ways, and informed my personal appreciation for collective work in and outside art and design education. As you will read in the email conversation with Åbäke, my request to republish the document in this context unraveled an array of exchanges, tasks, and prompts. <br /> <br /> Thus, besides representing or giving visibility to specific documents and practices, publishing this eclectic collection in and of itself became a generative, ongoing, and to some extent uncontrollable collective praxis. The scripts included in this collection are time stamped. They had (or will have) a moment, a place, and a people that activate them. Simultaneously, by entering this collection they also create new correlations and future outlooks. The featured documents and practices are iterative and ongoing yet not “off-the shelf,” not to be executed and re-used in any context; they each come with their own terms of transition.<br /> <br /> Each contribution negotiated specific terms in order to enter this book—terms of activation, contextualization, adjustment, reconsideration, be it through specific licenses that were added or even by being taken out of the public domain entirely. For instance, I invited the makers of the Not For ANY licensing toolkit to contribute some of their exercises to this publication. The Not For ANY toolkit invited “collective engagement with open licenses from a (techno)feminist perspective in a playful and embodied way [...]” and included “a series of exercises to do this with.” And yet my invitation prompted the makers to take the toolkit offline. Instead, the initial page now serves as a redirect to other groups and practices who have been more intensively continuing and complicating the conversation around open licensing. Thus the editorial process set into motion new considerations about the conditions for further sharing (or not).&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Clustering ====<br /> <br /> To assist the reader, the contributions are 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 /> The cluster '''Setting Conditions''' pays attention to the specificity of self-organized collective learning environments, their site and context specific vocabularies, and social-technical conduct. The aforementioned [[#Workshop_Histories_and_Practices|conversation between Anja Groten and Heike Roms]] sketches a larger (historical) context and sets the scene for the contributions that follow. The contribution “[[#Open-source_Parenting|Open-Source Parenting]]” by Naomi Walker and Erin Gatz of Prototype Pittsburgh, takes a “first things first” approach and attends to the conditions that need to be in place before being able to create or engage in any form of learning community. In their conversation, Erin and Naomi reflect on how Black women in Pittsburgh are creating a better future for themselves and how allies can support them in this work. The “[[#Platframe_Postscript|Platframe Postscript]]” compiled by Anja Groten and Karl Moubarak reflects on the collective process of building an online workshop environment that converges various tools and practices in a manner that sustains their “contours.” Throughout the process of imagining, building, and activating this digital infrastructure the edgy term “platframe” reminded the collaborators that this online environment they are building together consists of many parts, which do not necessarily blend together nor are they experienced as seamless. <br /> Angela Jerardi discusses [[#On_consensus,_in_two_parts|consensus-decision making]] models and practices, contextualizes them historically and in relation to contemporary activist communities. The project “[[#WINWIN|WIN WIN]]” by James Bryan Graves and Nienke Huitenga-Broeren concretely and imaginatively explores conditions in which less polarized online debate is possible by proposing a consensus-based algorithm that mediates controversial discussion and collective decision making. <br /> In “[[#Re-,_Un-,_Defining_Tools|Re-, and Undefinining Tools]],” the Feminist Search Tools (FST) workgroup reflects on the slow collective process of building, narrating, and testing an ongoing and evolving library search tool through various workshops, and meetups in various contexts and constellations. This non-conclusive process creates a condition in which various context-specific definitions of tools can be expressed, as well as criteria for the usefulness or usability of such tools. In the following contribution, Qianxun Chen sets new conditions for the FST conversation. The generative textual system “[[#Mycelines:_A_Sympoetic_Imagination|Mycelines]]” brings to the fore recurring terminology and formulations that evolved from this collective reflection on a tool-building process. In “[[#fileSHA_as_protocol|fileSHA as a Protocol]]” André Fincato and Karl Moubarak set the conditions for an asynchronous game by repurposing mailing list software. <br /> <br /> Within the cluster '''Prompts''' inhabit concise propositions and calls for action. Prompts can be playful provocations, invitations to reconsider, to change direction; a proposal to approach something familiar differently. The contribution “[[#Across_Distance_and_Difference|Across Distance and Difference]]” takes into consideration the changing economic and material realities of Mio Koijma and Hanna Müller, who formulate small assignments for each other as an attempt to structure and sustain their collaboration in times and conditions that seem to work against their efforts. Sandy Richter reflects on her [[#Channeling_Listeners|experience of participating in a workshop]] during the H&amp;D Summer Academy (HDSA) 2021, during which it was not immediately evident what the prompt was, who the host was, and who was the participant, or observer/listener. Through her reflection, the prompt of the workshop host Gabriel Fontana, is slowly unraveling. <br /> <br /> The prompts of the “[[#Reading_Food|Relearning Food]]” script challenge participants to pay attention to the routes our produce takes to reach supermarkets and eventually our plates. Their prompt is to reconsider grocery habits according to our geographies and localities. In her essay “[[#Untitling|Untitling]]”, Siwar Kraytem substitutes short anecdotes on the subject and practice of ''naming'' with prompts to trigger a discussion on the politics of naming. <br /> <br /> The prompts of the “[[#Spreadsheet_Routines|Spreadsheet Routines]]” by Anja Groten and Karl Moubarak as well as the “[[#Roleplaying_in_Etherpad|Etherpad roleplay]]” by Juliette Lizotte both utilize playful open-source collaborative writing and editing tools, which serve as workshop sites, which weave together prompt, method, and execution into an evolving collective techno-social narrative. Susan Ploets' LARP (Live Action Roleplay) script, “[[#Skinship|Skinship]],” prompts participants to explore the condition of being a collective body that inhabits, shapes and is shaped by an environment through sensory information. <br /> <br /> The contributions collected within the cluster '''How-to''' explore the tension between the pragmatism of workshop scripts on the one hand, and the imaginative, fictional aspects at work in such documents on the other. The contribution by Julia Bee and Gerko Egert offers a generous and comprehensive backdrop to the format and role of the how-to as it is explored in art, art education, and activism. They draw on several concrete examples of [[#Learning_to_Experiment,_Sharing_Techniques|how-tos]] such as “The perfect robbery” by Juli Reinartz and Tea Tupajic, “Give and Take” by the Social Muscle Club, “Conceptual Speed Dating” by Brian Massumi, and “Bodystrike” by the Feminist Health Care Research Group. These prompts derive from a compendium of how-tos, the publication Experimente Lernen, Techniken Tauschen edited by Julia Bee and Gerko Egert, and the accompanying platform Nocturne. According to Julia and Gerko, “the logic of speculative pragmatism allows us to think of techniques not as something one needs to earn, or learn to master, but as a way to put into practice speculation in the midst of an actual situation.”<br /> <br /> Similarly, contributions such as Mz* Baltazar's “[[#Mud_Batteries|Mud-batteries]]” and Juliette Lizotte’s “[[#The_Button_Saga|The Button Saga]]” are also rooted in actual situations, imbuing their reflexive stories with practical instruction. Juliette Lizotte recounts the eventful story of creating a seemingly straightforward interactive installation. The saga includes misunderstandings, pitfalls, and detours of working collaboratively, and negotiating diverging expectations and techno-social dependencies. Stefanie Wuschitz's graphic novel tells the history of the magazine [[#Gerwani_and_Api_Kartini._Indonesian_Womens_Movement|''Api Kartini'']] that evolved from the Indonesian Women's movement GERWANI. The Api Kartini zines focussed on publishing and disseminating practical knowledge for Indonesian women in the 1950s and ‘60s around health, repair, fashion, self-defense, and negotiating better work conditions, but also contain elements of storytelling and poetry, and imagine alternative futures for women in Indonesia at that time. <br /> In “[[#Display(ing)|Display(ing)]]” the fanfare collective discusses the way a workshop script can be induced in an object. Through its material affordances, the modular display system designed by Freja Kir and Lotte van de Hoef carries its own script and has been enmeshed in the ongoing and morphing collective practice of fanfare, who have been traveling with the display since 2014.<br /> <br /> The scripts and accompanying reflections collected in the cluster '''Distributed Curricula''' address aspects of time and duration, be it through timed exercises, through expressing a certain intentionality for continuation and longer-term engagement, or by paying attention to and taking as a starting point what is already there, the prevailing collective condition. Giselle Jhunjhnuwala reflects on the [[#Cooperative_gaming|workshop ''Phylomon'']] that catered to making and playing a cooperative game informed by local ecosystems. It addresses questions of longevity through the cooperative game mechanisms as well as the subject of building sustainable collective ecosystems, and durable ways of co-existing on planet Earth. The conversations “[[#Interfacial-Workouts|Interfacial Workhout]]” with designer, coder, and cook Sarah Garcin takes as a starting point one particular workshop instance and its residual effects within manifold workshop situations that followed. The text and accompanying scripts in [[#Scripting_Workshops|“Scripting Workshops”]] further contextualize the notion of the “workshop script” in the context of the collective practice of H&amp;D and reflect on our long-term commitment to organizing short-term learning situations.<br /> <br /> The contribution “[[#Am_I_a_hacker_now?|Am I a hacker now?]]” by Loes Bogers and Pernilla Manjula Philip about their intergenerational ''Solarpunk'' workshop reflects on an ongoing exchange and multi-local process of developing workshop scripts in collaboration with two sister organizations Mz* Balthazar's lab and Prototype Pittsburgh. While departing from the shared goal of developing intergenerational learning formats about and around sustainable technologies, the evolving workshop scripts took shape and were reshaped according to their respective local communities. <br /> <br /> The publishing tool “ChattyPub” evolved from and fed back into various workshop situations, of which the first one was hosted by Xin Xin and Lark VCR at the HDSA. The goal of the workshop, designing and building experimental chatrooms, sparked the idea among H&amp;D to develop [[#ChattyPub|''ChattyPub'']]—a platform and tool for co-designing a publication that utilizes a chat environment. In autumn of 2021, H&amp;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, featuring the various chatrooms that were built during their workshop. For this publication we reconnected with XinXin to continue our conversation about their practice as educator, artist, and activist, taking as a starting point the “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” which they recently published together with Katherine Moriwaki. (See cluster 'Active Bibliographies') <br /> <br /> The [[#wiki_reflections|====== wiki reflections ======]] by Yasmin Khan and Jessica Wexler look to the past and toward the future, exploring the ways a janky platform—the ''Workshop Project Wiki'' (WPW) developed by H&amp;D (André Fincato and Anja Groten)—can shape a learning community for design educators. The very condition of the platform and its unfamiliar syntax transformed the intergenerational group of workshop participants into peers. After several iterations of the FREE educators workshop, the Wiki remains the key location for publishing prompts, documenting outcomes, editing a growing glossary, and planning future workshop iterations. <br /> <br /> Contributions gathered under the cluster '''Active Bibliographies''' put forward careful selections of resources, generous catalogs, narrated reference lists, tips and tricks. They are ''active'' bibliographies because they are rooted in a sense of urgency and propose a shift. In “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” Katherine and XinXin generously share their considerations and tactics of exploring their critical coding practices in parallel, local communities—informal educational environments that are multi-generational and non-hierarchical. Drawing on several “recipes” from the “Critical Coding Cookbook” they demonstrate multiple pathways to intersectional computing. Both contributions, “ChattyPub” and “Critical Coding Cookbook,” are exemplary of the inventive ways that collective practices initiate experimental and critical learning environments outside of or in parallel to institutional environments. And furthermore, they show how such conglomerates of critical makers and educators manage to create and sustain networks of like-minded practitioners—for instance through reusing code and methods, riffing off each other, co-organizing workshops, publishing and circulating their methods, and developing tools. <br /> <br /> Petra Eros reflects on her experience of participating in the [[#Did_video_kill_the_radio_(star)?|workshop + Rad I O]] by Mz* Baltazar’s Lab, which was further developed and hosted during the in 2021. She connects her workshop experience and the curiosities it sparked to various other initiatives with a stake in radio-making, and took her contribution as an opportunity to strike up an exchange with Good Times Bad Times community radio, which is published as part of her contribution. The contribution by Åbäke takes as starting point an [[#A_case_of_mistaken_identity|assignment]] of a workshop hosted by Åbäke in 2010. In their email conversation Maki Suzuki and Anja Groten ''re-collect'' their workshop experience and reflect on their evolving pedagogical practices since. <br /> <br /> Loes Bogers curated, edited, and commented on [[#Solarpunk_Postscript|an array of resources]] that take as a starting point the question: How can we resist compliance with the unsustainable status quo of digital computing and electronics? The resources she draws together are accompanied by short personal reviews followed by short prompts that translate some of the concepts proposed into simple, practical exercises. This resourceful and active list evolved along with the Solarpunk workshop development trajectory. <br /> <br /> Lastly, the [[#Workshop_Matters_and_Materials|conversation between Gabriel Fontana and Anja Groten]] took place while sifting through a pile of workshop scripts. Encountering these workshop scripts together and explaining what they meant to unravelled reflection on the various considerations that went into the specific workshops and their scripts, their different moments of activation, as well as their iterations. <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Introduction-Figuring-Things&diff=4542 2022-11-19T08:04:23Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;Workshop_scripts_in_practice layout-1&quot; id=&quot;Workshop_scripts_in_practice&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<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. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/7/74/2263639.pdf]]<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 /> [[File:Slide-Hanna-Podig-2.png|thumb|In her talk &quot;The Workshop as an Emancipatory Mediation Method of Resistant Practices&quot; 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 /> [[File:JohnCageWaterWalk.png|thumb|&quot;A section of Water Walk,&quot; score by John Cage]]<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 /> [[File:RobertFilliou.jpg|thumb|Page from &quot;Teaching and Learning as Performings Arts&quot; in 1979. Find a downloadable pdf of the publication on: https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-2.jpg|thumb|Fluxus artist Robert Filliou published the book &quot;Teaching and Learning as Performings Arts&quot; in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-3.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-4.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-5.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-6.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-7.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-8.jpg|thumb]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg|thumb|Page from: 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.]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-1.jpg|thumb|The workshop and conceptual framework of 'open-source parenting' was developed as part of 'Solarpunk—Who owns the Web?'—a collaborative exploration resulting in a series of intergenerational online and offline workshop formats. Partner organizations were Hackers &amp; Designers in Amsterdam (The Netherlands), Mz* Baltazar’s Laboratory in Vienna (Austria) and Prototype PGH in Pittsburgh (USA). Along with the development of a series of solar punk workshops, the aim was to engage in an active peer exchange and support each other in the process of developing context-sensitive learning formats.]]<br /> <br /> [[File:Prototype-slides-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-3.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-4.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-5.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-6.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-7.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-8.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-1.jpg|thumb|Pages from Bloomcraft Agreements, Code of conduct of the Bloomcraft Building, which was founded in 2015 and is where Prototype Pittsburgh is located. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/0/00/BloomcraftAgreementswithallAttachments.pdf]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-2.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-3.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-4.jpg|thumb|]]<br /> <br /> [[File:CatalogOFFDigitalDiscomfort-scan-1.jpg|thumb|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> <br /> [[File:Pages from obfuscation-website-fallback.jpg|thumb|Website fallback pdf: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/5/58/Obfuscation-website-fallback.pdf]]<br /> <br /> [[File:Page-post-script-print-10-12-21.jpg|thumb|Complete post script &quot;The 3rd Workshop on Obfuscation&quot;, Post-Script workflow and lay-out by Cristina Cochior and Manetta Berends: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/8f/Post-script-print-10-12-21.pdf]]<br /> <br /> [[File:Page-3rd_WO_BB_Bmanual.jpg|thumb|Big Blue Button How-to: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/80/3rd_WO_BB_Bmanual.pdf]]<br /> <br /> [[File:4-Consensusdiagram-web.jpg|thumb|A basic diagram for doing consensus]]<br /> <br /> [[File:Consensus1.jpg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> <br /> [[File:Consensus2.jpeg|thumb|]]<br /> <br /> [[File:Consensus3.jpeg|thumb|]]<br /> <br /> [[File:Consensus4.jpeg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page01.jpg|thumb|Cover of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page02.jpg|thumb|Pages of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page03.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page04.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page05.jpg|thumb|]]<br /> <br /> [[File:Flowchart.png|thumb|Flowchart of the discussion process]]<br /> <br /> [[File:paper-prototype.jpg|thumb|Paper prototypes|Prompts: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/3/3e/Paper_Prototyping_%E2%80%93_Feminist_Search_Tool_%282%29.pdf]]<br /> <br /> [[File:Paper-prototype1.jpg|thumb]]<br /> <br /> [[File:Paper-prototype2.jpg|thumb]]<br /> <br /> [[File:Paper-prototype3.jpg|thumb]]<br /> <br /> [[File:Unbound-libraries-reader.jpg|thumb|The “Unbound Libraries” folder arrived in 2020 at the H&amp;D studio in Amsterdam. It was sent to us by Elodie, Martino and An of CAssociation for Arts and Media in Brussels in preparation for a one week work session. The work session “Unbound Libraries” took place online due to the global COVID-19 pandemic. The folder contained preparatory reading materials related to the session. It had a navigation system stapled to its front cover—an overview of the materials and a suggestion on how to approach them. It was not a fixated, bound reader but a loose collection—a repository of materials that can grow and changes over time. More information can be found on https://constantvzw.org/wefts/unboundlibraries_materials_index.en.html and https://feministsearchtools.nl/]]<br /> <br /> [[File:splitscreen.png|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 2.jpg|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 3.jpg|thumb|]]<br /> <br /> [[File:screenshot-bbb.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:whiteboard.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:1819-1600-max.jpg|thumb|]]<br /> <br /> [[File:BBB-drawing.png|thumb|]]<br /> <br /> [[File:wall-notes.jpg|thumb|]]<br /> <br /> [[File:2231-256.png|thumb|]]<br /> <br /> [[File:diagram.JPG|thumb|]]<br /> <br /> [[File:Screenshot_sexuality.png|thumb|]]<br /> <br /> [[File:Visualzation Sally.jpg|thumb|In this version of Myclines, the text corpus is based on the content from [[#Re-_and_Un-_Defining_Tools]]]]<br /> <br /> [[File:Screenshot 2022-10-18 at 21.05.16.png|thumb|]]<br /> <br /> [[File:Idk-ays-1.jpg|thumb|&quot;I don’t know. Are you sure?&quot; searches for a way of working together that actively engages with friction and appreciates differences instead of seeking the comforts of compromise and middle ground. The collection of fifteen collaborative methods is accompanied by short interviews reflecting on topics such as conflict, sharing skills and resources, and the resilience. A free pdf can be downloaded here: http://miokojima.com/idontknow-areyousure/idk-ays.pdf]]<br /> [[File:Idk-ays-2.jpg|thumb]]<br /> [[File:Idk-ays-5.jpg|thumb]]<br /> [[File:Idontknow-page7.jpg|thumb]]<br /> [[File:Idk-ays-8.jpg|thumb]]<br /> [[File:Idk-ays-9.jpg|thumb]]<br /> [[File:Idontknow-page10.jpg.jpg|thumb]]<br /> [[File:Idk-ays-11.jpg|thumb]]<br /> [[File:Idk-ays-12.jpg|thumb]]<br /> [[File:Idk-ays-13.jpg|thumb]]<br /> [[File:Idk-ays-14.jpg|thumb]]<br /> [[File:Idk-ays-15.jpg|thumb]]<br /> [[File:Idk-ays-17.jpg|thumb]]<br /> <br /> [[File:Scriptgrabriel.jpg|thumb|Channeling performance script, H&amp;D Summer Academy 2021, Gabriel Fontana]]<br /> [[File:Scriptgrabriel-2.jpg|thumb]]<br /> [[File:CharacterSheet_Xylen.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_OneRing.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_Dishonoured.png|thumb|Character card reference]]<br /> [[File:CharacterSheet_D_D.jpg|thumb|Character card reference]]|<br /> [[File:Ethercalc-roleplay-1.png|thumb|Character making in Ethercalc]]<br /> [[File:Ethercalc-roleplay-2.png|thumb|]]<br /> [[File:Ethercalc-roleplay-3.png|thumb|]]<br /> [[File:Ethercalc-roleplay-4.png|thumb|]]<br /> [[File:Ethercalc-roleplay-5.png|thumb|]]<br /> <br /> [[File:Etherpad-roleplay-1.png|thumb|]]<br /> [[File:Etherpad-roleplay-2.png|thumb|]]<br /> [[File:Etherpad-roleplay-3.png|thumb|]]<br /> [[File:Etherpad-roleplay-4.png|thumb|]]<br /> [[File:Etherpad-roleplay-5.png|thumb|]]<br /> [[File:Etherpad-roleplay-6.png|thumb|]]<br /> <br /> [[File:Screenshot 2022-08-24 at 09.44.58.png|thumb]]<br /> [[File:ethercalc-prompt-1.png|thumb]]<br /> [[File:ethercalc-prompt-2.png|thumb]]<br /> [[File:ethercalc-prompt-3.png|thumb]]<br /> [[File:ethercalc-prompt-4.png|thumb]]<br /> [[File:ethercalc-prompt-5.png|thumb]]<br /> [[File:ethercalc-prompt-6.png|thumb]]<br /> <br /> [[File:liquify.png|thumb]]<br /> <br /> [[File:Screenshot_2022-08-24_at_09.47.52.png|thumb]]<br /> [[File:Screenshot 2022-08-24 at 10.55.04.png|thumb]]<br /> [[File:time-table.png|thumb]]<br /> <br /> [[File:Experimene-Lernen-cover.jpg|thumb]]<br /> [[File:Perfect-robbery-Experimente-lernen.jpg|thumb|How-to &quot;The Perfect Robbery&quot; by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Give-and-take-Experimente-lernen.jpg|thumb|How-to &quot;Give and Take&quot; by Social Muscle Club,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Massumo-Experimente-lernen.jpg|thumb|How-to &quot;Conceptual Speed Dating&quot; by Brian Massumi,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen-web.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen2.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> <br /> [[File:Api-photo-archive.jpg|thumb|Page from scanned microfiches, “Api Kartini Djakarta: Jajasan Melati,” 1959-1964, Leiden University Library, Special Collection.]]<br /> [[File:Api-Selected-pages-1.jpg|thumb]]<br /> [[File:Api-Selected-pages-2.jpg|thumb]]<br /> [[File:Api-Selected-pages-10.jpg|thumb]]<br /> <br /> [[File:mud-how-to.jpg|thumb]]<br /> [[File:Mud-drawing3.jpg|thumb]]<br /> [[File:Mud-drawing2.jpg|thumb]]<br /> <br /> [[File:mz-baltazar-coc.png|thumb|<br /> Code of conduct of Mz* Baltazhar's Lab. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. CoC Mz*Baltazar’s Lab https://www.mzbaltazarslaboratory.org/code-of-conduct/]]<br /> <br /> [[File:Measurementbuttonsjuju.jpg|thumb|]]<br /> <br /> [[File:FANFARE beams 2-01.jpg|thumb|class=title_image|Technical drawing of the different components of the fanfare display system]]<br /> <br /> [[File:HD-Species-onesided Page 2.jpg|thumb|Phylomon card deck (HDSA–Amsterdam edition)]]<br /> [[File:HD-Species-onesided Page 3.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 4.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 5.jpg|thumb|]]<br /> [[File:HD-Events-onesided Page 1.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 2.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 3.jpg|thumb]]<br /> [[File:Workshop-GitBook.jpg|thumb|https://thinkcolorful.org/?p=1003]]<br /> <br /> [[File:Frankenstein-1.jpeg|thumb|Publication collectively made by Algolit: Piero Bisello, Sarah Garcin, James Bryan Graves, Anne Laforet, Catherine Lenoble, An Mertens, bots and PJ Machine]]<br /> [[File:Frankenstein-3.jpeg|thumb|]]<br /> [[File:Frankenstein-2.jpeg|thumb|]]<br /> [[File:frankie-2.jpeg|thumb|Documentation of PJ Machine: https://github.com/sarahgarcin/pj-machine-workshop]]<br /> [[File:Manual-photo.jpg|thumb|Documentation and user manual of the workshop &quot;ctrl-c&quot; at HFG Karlsruhe. During the hands-on workshop participants investigated ways to take apart and reassemble remote controllers and other battery powered toys in unusal ways. By saving redundant electronics from becoming e-waste we hacked our way into the mechanics of human computer interaction and user interfaces. At the same time we learned about electronics–all the while critically reflecting on the notion of control. The toy-tools were documented by participants in the form of a user manual that explained and demonstrated the main functionalities]]<br /> [[File:Image-MakeyMakey.jpeg|thumb|See “Interfacial Workout,” Hackers &amp;amp; Designers, October 24, 2019, https://hackersanddesigners.nl/s/Activities/p/Interfacial_Workout [https://github.com/hackersanddesigners/interfacial-workout &amp;quot;Interfacial Workout,&amp;quot; and “Workshop ctrl-c HFG Karlsruhe,” YouTube, May 24, 2018, https://youtu.be/T4YkgIshzVg, and “Workshop ctrl-c HFG Karlsruhe – 2,” YouTube, May 24, 2018, https://youtu.be/_rJZJrS40tc]]]<br /> <br /> [[File:Workshop-in-a-bag-3.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-2.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> [[File:Workshop-in-a-bag-1.jpg|thumb]]<br /> <br /> [[File:Workshop-in-a-bag-6.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-5.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-8.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-7.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-14.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-15.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-16.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-17.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-18.png|thumb|Script annotations by Pia Louwerens, Workshop reenactment, Troef Leiden, June 2022]]<br /> [[File:FiguringThingsOut-booklets-19.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-20.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-21.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-22.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-23.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-24.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-30.png|thumb|Workshop anecdotes, written by workshop participants, June 2022]]<br /> [[File:FiguringThingsOut-booklets-smaller-32.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-34.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-33.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-36.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-37.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-38.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-39.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-43.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-44.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-45.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-47.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-48.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-49.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-50.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-51.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-52.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-53.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-54.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-55.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-56.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-57.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-58.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-59.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-60.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-61.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-62.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-63.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-64.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-65.png|thumb|]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-1.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-66.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-67.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-70.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-71.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-72.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:pod-mapping.png|thumb|Pod Mapping: During one of the first work sessions with H&amp;D, Mz* Baltazar and Prototype Pittsburgh, Pernilla proposed to try the method &quot;Pod Mapping&quot; as developed by Mia Mingus for Bay Area Transformative Justice Collective (BATJC), June 2016. Find more information about the method and the worksheet: https://batjc.wordpress.com/resources/pods-and-pod-mapping-worksheet/]]<br /> <br /> [[File:Solar-teams.jpg|thumb|Sketch of workshop setup and game]]<br /> [[File:Solar-teams-html.jpg|thumb]]<br /> [[File:Solar-intro.jpg|thumb]]<br /> [[File:ChattyPub-code of conduct.jpg|thumb|Short version of the H&amp;D Code of Conduct. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct]]<br /> <br /> [[File:freegraphicdesign_professional_poster.jpg|thumb|Presentation Poster designed by Workshop Project]]<br /> <br /> [[File:coverGraph.jpg|thumb|https://criticalcode.recipes/resources from: &quot;Aesthetic Programming. A Handbook of Software Studies&quot; Winnie Soon &amp; Geoff Cox https://aesthetic-programming.net/]]<br /> <br /> [[File:Solderingscriptlale.jpg|thumb]]<br /> [[File:All-components.jpeg|thumb]]<br /> [[File:Radio-pub-0.jpg|thumb|Documentation made in ChattyPub during HDSA2021]]<br /> [[File:Radio-pub-1.jpg|thumb]]<br /> [[File:Radio-pub-2.jpg|thumb]]<br /> [[File:Radio-pub-3.jpg|thumb]]<br /> [[File:Radio-pub-4.jpg|thumb]]<br /> [[File:Radio-pub-5.jpg|thumb]]<br /> [[File:Radio-pub-6.jpg|thumb]]<br /> [[File:Radio-pub-7.jpg|thumb]]<br /> [[File:Radio-pub-8.jpg|thumb]]<br /> [[File:Radio-pub-9.jpg|thumb]]<br /> [[File:Radio-pub-10.jpg|thumb]]<br /> [[File:Radio-pub-11.jpg|thumb]]<br /> [[File:Radio-pub-12.jpg|thumb]]<br /> [[File:Radio-pub-13.jpg|thumb]]<br /> <br /> [[File:paper-radio.jpeg|thumb]]<br /> [[File:paper-radio-3.png|thumb]]<br /> [[File:paper-radio-2.png|thumb]]<br /> <br /> [[File:abake-project-swap.jpg|thumb|class=title_image|åbäke's Workshop assignment &quot;A Case of Mistaken Identity,&quot; 2010]] <br /> [[File:brief_Le-Magnifique_Avventure-horizontal.jpg|thumb|Prompt “Le Magnifique Avventure,” Yaïr Barelli, Maki Suzuki, 2012]] <br /> [[File:Pages-from-Unmaking 5 Anxieties IXDM and RIAT Trans.jpg|thumb|class=title_image|Matthias Tarasiewicz, Sophie-Carolin Wagner, Moritz Greiner-Petter, and Felix Gerloff, ''Unmaking 5: Anxieties'', Proceedings Transmediale (2016), 11, https://www.academia.edu/32875905/Unmaking_5_Anxieties_IXDM_and_RIAT_Transmediale_2016_]]<br /> <br /> [[File:Timetable.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration1.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration2.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Manifestation.jpg|thumb]]<br /> [[File:Manifestation-2.jpg|thumb]]<br /> [[File:Manifestation-3.jpg|thumb]]<br /> [[File:Manifestation-4.jpg|thumb]]<br /> [[File:Manifestation-5.jpg|thumb]]<br /> [[File:Tutorial-0.jpg|thumb]]<br /> [[File:Tutorial-1.jpg|thumb]]<br /> [[File:Tutorial-2.jpg|thumb]]<br /> [[File:Tutorial-3.jpg|thumb]]<br /> [[File:Tutorial-4.jpg|thumb]]<br /> [[File:Tutorial-5.jpg|thumb]]<br /> <br /> &lt;/div&gt;<br /> <br /> == First, Then… Repeat. ==<br /> === Workshop scripts in practice ===<br /> &lt;span class=&quot;author&quot;&gt;Hackers &amp; Designers (ed. Anja Groten)&lt;/span&gt;<br /> ==== Introduction ====<br /> &lt;blockquote&gt;<br /> Compress your files. Pick a story. Form a circle. Find yourself a spot on the spreadsheet. Write an anecdote. Run the script. Download the zip. Continue the thread. Install the package. Go on a stroll. Follow each other. Slowly. Like a worm. Rename the repository. Return. Close your eyes. Take turns. Repeat. Come prepared. Nothing to prepare. No prior knowledge required. Be kind. Don't assume. Scoop the mud. Pick a time. Wash your hands. Watch. Swap. Strip the wires. Connect. Take your time. Rearrange. Share the link. Go to line 42. Make a copy. Be patient. <br /> &lt;/blockquote&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> This publication draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers &amp; Designers (H&amp;D).&lt;ref&gt; H&amp;D started as a workshop-based meetup series in Amsterdam in 2013. Since then, we have been organizing workshops—sometimes self-organized, sometimes by invitation. H&amp;D workshops are informal and usually follow a hands-on and practical approach. Attendees mostly work at the intersection of technology, design, art, and education. Alongside organizing workshops, H&amp;D produce online and offline publications, and build open-source tools and platforms.&lt;/ref&gt; H&amp;D has been organizing workshops since 2013, and along the way has established social-technical affinities that are loose and stable, temporary and ongoing. We met and befriended many practitioners and sister organizations since, and got acquainted with manifold, peculiar pedagogical formats, and experimental approaches to working, learning, and being together. This publication 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 /> Situated somewhere between documentation and a call for action, the workshop scripts presented here 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 this 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 /> Documentation is rare, always incomplete, and it is therefore difficult to reconstruct what actually happens during such temporary collective learning communities. This is a challenge that art historian Heike Roms addresses in the conversation about [[#Workshop_Histories_and_Practices|workshop histories and practices]], which offers a wider historical scope for some of the questions addressed in this publication. In her work, Roms is interested in the history of artist initiatives that reformed art education through self-organized educational experiments in the 1960s and ‘70s in the UK, when artists and educators began to organize study-groups for teachers and students in their private homes. Such evening classes were structured around exercises, and became a kind of parallel institution. Roms suggests this was an attempt to create an equal status between the participants. Roms also points out that conducting research into such initiatives is difficult as usually they were not well documented. The emphasis of such practices was on the momentary collective experience, and not so much on what was being produced at the end, though often there were occasions where work was publicly shared. With some luck, there might be some leftover notes or printed materials, such as announcements, flyers, posters, and pamphlets that hint at the character and content of the activity. But few notes remain from the exercises. On occasion Roms found a prompt, a class outline, or a score. However, the ways in which such prompts were perceived, enacted, and iterated on is difficult to reconstruct. <br /> <br /> This publication addresses this challenge by drawing together workshop-based practices as a form of inquiry and by paying attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” This 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 /> Moving through manifold contexts—from institutional to grassroots informal—H&amp;D as a collective is constantly in the making. Along the way, we are developing “terms of transition”&lt;ref&gt; Lauren Berlant, “The commons: Infrastructures for troubling times,” Environment and Planning D: Society and Space 34, no. 3 (2016): 393–419.&lt;/ref&gt;—socio-technical conducts that help us to navigate and “stay in touch” in uncertain times. Workshop scripts are traces of such an attempt. They are ephemeral documents that may be written by hand or take shape in open-source spreadsheets and notepads, Git repositories, Wikis, and mailing lists. These documents are brought into conversation and circulation and as such reveal something about the ways collective practices weave together a range of places, legacies, objects, and people across practices and disciplines, timelines and geographies. They are pragmatic as well as imaginative, capturing approaches, techniques, and atmospheres that evolve from within specific communities and practices, while holding together the chaosmos of collective self-organization. <br /> <br /> For instance, the workshop script “[[#ChattyPub|ChattyPub]],” gives instructions on how to “run” ChattyPub as a workshop and as a platform for discussion and as a publishing tool that explores a decentralized process of designing a publication and as an organizational open-source collaboration software. The script does not solely document an instantaneous workshop situation but rather explores the intersections between workshop/tool/platform/documentation/distribution. The script is pragmatic and invites others to take it on and run with it, while accounting for its entanglements within a specific socio-technical context. <br /> <br /> As situation-specific and context-sensitive artifacts, workshop scripts take manifold shapes and roles in this publication. Some derived from the immediate or wider context of H&amp;D and its members, some are historical examples, and some are works of fiction. They are accompanied by—or enmeshed in—anecdotes, essays, graphic novels, speculative how-tos, and reflexive conversations that both activate and situate them within the respective communities and practices. This eclectic collection of workshop scripts reflects the continued effort of building collective ties through documentation, the practice of sharing with each other, and paying attention to the details. You won’t find a precise definition of what a workshop script is. Instead you will encounter different ways that workshop scripts are understood, materialized, and put into practice across various contexts. A workshop script may be concise or expansive; it may include instructions and install manuals, code snippets, timetables, and readmes. It may also include context-specific, personal and narrative aspects. <br /> <br /> This publication attempts to approach these scripts and the practices they involve not as products of linear or reproducible processes but as resulting from and implied in particular socio-economic, socio-technical conditions. As such, the publication resists a generalized approach to the reproduction of these scripts. When possible, the initial appearance of the scripts, their format, and layout are left intact, forgoing the impression of a blueprint. Thus, the contributions may require some commitment, some attunement, and “getting into.”<br /> <br /> The idea for publishing these situated documents and their stories derived from both the frustration and joy of working and being together while negotiating unstable times and conditions, and paying critical attention to the fleeting nature of formats of encounter, as well as the continuous effort of staying in touch with those who we encounter. The scripts are never finished, they always require more work. In some ways this publication can be considered a scriptothek—a script collection that continues collecting. The script + othek contains bibliotheek. In the German and Dutch languages, the ''Bibliothek/bibliotheek'' is a place of careful collecting, deciphering, making available, and preserving the documents it holds and handles. Often, it is through the work and personal investment of a ''Bibliothekar*in'' that such a place and the documents it holds are activated and brought into circulation. <br /> <br /> My approach as an editor is inspired by that of the Bibliothekar*in. Similarly, it is also through personal and to some extent subjective affinities that I collect, decipher, preserve, and circulate the stories intertwined with the documents this Scriptothek holds. It is rooted in—and energized by—a sort of distributed locality. For instance the workshop script “[[#A_case_of_mistaken_identity|A Case of Mistaken Identity]]” by the graphic design collective Åbäke has been sitting in a pile of pedagogical documents since I received it as a workshop participant in 2010. It has been activated throughout the years, in implicit and explicit ways, and informed my personal appreciation for collective work in and outside art and design education. As you will read in the email conversation with Åbäke, my request to republish the document in this context unraveled an array of exchanges, tasks, and prompts. <br /> <br /> Thus, besides representing or giving visibility to specific documents and practices, publishing this eclectic collection in and of itself became a generative, ongoing, and to some extent uncontrollable collective praxis. The scripts included in this collection are time stamped. They had (or will have) a moment, a place, and a people that activate them. Simultaneously, by entering this collection they also create new correlations and future outlooks. The featured documents and practices are iterative and ongoing yet not “off-the shelf,” not to be executed and re-used in any context; they each come with their own terms of transition.<br /> <br /> Each contribution negotiated specific terms in order to enter this book—terms of activation, contextualization, adjustment, reconsideration, be it through specific licenses that were added or even by being taken out of the public domain entirely. For instance, I invited the makers of the Not For ANY licensing toolkit to contribute some of their exercises to this publication. The Not For ANY toolkit invited “collective engagement with open licenses from a (techno)feminist perspective in a playful and embodied way [...]” and included “a series of exercises to do this with.” And yet my invitation prompted the makers to take the toolkit offline. Instead, the initial page now serves as a redirect to other groups and practices who have been more intensively continuing and complicating the conversation around open licensing. Thus the editorial process set into motion new considerations about the conditions for further sharing (or not).&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Clustering ====<br /> <br /> To assist the reader, the contributions are 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 /> The cluster '''Setting Conditions''' pays attention to the specificity of self-organized collective learning environments, their site and context specific vocabularies, and social-technical conduct. The aforementioned [[#Workshop_Histories_and_Practices|conversation between Anja Groten and Heike Roms]] sketches a larger (historical) context and sets the scene for the contributions that follow. The contribution “[[#Open-source_Parenting|Open-Source Parenting]]” by Naomi Walker and Erin Gatz of Prototype Pittsburgh, takes a “first things first” approach and attends to the conditions that need to be in place before being able to create or engage in any form of learning community. In their conversation, Erin and Naomi reflect on how Black women in Pittsburgh are creating a better future for themselves and how allies can support them in this work. The “[[#Platframe_Postscript|Platframe Postscript]]” compiled by Anja Groten and Karl Moubarak reflects on the collective process of building an online workshop environment that converges various tools and practices in a manner that sustains their “contours.” Throughout the process of imagining, building, and activating this digital infrastructure the edgy term “platframe” reminded the collaborators that this online environment they are building together consists of many parts, which do not necessarily blend together nor are they experienced as seamless. <br /> Angela Jerardi discusses [[#On_consensus,_in_two_parts|consensus-decision making]] models and practices, contextualizes them historically and in relation to contemporary activist communities. The project “[[#WINWIN|WIN WIN]]” by James Bryan Graves and Nienke Huitenga-Broeren concretely and imaginatively explores conditions in which less polarized online debate is possible by proposing a consensus-based algorithm that mediates controversial discussion and collective decision making. <br /> In “[[#Re-,_Un-,_Defining_Tools|Re-, and Undefinining Tools]],” the Feminist Search Tools (FST) workgroup reflects on the slow collective process of building, narrating, and testing an ongoing and evolving library search tool through various workshops, and meetups in various contexts and constellations. This non-conclusive process creates a condition in which various context-specific definitions of tools can be expressed, as well as criteria for the usefulness or usability of such tools. In the following contribution, Qianxun Chen sets new conditions for the FST conversation. The generative textual system “[[#Mycelines:_A_Sympoetic_Imagination|Mycelines]]” brings to the fore recurring terminology and formulations that evolved from this collective reflection on a tool-building process. In “[[#fileSHA_as_protocol|fileSHA as a Protocol]]” André Fincato and Karl Moubarak set the conditions for an asynchronous game by repurposing mailing list software. <br /> <br /> Within the cluster '''Prompts''' inhabit concise propositions and calls for action. Prompts can be playful provocations, invitations to reconsider, to change direction; a proposal to approach something familiar differently. The contribution “[[#Across_Distance_and_Difference|Across Distance and Difference]]” takes into consideration the changing economic and material realities of Mio Koijma and Hanna Müller, who formulate small assignments for each other as an attempt to structure and sustain their collaboration in times and conditions that seem to work against their efforts. Sandy Richter reflects on her [[#Channeling_Listeners|experience of participating in a workshop]] during the H&amp;D Summer Academy (HDSA) 2021, during which it was not immediately evident what the prompt was, who the host was, and who was the participant, or observer/listener. Through her reflection, the prompt of the workshop host Gabriel Fontana, is slowly unraveling. <br /> <br /> The prompts of the “[[#Reading_Food|Relearning Food]]” script challenge participants to pay attention to the routes our produce takes to reach supermarkets and eventually our plates. Their prompt is to reconsider grocery habits according to our geographies and localities. In her essay “[[#Untitling|Untitling]]”, Siwar Kraytem substitutes short anecdotes on the subject and practice of ''naming'' with prompts to trigger a discussion on the politics of naming. <br /> <br /> The prompts of the “[[#Spreadsheet_Routines|Spreadsheet Routines]]” by Anja Groten and Karl Moubarak as well as the “[[#Roleplaying_in_Etherpad|Etherpad roleplay]]” by Juliette Lizotte both utilize playful open-source collaborative writing and editing tools, which serve as workshop sites, which weave together prompt, method, and execution into an evolving collective techno-social narrative. Susan Ploets' LARP (Live Action Roleplay) script, “[[#Skinship|Skinship]],” prompts participants to explore the condition of being a collective body that inhabits, shapes and is shaped by an environment through sensory information. <br /> <br /> The contributions collected within the cluster '''How-to''' explore the tension between the pragmatism of workshop scripts on the one hand, and the imaginative, fictional aspects at work in such documents on the other. The contribution by Julia Bee and Gerko Egert offers a generous and comprehensive backdrop to the format and role of the how-to as it is explored in art, art education, and activism. They draw on several concrete examples of [[#Learning_to_Experiment,_Sharing_Techniques|how-tos]] such as “The perfect robbery” by Juli Reinartz and Tea Tupajic, “Give and Take” by the Social Muscle Club, “Conceptual Speed Dating” by Brian Massumi, and “Bodystrike” by the Feminist Health Care Research Group. These prompts derive from a compendium of how-tos, the publication Experimente Lernen, Techniken Tauschen edited by Julia Bee and Gerko Egert, and the accompanying platform Nocturne. According to Julia and Gerko, “the logic of speculative pragmatism allows us to think of techniques not as something one needs to earn, or learn to master, but as a way to put into practice speculation in the midst of an actual situation.”<br /> <br /> Similarly, contributions such as Mz* Baltazar's “[[#Mud_Batteries|Mud-batteries]]” and Juliette Lizotte’s “[[#The_Button_Saga|The Button Saga]]” are also rooted in actual situations, imbuing their reflexive stories with practical instruction. Juliette Lizotte recounts the eventful story of creating a seemingly straightforward interactive installation. The saga includes misunderstandings, pitfalls, and detours of working collaboratively, and negotiating diverging expectations and techno-social dependencies. Stefanie Wuschitz's graphic novel tells the history of the magazine [[#Gerwani_and_Api_Kartini._Indonesian_Womens_Movement|''Api Kartini'']] that evolved from the Indonesian Women's movement GERWANI. The Api Kartini zines focussed on publishing and disseminating practical knowledge for Indonesian women in the 1950s and ‘60s around health, repair, fashion, self-defense, and negotiating better work conditions, but also contain elements of storytelling and poetry, and imagine alternative futures for women in Indonesia at that time. <br /> In “[[#Display(ing)|Display(ing)]]” the fanfare collective discusses the way a workshop script can be induced in an object. Through its material affordances, the modular display system designed by Freja Kir and Lotte van de Hoef carries its own script and has been enmeshed in the ongoing and morphing collective practice of fanfare, who have been traveling with the display since 2014.<br /> <br /> The scripts and accompanying reflections collected in the cluster '''Distributed Curricula''' address aspects of time and duration, be it through timed exercises, through expressing a certain intentionality for continuation and longer-term engagement, or by paying attention to and taking as a starting point what is already there, the prevailing collective condition. Giselle Jhunjhnuwala reflects on the [[#Cooperative_gaming|workshop ''Phylomon'']] that catered to making and playing a cooperative game informed by local ecosystems. It addresses questions of longevity through the cooperative game mechanisms as well as the subject of building sustainable collective ecosystems, and durable ways of co-existing on planet Earth. The conversations “[[#Interfacial-Workouts|Interfacial Workhout]]” with designer, coder, and cook Sarah Garcin takes as a starting point one particular workshop instance and its residual effects within manifold workshop situations that followed. The text and accompanying scripts in [[#Scripting_Workshops|“Scripting Workshops”]] further contextualize the notion of the “workshop script” in the context of the collective practice of H&amp;D and reflect on our long-term commitment to organizing short-term learning situations.<br /> <br /> The contribution “[[#Am_I_a_hacker_now?|Am I a hacker now?]]” by Loes Bogers and Pernilla Manjula Philip about their intergenerational ''Solarpunk'' workshop reflects on an ongoing exchange and multi-local process of developing workshop scripts in collaboration with two sister organizations Mz* Balthazar's lab and Prototype Pittsburgh. While departing from the shared goal of developing intergenerational learning formats about and around sustainable technologies, the evolving workshop scripts took shape and were reshaped according to their respective local communities. <br /> <br /> The publishing tool “ChattyPub” evolved from and fed back into various workshop situations, of which the first one was hosted by Xin Xin and Lark VCR at the HDSA. The goal of the workshop, designing and building experimental chatrooms, sparked the idea among H&amp;D to develop [[#ChattyPub|''ChattyPub'']]—a platform and tool for co-designing a publication that utilizes a chat environment. In autumn of 2021, H&amp;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, featuring the various chatrooms that were built during their workshop. For this publication we reconnected with XinXin to continue our conversation about their practice as educator, artist, and activist, taking as a starting point the “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” which they recently published together with Katherine Moriwaki. (See cluster 'Active Bibliographies') <br /> <br /> The [[#wiki_reflections|====== wiki reflections ======]] by Yasmin Khan and Jessica Wexler look to the past and toward the future, exploring the ways a janky platform—the ''Workshop Project Wiki'' (WPW) developed by H&amp;D (André Fincato and Anja Groten)—can shape a learning community for design educators. The very condition of the platform and its unfamiliar syntax transformed the intergenerational group of workshop participants into peers. After several iterations of the FREE educators workshop, the Wiki remains the key location for publishing prompts, documenting outcomes, editing a growing glossary, and planning future workshop iterations. <br /> <br /> Contributions gathered under the cluster '''Active Bibliographies''' put forward careful selections of resources, generous catalogs, narrated reference lists, tips and tricks. They are ''active'' bibliographies because they are rooted in a sense of urgency and propose a shift. In “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” Katherine and XinXin generously share their considerations and tactics of exploring their critical coding practices in parallel, local communities—informal educational environments that are multi-generational and non-hierarchical. Drawing on several “recipes” from the “Critical Coding Cookbook” they demonstrate multiple pathways to intersectional computing. Both contributions, “ChattyPub” and “Critical Coding Cookbook,” are exemplary of the inventive ways that collective practices initiate experimental and critical learning environments outside of or in parallel to institutional environments. And furthermore, they show how such conglomerates of critical makers and educators manage to create and sustain networks of like-minded practitioners—for instance through reusing code and methods, riffing off each other, co-organizing workshops, publishing and circulating their methods, and developing tools. <br /> <br /> Petra Eros reflects on her experience of participating in the [[#Did_video_kill_the_radio_(star)?|workshop + Rad I O]] by Mz* Baltazar’s Lab, which was further developed and hosted during the in 2021. She connects her workshop experience and the curiosities it sparked to various other initiatives with a stake in radio-making, and took her contribution as an opportunity to strike up an exchange with Good Times Bad Times community radio, which is published as part of her contribution. The contribution by Åbäke takes as starting point an [[#A_case_of_mistaken_identity|assignment]] of a workshop hosted by Åbäke in 2010. In their email conversation Maki Suzuki and Anja Groten ''re-collect'' their workshop experience and reflect on their evolving pedagogical practices since. <br /> <br /> Loes Bogers curated, edited, and commented on [[#Solarpunk_Postscript|an array of resources]] that take as a starting point the question: How can we resist compliance with the unsustainable status quo of digital computing and electronics? The resources she draws together are accompanied by short personal reviews followed by short prompts that translate some of the concepts proposed into simple, practical exercises. This resourceful and active list evolved along with the Solarpunk workshop development trajectory. <br /> <br /> Lastly, the [[#Workshop_Matters_and_Materials|conversation between Gabriel Fontana and Anja Groten]] took place while sifting through a pile of workshop scripts. Encountering these workshop scripts together and explaining what they meant to unravelled reflection on the various considerations that went into the specific workshops and their scripts, their different moments of activation, as well as their iterations. <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Introduction-Figuring-Things&diff=4541 2022-11-19T08:01:19Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Workshop_scripts_in_practice layout-0&quot; id=&quot;Workshop_scripts_in_practice&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<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. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/7/74/2263639.pdf]]<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 /> [[File:Slide-Hanna-Podig-2.png|thumb|In her talk &quot;The Workshop as an Emancipatory Mediation Method of Resistant Practices&quot; 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 /> [[File:JohnCageWaterWalk.png|thumb|&quot;A section of Water Walk,&quot; score by John Cage]]<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 /> [[File:RobertFilliou.jpg|thumb|Page from &quot;Teaching and Learning as Performings Arts&quot; in 1979. Find a downloadable pdf of the publication on: https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-2.jpg|thumb|Fluxus artist Robert Filliou published the book &quot;Teaching and Learning as Performings Arts&quot; in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-3.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-4.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-5.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-6.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-7.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-8.jpg|thumb]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg|thumb|Page from: 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.]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-1.jpg|thumb|The workshop and conceptual framework of 'open-source parenting' was developed as part of 'Solarpunk—Who owns the Web?'—a collaborative exploration resulting in a series of intergenerational online and offline workshop formats. Partner organizations were Hackers &amp; Designers in Amsterdam (The Netherlands), Mz* Baltazar’s Laboratory in Vienna (Austria) and Prototype PGH in Pittsburgh (USA). Along with the development of a series of solar punk workshops, the aim was to engage in an active peer exchange and support each other in the process of developing context-sensitive learning formats.]]<br /> <br /> [[File:Prototype-slides-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-3.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-4.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-5.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-6.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-7.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-8.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-1.jpg|thumb|Pages from Bloomcraft Agreements, Code of conduct of the Bloomcraft Building, which was founded in 2015 and is where Prototype Pittsburgh is located. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/0/00/BloomcraftAgreementswithallAttachments.pdf]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-2.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-3.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-4.jpg|thumb|]]<br /> <br /> [[File:CatalogOFFDigitalDiscomfort-scan-1.jpg|thumb|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> <br /> [[File:Pages from obfuscation-website-fallback.jpg|thumb|Website fallback pdf: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/5/58/Obfuscation-website-fallback.pdf]]<br /> <br /> [[File:Page-post-script-print-10-12-21.jpg|thumb|Complete post script &quot;The 3rd Workshop on Obfuscation&quot;, Post-Script workflow and lay-out by Cristina Cochior and Manetta Berends: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/8f/Post-script-print-10-12-21.pdf]]<br /> <br /> [[File:Page-3rd_WO_BB_Bmanual.jpg|thumb|Big Blue Button How-to: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/80/3rd_WO_BB_Bmanual.pdf]]<br /> <br /> [[File:4-Consensusdiagram-web.jpg|thumb|A basic diagram for doing consensus]]<br /> <br /> [[File:Consensus1.jpg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> <br /> [[File:Consensus2.jpeg|thumb|]]<br /> <br /> [[File:Consensus3.jpeg|thumb|]]<br /> <br /> [[File:Consensus4.jpeg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page01.jpg|thumb|Cover of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page02.jpg|thumb|Pages of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page03.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page04.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page05.jpg|thumb|]]<br /> <br /> [[File:Flowchart.png|thumb|Flowchart of the discussion process]]<br /> <br /> [[File:paper-prototype.jpg|thumb|Paper prototypes|Prompts: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/3/3e/Paper_Prototyping_%E2%80%93_Feminist_Search_Tool_%282%29.pdf]]<br /> <br /> [[File:Paper-prototype1.jpg|thumb]]<br /> <br /> [[File:Paper-prototype2.jpg|thumb]]<br /> <br /> [[File:Paper-prototype3.jpg|thumb]]<br /> <br /> [[File:Unbound-libraries-reader.jpg|thumb|The “Unbound Libraries” folder arrived in 2020 at the H&amp;D studio in Amsterdam. It was sent to us by Elodie, Martino and An of CAssociation for Arts and Media in Brussels in preparation for a one week work session. The work session “Unbound Libraries” took place online due to the global COVID-19 pandemic. The folder contained preparatory reading materials related to the session. It had a navigation system stapled to its front cover—an overview of the materials and a suggestion on how to approach them. It was not a fixated, bound reader but a loose collection—a repository of materials that can grow and changes over time. More information can be found on https://constantvzw.org/wefts/unboundlibraries_materials_index.en.html and https://feministsearchtools.nl/]]<br /> <br /> [[File:splitscreen.png|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 2.jpg|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 3.jpg|thumb|]]<br /> <br /> [[File:screenshot-bbb.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:whiteboard.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:1819-1600-max.jpg|thumb|]]<br /> <br /> [[File:BBB-drawing.png|thumb|]]<br /> <br /> [[File:wall-notes.jpg|thumb|]]<br /> <br /> [[File:2231-256.png|thumb|]]<br /> <br /> [[File:diagram.JPG|thumb|]]<br /> <br /> [[File:Screenshot_sexuality.png|thumb|]]<br /> <br /> [[File:Visualzation Sally.jpg|thumb|In this version of Myclines, the text corpus is based on the content from [[#Re-_and_Un-_Defining_Tools]]]]<br /> <br /> [[File:Screenshot 2022-10-18 at 21.05.16.png|thumb|]]<br /> <br /> [[File:Idk-ays-1.jpg|thumb|&quot;I don’t know. Are you sure?&quot; searches for a way of working together that actively engages with friction and appreciates differences instead of seeking the comforts of compromise and middle ground. The collection of fifteen collaborative methods is accompanied by short interviews reflecting on topics such as conflict, sharing skills and resources, and the resilience. A free pdf can be downloaded here: http://miokojima.com/idontknow-areyousure/idk-ays.pdf]]<br /> [[File:Idk-ays-2.jpg|thumb]]<br /> [[File:Idk-ays-5.jpg|thumb]]<br /> [[File:Idontknow-page7.jpg|thumb]]<br /> [[File:Idk-ays-8.jpg|thumb]]<br /> [[File:Idk-ays-9.jpg|thumb]]<br /> [[File:Idontknow-page10.jpg.jpg|thumb]]<br /> [[File:Idk-ays-11.jpg|thumb]]<br /> [[File:Idk-ays-12.jpg|thumb]]<br /> [[File:Idk-ays-13.jpg|thumb]]<br /> [[File:Idk-ays-14.jpg|thumb]]<br /> [[File:Idk-ays-15.jpg|thumb]]<br /> [[File:Idk-ays-17.jpg|thumb]]<br /> <br /> [[File:Scriptgrabriel.jpg|thumb|Channeling performance script, H&amp;D Summer Academy 2021, Gabriel Fontana]]<br /> [[File:Scriptgrabriel-2.jpg|thumb]]<br /> [[File:CharacterSheet_Xylen.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_OneRing.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_Dishonoured.png|thumb|Character card reference]]<br /> [[File:CharacterSheet_D_D.jpg|thumb|Character card reference]]|<br /> [[File:Ethercalc-roleplay-1.png|thumb|Character making in Ethercalc]]<br /> [[File:Ethercalc-roleplay-2.png|thumb|]]<br /> [[File:Ethercalc-roleplay-3.png|thumb|]]<br /> [[File:Ethercalc-roleplay-4.png|thumb|]]<br /> [[File:Ethercalc-roleplay-5.png|thumb|]]<br /> <br /> [[File:Etherpad-roleplay-1.png|thumb|]]<br /> [[File:Etherpad-roleplay-2.png|thumb|]]<br /> [[File:Etherpad-roleplay-3.png|thumb|]]<br /> [[File:Etherpad-roleplay-4.png|thumb|]]<br /> [[File:Etherpad-roleplay-5.png|thumb|]]<br /> [[File:Etherpad-roleplay-6.png|thumb|]]<br /> <br /> [[File:Screenshot 2022-08-24 at 09.44.58.png|thumb]]<br /> [[File:ethercalc-prompt-1.png|thumb]]<br /> [[File:ethercalc-prompt-2.png|thumb]]<br /> [[File:ethercalc-prompt-3.png|thumb]]<br /> [[File:ethercalc-prompt-4.png|thumb]]<br /> [[File:ethercalc-prompt-5.png|thumb]]<br /> [[File:ethercalc-prompt-6.png|thumb]]<br /> <br /> [[File:liquify.png|thumb]]<br /> <br /> [[File:Screenshot_2022-08-24_at_09.47.52.png|thumb]]<br /> [[File:Screenshot 2022-08-24 at 10.55.04.png|thumb]]<br /> [[File:time-table.png|thumb]]<br /> <br /> [[File:Experimene-Lernen-cover.jpg|thumb]]<br /> [[File:Perfect-robbery-Experimente-lernen.jpg|thumb|How-to &quot;The Perfect Robbery&quot; by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Give-and-take-Experimente-lernen.jpg|thumb|How-to &quot;Give and Take&quot; by Social Muscle Club,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Massumo-Experimente-lernen.jpg|thumb|How-to &quot;Conceptual Speed Dating&quot; by Brian Massumi,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen-web.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen2.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> <br /> [[File:Api-photo-archive.jpg|thumb|Page from scanned microfiches, “Api Kartini Djakarta: Jajasan Melati,” 1959-1964, Leiden University Library, Special Collection.]]<br /> [[File:Api-Selected-pages-1.jpg|thumb]]<br /> [[File:Api-Selected-pages-2.jpg|thumb]]<br /> [[File:Api-Selected-pages-10.jpg|thumb]]<br /> <br /> [[File:mud-how-to.jpg|thumb]]<br /> [[File:Mud-drawing3.jpg|thumb]]<br /> [[File:Mud-drawing2.jpg|thumb]]<br /> <br /> [[File:mz-baltazar-coc.png|thumb|<br /> Code of conduct of Mz* Baltazhar's Lab. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. CoC Mz*Baltazar’s Lab https://www.mzbaltazarslaboratory.org/code-of-conduct/]]<br /> <br /> [[File:Measurementbuttonsjuju.jpg|thumb|]]<br /> <br /> [[File:FANFARE beams 2-01.jpg|thumb|class=title_image|Technical drawing of the different components of the fanfare display system]]<br /> <br /> [[File:HD-Species-onesided Page 2.jpg|thumb|Phylomon card deck (HDSA–Amsterdam edition)]]<br /> [[File:HD-Species-onesided Page 3.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 4.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 5.jpg|thumb|]]<br /> [[File:HD-Events-onesided Page 1.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 2.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 3.jpg|thumb]]<br /> [[File:Workshop-GitBook.jpg|thumb|https://thinkcolorful.org/?p=1003]]<br /> <br /> [[File:Frankenstein-1.jpeg|thumb|Publication collectively made by Algolit: Piero Bisello, Sarah Garcin, James Bryan Graves, Anne Laforet, Catherine Lenoble, An Mertens, bots and PJ Machine]]<br /> [[File:Frankenstein-3.jpeg|thumb|]]<br /> [[File:Frankenstein-2.jpeg|thumb|]]<br /> [[File:frankie-2.jpeg|thumb|Documentation of PJ Machine: https://github.com/sarahgarcin/pj-machine-workshop]]<br /> [[File:Manual-photo.jpg|thumb|Documentation and user manual of the workshop &quot;ctrl-c&quot; at HFG Karlsruhe. During the hands-on workshop participants investigated ways to take apart and reassemble remote controllers and other battery powered toys in unusal ways. By saving redundant electronics from becoming e-waste we hacked our way into the mechanics of human computer interaction and user interfaces. At the same time we learned about electronics–all the while critically reflecting on the notion of control. The toy-tools were documented by participants in the form of a user manual that explained and demonstrated the main functionalities]]<br /> [[File:Image-MakeyMakey.jpeg|thumb|See “Interfacial Workout,” Hackers &amp;amp; Designers, October 24, 2019, https://hackersanddesigners.nl/s/Activities/p/Interfacial_Workout [https://github.com/hackersanddesigners/interfacial-workout &amp;quot;Interfacial Workout,&amp;quot; and “Workshop ctrl-c HFG Karlsruhe,” YouTube, May 24, 2018, https://youtu.be/T4YkgIshzVg, and “Workshop ctrl-c HFG Karlsruhe – 2,” YouTube, May 24, 2018, https://youtu.be/_rJZJrS40tc]]]<br /> <br /> [[File:Workshop-in-a-bag-3.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-2.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> [[File:Workshop-in-a-bag-1.jpg|thumb]]<br /> <br /> [[File:Workshop-in-a-bag-6.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-5.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-8.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-7.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-14.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-15.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-16.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-17.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-18.png|thumb|Script annotations by Pia Louwerens, Workshop reenactment, Troef Leiden, June 2022]]<br /> [[File:FiguringThingsOut-booklets-19.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-20.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-21.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-22.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-23.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-24.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-30.png|thumb|Workshop anecdotes, written by workshop participants, June 2022]]<br /> [[File:FiguringThingsOut-booklets-smaller-32.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-34.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-33.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-36.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-37.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-38.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-39.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-43.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-44.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-45.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-47.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-48.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-49.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-50.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-51.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-52.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-53.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-54.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-55.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-56.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-57.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-58.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-59.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-60.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-61.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-62.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-63.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-64.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-65.png|thumb|]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-1.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-66.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-67.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-70.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-71.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-72.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:pod-mapping.png|thumb|Pod Mapping: During one of the first work sessions with H&amp;D, Mz* Baltazar and Prototype Pittsburgh, Pernilla proposed to try the method &quot;Pod Mapping&quot; as developed by Mia Mingus for Bay Area Transformative Justice Collective (BATJC), June 2016. Find more information about the method and the worksheet: https://batjc.wordpress.com/resources/pods-and-pod-mapping-worksheet/]]<br /> <br /> [[File:Solar-teams.jpg|thumb|Sketch of workshop setup and game]]<br /> [[File:Solar-teams-html.jpg|thumb]]<br /> [[File:Solar-intro.jpg|thumb]]<br /> [[File:ChattyPub-code of conduct.jpg|thumb|Short version of the H&amp;D Code of Conduct. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct]]<br /> <br /> [[File:freegraphicdesign_professional_poster.jpg|thumb|Presentation Poster designed by Workshop Project]]<br /> <br /> [[File:coverGraph.jpg|thumb|https://criticalcode.recipes/resources from: &quot;Aesthetic Programming. A Handbook of Software Studies&quot; Winnie Soon &amp; Geoff Cox https://aesthetic-programming.net/]]<br /> <br /> [[File:Solderingscriptlale.jpg|thumb]]<br /> [[File:All-components.jpeg|thumb]]<br /> [[File:Radio-pub-0.jpg|thumb|Documentation made in ChattyPub during HDSA2021]]<br /> [[File:Radio-pub-1.jpg|thumb]]<br /> [[File:Radio-pub-2.jpg|thumb]]<br /> [[File:Radio-pub-3.jpg|thumb]]<br /> [[File:Radio-pub-4.jpg|thumb]]<br /> [[File:Radio-pub-5.jpg|thumb]]<br /> [[File:Radio-pub-6.jpg|thumb]]<br /> [[File:Radio-pub-7.jpg|thumb]]<br /> [[File:Radio-pub-8.jpg|thumb]]<br /> [[File:Radio-pub-9.jpg|thumb]]<br /> [[File:Radio-pub-10.jpg|thumb]]<br /> [[File:Radio-pub-11.jpg|thumb]]<br /> [[File:Radio-pub-12.jpg|thumb]]<br /> [[File:Radio-pub-13.jpg|thumb]]<br /> <br /> [[File:paper-radio.jpeg|thumb]]<br /> [[File:paper-radio-3.png|thumb]]<br /> [[File:paper-radio-2.png|thumb]]<br /> <br /> [[File:abake-project-swap.jpg|thumb|class=title_image|åbäke's Workshop assignment &quot;A Case of Mistaken Identity,&quot; 2010]] <br /> [[File:brief_Le-Magnifique_Avventure-horizontal.jpg|thumb|Prompt “Le Magnifique Avventure,” Yaïr Barelli, Maki Suzuki, 2012]] <br /> [[File:Pages-from-Unmaking 5 Anxieties IXDM and RIAT Trans.jpg|thumb|class=title_image|Matthias Tarasiewicz, Sophie-Carolin Wagner, Moritz Greiner-Petter, and Felix Gerloff, ''Unmaking 5: Anxieties'', Proceedings Transmediale (2016), 11, https://www.academia.edu/32875905/Unmaking_5_Anxieties_IXDM_and_RIAT_Transmediale_2016_]]<br /> <br /> [[File:Timetable.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration1.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration2.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Manifestation.jpg|thumb]]<br /> [[File:Manifestation-2.jpg|thumb]]<br /> [[File:Manifestation-3.jpg|thumb]]<br /> [[File:Manifestation-4.jpg|thumb]]<br /> [[File:Manifestation-5.jpg|thumb]]<br /> [[File:Tutorial-0.jpg|thumb]]<br /> [[File:Tutorial-1.jpg|thumb]]<br /> [[File:Tutorial-2.jpg|thumb]]<br /> [[File:Tutorial-3.jpg|thumb]]<br /> [[File:Tutorial-4.jpg|thumb]]<br /> [[File:Tutorial-5.jpg|thumb]]<br /> <br /> &lt;/div&gt;<br /> <br /> == First, Then… Repeat. ==<br /> === Workshop scripts in practice ===<br /> &lt;span class=&quot;author&quot;&gt;Hackers &amp; Designers (ed. Anja Groten)&lt;/span&gt;<br /> ==== Introduction ====<br /> &lt;blockquote&gt;<br /> Compress your files. Pick a story. Form a circle. Find yourself a spot on the spreadsheet. Write an anecdote. Run the script. Download the zip. Continue the thread. Install the package. Go on a stroll. Follow each other. Slowly. Like a worm. Rename the repository. Return. Close your eyes. Take turns. Repeat. Come prepared. Nothing to prepare. No prior knowledge required. Be kind. Don't assume. Scoop the mud. Pick a time. Wash your hands. Watch. Swap. Strip the wires. Connect. Take your time. Rearrange. Share the link. Go to line 42. Make a copy. Be patient. <br /> &lt;/blockquote&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> This publication draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers &amp; Designers (H&amp;D).&lt;ref&gt; H&amp;D started as a workshop-based meetup series in Amsterdam in 2013. Since then, we have been organizing workshops—sometimes self-organized, sometimes by invitation. H&amp;D workshops are informal and usually follow a hands-on and practical approach. Attendees mostly work at the intersection of technology, design, art, and education. Alongside organizing workshops, H&amp;D produce online and offline publications, and build open-source tools and platforms.&lt;/ref&gt; H&amp;D has been organizing workshops since 2013, and along the way has established social-technical affinities that are loose and stable, temporary and ongoing. We met and befriended many practitioners and sister organizations since, and got acquainted with manifold, peculiar pedagogical formats, and experimental approaches to working, learning, and being together. This publication 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 /> Situated somewhere between documentation and a call for action, the workshop scripts presented here 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 this 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 /> Documentation is rare, always incomplete, and it is therefore difficult to reconstruct what actually happens during such temporary collective learning communities. This is a challenge that art historian Heike Roms addresses in the conversation about [[#Workshop_Histories_and_Practices|workshop histories and practices]], which offers a wider historical scope for some of the questions addressed in this publication. In her work, Roms is interested in the history of artist initiatives that reformed art education through self-organized educational experiments in the 1960s and ‘70s in the UK, when artists and educators began to organize study-groups for teachers and students in their private homes. Such evening classes were structured around exercises, and became a kind of parallel institution. Roms suggests this was an attempt to create an equal status between the participants. Roms also points out that conducting research into such initiatives is difficult as usually they were not well documented. The emphasis of such practices was on the momentary collective experience, and not so much on what was being produced at the end, though often there were occasions where work was publicly shared. With some luck, there might be some leftover notes or printed materials, such as announcements, flyers, posters, and pamphlets that hint at the character and content of the activity. But few notes remain from the exercises. On occasion Roms found a prompt, a class outline, or a score. However, the ways in which such prompts were perceived, enacted, and iterated on is difficult to reconstruct. <br /> <br /> This publication addresses this challenge by drawing together workshop-based practices as a form of inquiry and by paying attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” This 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 /> Moving through manifold contexts—from institutional to grassroots informal—H&amp;D as a collective is constantly in the making. Along the way, we are developing “terms of transition”&lt;ref&gt; Lauren Berlant, “The commons: Infrastructures for troubling times,” Environment and Planning D: Society and Space 34, no. 3 (2016): 393–419.&lt;/ref&gt;—socio-technical conducts that help us to navigate and “stay in touch” in uncertain times. Workshop scripts are traces of such an attempt. They are ephemeral documents that may be written by hand or take shape in open-source spreadsheets and notepads, Git repositories, Wikis, and mailing lists. These documents are brought into conversation and circulation and as such reveal something about the ways collective practices weave together a range of places, legacies, objects, and people across practices and disciplines, timelines and geographies. They are pragmatic as well as imaginative, capturing approaches, techniques, and atmospheres that evolve from within specific communities and practices, while holding together the chaosmos of collective self-organization. <br /> <br /> For instance, the workshop script “[[#ChattyPub|ChattyPub]],” gives instructions on how to “run” ChattyPub as a workshop and as a platform for discussion and as a publishing tool that explores a decentralized process of designing a publication and as an organizational open-source collaboration software. The script does not solely document an instantaneous workshop situation but rather explores the intersections between workshop/tool/platform/documentation/distribution. The script is pragmatic and invites others to take it on and run with it, while accounting for its entanglements within a specific socio-technical context. <br /> <br /> As situation-specific and context-sensitive artifacts, workshop scripts take manifold shapes and roles in this publication. Some derived from the immediate or wider context of H&amp;D and its members, some are historical examples, and some are works of fiction. They are accompanied by—or enmeshed in—anecdotes, essays, graphic novels, speculative how-tos, and reflexive conversations that both activate and situate them within the respective communities and practices. This eclectic collection of workshop scripts reflects the continued effort of building collective ties through documentation, the practice of sharing with each other, and paying attention to the details. You won’t find a precise definition of what a workshop script is. Instead you will encounter different ways that workshop scripts are understood, materialized, and put into practice across various contexts. A workshop script may be concise or expansive; it may include instructions and install manuals, code snippets, timetables, and readmes. It may also include context-specific, personal and narrative aspects. <br /> <br /> This publication attempts to approach these scripts and the practices they involve not as products of linear or reproducible processes but as resulting from and implied in particular socio-economic, socio-technical conditions. As such, the publication resists a generalized approach to the reproduction of these scripts. When possible, the initial appearance of the scripts, their format, and layout are left intact, forgoing the impression of a blueprint. Thus, the contributions may require some commitment, some attunement, and “getting into.”<br /> <br /> The idea for publishing these situated documents and their stories derived from both the frustration and joy of working and being together while negotiating unstable times and conditions, and paying critical attention to the fleeting nature of formats of encounter, as well as the continuous effort of staying in touch with those who we encounter. The scripts are never finished, they always require more work. In some ways this publication can be considered a scriptothek—a script collection that continues collecting. The script + othek contains bibliotheek. In the German and Dutch languages, the ''Bibliothek/bibliotheek'' is a place of careful collecting, deciphering, making available, and preserving the documents it holds and handles. Often, it is through the work and personal investment of a ''Bibliothekar*in'' that such a place and the documents it holds are activated and brought into circulation. <br /> <br /> My approach as an editor is inspired by that of the Bibliothekar*in. Similarly, it is also through personal and to some extent subjective affinities that I collect, decipher, preserve, and circulate the stories intertwined with the documents this Scriptothek holds. It is rooted in—and energized by—a sort of distributed locality. For instance the workshop script “[[#A_case_of_mistaken_identity|A Case of Mistaken Identity]]” by the graphic design collective Åbäke has been sitting in a pile of pedagogical documents since I received it as a workshop participant in 2010. It has been activated throughout the years, in implicit and explicit ways, and informed my personal appreciation for collective work in and outside art and design education. As you will read in the email conversation with Åbäke, my request to republish the document in this context unraveled an array of exchanges, tasks, and prompts. <br /> <br /> Thus, besides representing or giving visibility to specific documents and practices, publishing this eclectic collection in and of itself became a generative, ongoing, and to some extent uncontrollable collective praxis. The scripts included in this collection are time stamped. They had (or will have) a moment, a place, and a people that activate them. Simultaneously, by entering this collection they also create new correlations and future outlooks. The featured documents and practices are iterative and ongoing yet not “off-the shelf,” not to be executed and re-used in any context; they each come with their own terms of transition.<br /> <br /> Each contribution negotiated specific terms in order to enter this book—terms of activation, contextualization, adjustment, reconsideration, be it through specific licenses that were added or even by being taken out of the public domain entirely. For instance, I invited the makers of the Not For ANY licensing toolkit to contribute some of their exercises to this publication. The Not For ANY toolkit invited “collective engagement with open licenses from a (techno)feminist perspective in a playful and embodied way [...]” and included “a series of exercises to do this with.” And yet my invitation prompted the makers to take the toolkit offline. Instead, the initial page now serves as a redirect to other groups and practices who have been more intensively continuing and complicating the conversation around open licensing. Thus the editorial process set into motion new considerations about the conditions for further sharing (or not).&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Clustering ====<br /> <br /> To assist the reader, the contributions are 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 /> The cluster '''Setting Conditions''' pays attention to the specificity of self-organized collective learning environments, their site and context specific vocabularies, and social-technical conduct. The aforementioned [[#Workshop_Histories_and_Practices|conversation between Anja Groten and Heike Roms]] sketches a larger (historical) context and sets the scene for the contributions that follow. The contribution “[[#Open-source_Parenting|Open-Source Parenting]]” by Naomi Walker and Erin Gatz of Prototype Pittsburgh, takes a “first things first” approach and attends to the conditions that need to be in place before being able to create or engage in any form of learning community. In their conversation, Erin and Naomi reflect on how Black women in Pittsburgh are creating a better future for themselves and how allies can support them in this work. The “[[#Platframe_Postscript|Platframe Postscript]]” compiled by Anja Groten and Karl Moubarak reflects on the collective process of building an online workshop environment that converges various tools and practices in a manner that sustains their “contours.” Throughout the process of imagining, building, and activating this digital infrastructure the edgy term “platframe” reminded the collaborators that this online environment they are building together consists of many parts, which do not necessarily blend together nor are they experienced as seamless. <br /> Angela Jerardi discusses [[#On_consensus,_in_two_parts|consensus-decision making]] models and practices, contextualizes them historically and in relation to contemporary activist communities. The project “[[#WINWIN|WIN WIN]]” by James Bryan Graves and Nienke Huitenga-Broeren concretely and imaginatively explores conditions in which less polarized online debate is possible by proposing a consensus-based algorithm that mediates controversial discussion and collective decision making. <br /> In “[[#Re-,_Un-,_Defining_Tools|Re-, and Undefinining Tools]],” the Feminist Search Tools (FST) workgroup reflects on the slow collective process of building, narrating, and testing an ongoing and evolving library search tool through various workshops, and meetups in various contexts and constellations. This non-conclusive process creates a condition in which various context-specific definitions of tools can be expressed, as well as criteria for the usefulness or usability of such tools. In the following contribution, Qianxun Chen sets new conditions for the FST conversation. The generative textual system “[[#Mycelines:_A_Sympoetic_Imagination|Mycelines]]” brings to the fore recurring terminology and formulations that evolved from this collective reflection on a tool-building process. In “[[#fileSHA_as_protocol|fileSHA as a Protocol]]” André Fincato and Karl Moubarak set the conditions for an asynchronous game by repurposing mailing list software. <br /> <br /> Within the cluster '''Prompts''' inhabit concise propositions and calls for action. Prompts can be playful provocations, invitations to reconsider, to change direction; a proposal to approach something familiar differently. The contribution “[[#Across_Distance_and_Difference|Across Distance and Difference]]” takes into consideration the changing economic and material realities of Mio Koijma and Hanna Müller, who formulate small assignments for each other as an attempt to structure and sustain their collaboration in times and conditions that seem to work against their efforts. Sandy Richter reflects on her [[#Channeling_Listeners|experience of participating in a workshop]] during the H&amp;D Summer Academy (HDSA) 2021, during which it was not immediately evident what the prompt was, who the host was, and who was the participant, or observer/listener. Through her reflection, the prompt of the workshop host Gabriel Fontana, is slowly unraveling. <br /> <br /> The prompts of the “[[#Reading_Food|Relearning Food]]” script challenge participants to pay attention to the routes our produce takes to reach supermarkets and eventually our plates. Their prompt is to reconsider grocery habits according to our geographies and localities. In her essay “[[#Untitling|Untitling]]”, Siwar Kraytem substitutes short anecdotes on the subject and practice of ''naming'' with prompts to trigger a discussion on the politics of naming. <br /> <br /> The prompts of the “[[#Spreadsheet_Routines|Spreadsheet Routines]]” by Anja Groten and Karl Moubarak as well as the “[[#Roleplaying_in_Etherpad|Etherpad roleplay]]” by Juliette Lizotte both utilize playful open-source collaborative writing and editing tools, which serve as workshop sites, which weave together prompt, method, and execution into an evolving collective techno-social narrative. Susan Ploets' LARP (Live Action Roleplay) script, “[[#Skinship|Skinship]],” prompts participants to explore the condition of being a collective body that inhabits, shapes and is shaped by an environment through sensory information. <br /> <br /> The contributions collected within the cluster '''How-to''' explore the tension between the pragmatism of workshop scripts on the one hand, and the imaginative, fictional aspects at work in such documents on the other. The contribution by Julia Bee and Gerko Egert offers a generous and comprehensive backdrop to the format and role of the how-to as it is explored in art, art education, and activism. They draw on several concrete examples of [[#Learning_to_Experiment,_Sharing_Techniques|how-tos]] such as “The perfect robbery” by Juli Reinartz and Tea Tupajic, “Give and Take” by the Social Muscle Club, “Conceptual Speed Dating” by Brian Massumi, and “Bodystrike” by the Feminist Health Care Research Group. These prompts derive from a compendium of how-tos, the publication Experimente Lernen, Techniken Tauschen edited by Julia Bee and Gerko Egert, and the accompanying platform Nocturne. According to Julia and Gerko, “the logic of speculative pragmatism allows us to think of techniques not as something one needs to earn, or learn to master, but as a way to put into practice speculation in the midst of an actual situation.”<br /> <br /> Similarly, contributions such as Mz* Baltazar's “[[#Mud_Batteries|Mud-batteries]]” and Juliette Lizotte’s “[[#The_Button_Saga|The Button Saga]]” are also rooted in actual situations, imbuing their reflexive stories with practical instruction. Juliette Lizotte recounts the eventful story of creating a seemingly straightforward interactive installation. The saga includes misunderstandings, pitfalls, and detours of working collaboratively, and negotiating diverging expectations and techno-social dependencies. Stefanie Wuschitz's graphic novel tells the history of the magazine [[#Gerwani_and_Api_Kartini._Indonesian_Womens_Movement|''Api Kartini'']] that evolved from the Indonesian Women's movement GERWANI. The Api Kartini zines focussed on publishing and disseminating practical knowledge for Indonesian women in the 1950s and ‘60s around health, repair, fashion, self-defense, and negotiating better work conditions, but also contain elements of storytelling and poetry, and imagine alternative futures for women in Indonesia at that time. <br /> In “[[#Display(ing)|Display(ing)]]” the fanfare collective discusses the way a workshop script can be induced in an object. Through its material affordances, the modular display system designed by Freja Kir and Lotte van de Hoef carries its own script and has been enmeshed in the ongoing and morphing collective practice of fanfare, who have been traveling with the display since 2014.<br /> <br /> The scripts and accompanying reflections collected in the cluster '''Distributed Curricula''' address aspects of time and duration, be it through timed exercises, through expressing a certain intentionality for continuation and longer-term engagement, or by paying attention to and taking as a starting point what is already there, the prevailing collective condition. Giselle Jhunjhnuwala reflects on the [[#Cooperative_gaming|workshop ''Phylomon'']] that catered to making and playing a cooperative game informed by local ecosystems. It addresses questions of longevity through the cooperative game mechanisms as well as the subject of building sustainable collective ecosystems, and durable ways of co-existing on planet Earth. The conversations “[[#Interfacial-Workouts|Interfacial Workhout]]” with designer, coder, and cook Sarah Garcin takes as a starting point one particular workshop instance and its residual effects within manifold workshop situations that followed. The text and accompanying scripts in [[#Scripting_Workshops|“Scripting Workshops”]] further contextualize the notion of the “workshop script” in the context of the collective practice of H&amp;D and reflect on our long-term commitment to organizing short-term learning situations.<br /> <br /> The contribution “[[#Am_I_a_hacker_now?|Am I a hacker now?]]” by Loes Bogers and Pernilla Manjula Philip about their intergenerational ''Solarpunk'' workshop reflects on an ongoing exchange and multi-local process of developing workshop scripts in collaboration with two sister organizations Mz* Balthazar's lab and Prototype Pittsburgh. While departing from the shared goal of developing intergenerational learning formats about and around sustainable technologies, the evolving workshop scripts took shape and were reshaped according to their respective local communities. <br /> <br /> The publishing tool “ChattyPub” evolved from and fed back into various workshop situations, of which the first one was hosted by Xin Xin and Lark VCR at the HDSA. The goal of the workshop, designing and building experimental chatrooms, sparked the idea among H&amp;D to develop [[#ChattyPub|''ChattyPub'']]—a platform and tool for co-designing a publication that utilizes a chat environment. In autumn of 2021, H&amp;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, featuring the various chatrooms that were built during their workshop. For this publication we reconnected with XinXin to continue our conversation about their practice as educator, artist, and activist, taking as a starting point the “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” which they recently published together with Katherine Moriwaki. (See cluster 'Active Bibliographies') <br /> <br /> The [[#wiki_reflections|====== wiki reflections ======]] by Yasmin Khan and Jessica Wexler look to the past and toward the future, exploring the ways a janky platform—the ''Workshop Project Wiki'' (WPW) developed by H&amp;D (André Fincato and Anja Groten)—can shape a learning community for design educators. The very condition of the platform and its unfamiliar syntax transformed the intergenerational group of workshop participants into peers. After several iterations of the FREE educators workshop, the Wiki remains the key location for publishing prompts, documenting outcomes, editing a growing glossary, and planning future workshop iterations. <br /> <br /> Contributions gathered under the cluster '''Active Bibliographies''' put forward careful selections of resources, generous catalogs, narrated reference lists, tips and tricks. They are ''active'' bibliographies because they are rooted in a sense of urgency and propose a shift. In “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” Katherine and XinXin generously share their considerations and tactics of exploring their critical coding practices in parallel, local communities—informal educational environments that are multi-generational and non-hierarchical. Drawing on several “recipes” from the “Critical Coding Cookbook” they demonstrate multiple pathways to intersectional computing. Both contributions, “ChattyPub” and “Critical Coding Cookbook,” are exemplary of the inventive ways that collective practices initiate experimental and critical learning environments outside of or in parallel to institutional environments. And furthermore, they show how such conglomerates of critical makers and educators manage to create and sustain networks of like-minded practitioners—for instance through reusing code and methods, riffing off each other, co-organizing workshops, publishing and circulating their methods, and developing tools. <br /> <br /> Petra Eros reflects on her experience of participating in the [[#Did_video_kill_the_radio_(star)?|workshop + Rad I O]] by Mz* Baltazar’s Lab, which was further developed and hosted during the in 2021. She connects her workshop experience and the curiosities it sparked to various other initiatives with a stake in radio-making, and took her contribution as an opportunity to strike up an exchange with Good Times Bad Times community radio, which is published as part of her contribution. The contribution by Åbäke takes as starting point an [[#A_case_of_mistaken_identity|assignment]] of a workshop hosted by Åbäke in 2010. In their email conversation Maki Suzuki and Anja Groten ''re-collect'' their workshop experience and reflect on their evolving pedagogical practices since. <br /> <br /> Loes Bogers curated, edited, and commented on [[#Solarpunk_Postscript|an array of resources]] that take as a starting point the question: How can we resist compliance with the unsustainable status quo of digital computing and electronics? The resources she draws together are accompanied by short personal reviews followed by short prompts that translate some of the concepts proposed into simple, practical exercises. This resourceful and active list evolved along with the Solarpunk workshop development trajectory. <br /> <br /> Lastly, the [[#Workshop_Matters_and_Materials|conversation between Gabriel Fontana and Anja Groten]] took place while sifting through a pile of workshop scripts. Encountering these workshop scripts together and explaining what they meant to unravelled reflection on the various considerations that went into the specific workshops and their scripts, their different moments of activation, as well as their iterations. <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Introduction-Figuring-Things&diff=4540 2022-11-19T07:59:53Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article0 Workshop_scripts_in_practice layout-1&quot; id=&quot;Workshop_scripts_in_practice&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<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. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/7/74/2263639.pdf]]<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 /> [[File:Slide-Hanna-Podig-2.png|thumb|In her talk &quot;The Workshop as an Emancipatory Mediation Method of Resistant Practices&quot; 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 /> [[File:JohnCageWaterWalk.png|thumb|&quot;A section of Water Walk,&quot; score by John Cage]]<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 /> [[File:RobertFilliou.jpg|thumb|Page from &quot;Teaching and Learning as Performings Arts&quot; in 1979. Find a downloadable pdf of the publication on: https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-2.jpg|thumb|Fluxus artist Robert Filliou published the book &quot;Teaching and Learning as Performings Arts&quot; in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-3.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-4.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-5.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-6.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-7.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-8.jpg|thumb]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg|thumb|Page from: 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.]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-1.jpg|thumb|The workshop and conceptual framework of 'open-source parenting' was developed as part of 'Solarpunk—Who owns the Web?'—a collaborative exploration resulting in a series of intergenerational online and offline workshop formats. Partner organizations were Hackers &amp; Designers in Amsterdam (The Netherlands), Mz* Baltazar’s Laboratory in Vienna (Austria) and Prototype PGH in Pittsburgh (USA). Along with the development of a series of solar punk workshops, the aim was to engage in an active peer exchange and support each other in the process of developing context-sensitive learning formats.]]<br /> <br /> [[File:Prototype-slides-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-3.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-4.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-5.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-6.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-7.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-8.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-1.jpg|thumb|Pages from Bloomcraft Agreements, Code of conduct of the Bloomcraft Building, which was founded in 2015 and is where Prototype Pittsburgh is located. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/0/00/BloomcraftAgreementswithallAttachments.pdf]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-2.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-3.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-4.jpg|thumb|]]<br /> <br /> [[File:CatalogOFFDigitalDiscomfort-scan-1.jpg|thumb|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> <br /> [[File:Pages from obfuscation-website-fallback.jpg|thumb|Website fallback pdf: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/5/58/Obfuscation-website-fallback.pdf]]<br /> <br /> [[File:Page-post-script-print-10-12-21.jpg|thumb|Complete post script &quot;The 3rd Workshop on Obfuscation&quot;, Post-Script workflow and lay-out by Cristina Cochior and Manetta Berends: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/8f/Post-script-print-10-12-21.pdf]]<br /> <br /> [[File:Page-3rd_WO_BB_Bmanual.jpg|thumb|Big Blue Button How-to: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/80/3rd_WO_BB_Bmanual.pdf]]<br /> <br /> [[File:4-Consensusdiagram-web.jpg|thumb|A basic diagram for doing consensus]]<br /> <br /> [[File:Consensus1.jpg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> <br /> [[File:Consensus2.jpeg|thumb|]]<br /> <br /> [[File:Consensus3.jpeg|thumb|]]<br /> <br /> [[File:Consensus4.jpeg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page01.jpg|thumb|Cover of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page02.jpg|thumb|Pages of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page03.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page04.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page05.jpg|thumb|]]<br /> <br /> [[File:Flowchart.png|thumb|Flowchart of the discussion process]]<br /> <br /> [[File:paper-prototype.jpg|thumb|Paper prototypes|Prompts: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/3/3e/Paper_Prototyping_%E2%80%93_Feminist_Search_Tool_%282%29.pdf]]<br /> <br /> [[File:Paper-prototype1.jpg|thumb]]<br /> <br /> [[File:Paper-prototype2.jpg|thumb]]<br /> <br /> [[File:Paper-prototype3.jpg|thumb]]<br /> <br /> [[File:Unbound-libraries-reader.jpg|thumb|The “Unbound Libraries” folder arrived in 2020 at the H&amp;D studio in Amsterdam. It was sent to us by Elodie, Martino and An of CAssociation for Arts and Media in Brussels in preparation for a one week work session. The work session “Unbound Libraries” took place online due to the global COVID-19 pandemic. The folder contained preparatory reading materials related to the session. It had a navigation system stapled to its front cover—an overview of the materials and a suggestion on how to approach them. It was not a fixated, bound reader but a loose collection—a repository of materials that can grow and changes over time. More information can be found on https://constantvzw.org/wefts/unboundlibraries_materials_index.en.html and https://feministsearchtools.nl/]]<br /> <br /> [[File:splitscreen.png|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 2.jpg|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 3.jpg|thumb|]]<br /> <br /> [[File:screenshot-bbb.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:whiteboard.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:1819-1600-max.jpg|thumb|]]<br /> <br /> [[File:BBB-drawing.png|thumb|]]<br /> <br /> [[File:wall-notes.jpg|thumb|]]<br /> <br /> [[File:2231-256.png|thumb|]]<br /> <br /> [[File:diagram.JPG|thumb|]]<br /> <br /> [[File:Screenshot_sexuality.png|thumb|]]<br /> <br /> [[File:Visualzation Sally.jpg|thumb|In this version of Myclines, the text corpus is based on the content from [[#Re-_and_Un-_Defining_Tools]]]]<br /> <br /> [[File:Screenshot 2022-10-18 at 21.05.16.png|thumb|]]<br /> <br /> [[File:Idk-ays-1.jpg|thumb|&quot;I don’t know. Are you sure?&quot; searches for a way of working together that actively engages with friction and appreciates differences instead of seeking the comforts of compromise and middle ground. The collection of fifteen collaborative methods is accompanied by short interviews reflecting on topics such as conflict, sharing skills and resources, and the resilience. A free pdf can be downloaded here: http://miokojima.com/idontknow-areyousure/idk-ays.pdf]]<br /> [[File:Idk-ays-2.jpg|thumb]]<br /> [[File:Idk-ays-5.jpg|thumb]]<br /> [[File:Idontknow-page7.jpg|thumb]]<br /> [[File:Idk-ays-8.jpg|thumb]]<br /> [[File:Idk-ays-9.jpg|thumb]]<br /> [[File:Idontknow-page10.jpg.jpg|thumb]]<br /> [[File:Idk-ays-11.jpg|thumb]]<br /> [[File:Idk-ays-12.jpg|thumb]]<br /> [[File:Idk-ays-13.jpg|thumb]]<br /> [[File:Idk-ays-14.jpg|thumb]]<br /> [[File:Idk-ays-15.jpg|thumb]]<br /> [[File:Idk-ays-17.jpg|thumb]]<br /> <br /> [[File:Scriptgrabriel.jpg|thumb|Channeling performance script, H&amp;D Summer Academy 2021, Gabriel Fontana]]<br /> [[File:Scriptgrabriel-2.jpg|thumb]]<br /> [[File:CharacterSheet_Xylen.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_OneRing.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_Dishonoured.png|thumb|Character card reference]]<br /> [[File:CharacterSheet_D_D.jpg|thumb|Character card reference]]|<br /> [[File:Ethercalc-roleplay-1.png|thumb|Character making in Ethercalc]]<br /> [[File:Ethercalc-roleplay-2.png|thumb|]]<br /> [[File:Ethercalc-roleplay-3.png|thumb|]]<br /> [[File:Ethercalc-roleplay-4.png|thumb|]]<br /> [[File:Ethercalc-roleplay-5.png|thumb|]]<br /> <br /> [[File:Etherpad-roleplay-1.png|thumb|]]<br /> [[File:Etherpad-roleplay-2.png|thumb|]]<br /> [[File:Etherpad-roleplay-3.png|thumb|]]<br /> [[File:Etherpad-roleplay-4.png|thumb|]]<br /> [[File:Etherpad-roleplay-5.png|thumb|]]<br /> [[File:Etherpad-roleplay-6.png|thumb|]]<br /> <br /> [[File:Screenshot 2022-08-24 at 09.44.58.png|thumb]]<br /> [[File:ethercalc-prompt-1.png|thumb]]<br /> [[File:ethercalc-prompt-2.png|thumb]]<br /> [[File:ethercalc-prompt-3.png|thumb]]<br /> [[File:ethercalc-prompt-4.png|thumb]]<br /> [[File:ethercalc-prompt-5.png|thumb]]<br /> [[File:ethercalc-prompt-6.png|thumb]]<br /> <br /> [[File:liquify.png|thumb]]<br /> <br /> [[File:Screenshot_2022-08-24_at_09.47.52.png|thumb]]<br /> [[File:Screenshot 2022-08-24 at 10.55.04.png|thumb]]<br /> [[File:time-table.png|thumb]]<br /> <br /> [[File:Experimene-Lernen-cover.jpg|thumb]]<br /> [[File:Perfect-robbery-Experimente-lernen.jpg|thumb|How-to &quot;The Perfect Robbery&quot; by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Give-and-take-Experimente-lernen.jpg|thumb|How-to &quot;Give and Take&quot; by Social Muscle Club,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Massumo-Experimente-lernen.jpg|thumb|How-to &quot;Conceptual Speed Dating&quot; by Brian Massumi,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen-web.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen2.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> <br /> [[File:Api-photo-archive.jpg|thumb|Page from scanned microfiches, “Api Kartini Djakarta: Jajasan Melati,” 1959-1964, Leiden University Library, Special Collection.]]<br /> [[File:Api-Selected-pages-1.jpg|thumb]]<br /> [[File:Api-Selected-pages-2.jpg|thumb]]<br /> [[File:Api-Selected-pages-10.jpg|thumb]]<br /> <br /> [[File:mud-how-to.jpg|thumb]]<br /> [[File:Mud-drawing3.jpg|thumb]]<br /> [[File:Mud-drawing2.jpg|thumb]]<br /> <br /> [[File:mz-baltazar-coc.png|thumb|<br /> Code of conduct of Mz* Baltazhar's Lab. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. CoC Mz*Baltazar’s Lab https://www.mzbaltazarslaboratory.org/code-of-conduct/]]<br /> <br /> [[File:Measurementbuttonsjuju.jpg|thumb|]]<br /> <br /> [[File:FANFARE beams 2-01.jpg|thumb|class=title_image|Technical drawing of the different components of the fanfare display system]]<br /> <br /> [[File:HD-Species-onesided Page 2.jpg|thumb|Phylomon card deck (HDSA–Amsterdam edition)]]<br /> [[File:HD-Species-onesided Page 3.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 4.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 5.jpg|thumb|]]<br /> [[File:HD-Events-onesided Page 1.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 2.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 3.jpg|thumb]]<br /> [[File:Workshop-GitBook.jpg|thumb|https://thinkcolorful.org/?p=1003]]<br /> <br /> [[File:Frankenstein-1.jpeg|thumb|Publication collectively made by Algolit: Piero Bisello, Sarah Garcin, James Bryan Graves, Anne Laforet, Catherine Lenoble, An Mertens, bots and PJ Machine]]<br /> [[File:Frankenstein-3.jpeg|thumb|]]<br /> [[File:Frankenstein-2.jpeg|thumb|]]<br /> [[File:frankie-2.jpeg|thumb|Documentation of PJ Machine: https://github.com/sarahgarcin/pj-machine-workshop]]<br /> [[File:Manual-photo.jpg|thumb|Documentation and user manual of the workshop &quot;ctrl-c&quot; at HFG Karlsruhe. During the hands-on workshop participants investigated ways to take apart and reassemble remote controllers and other battery powered toys in unusal ways. By saving redundant electronics from becoming e-waste we hacked our way into the mechanics of human computer interaction and user interfaces. At the same time we learned about electronics–all the while critically reflecting on the notion of control. The toy-tools were documented by participants in the form of a user manual that explained and demonstrated the main functionalities]]<br /> [[File:Image-MakeyMakey.jpeg|thumb|See “Interfacial Workout,” Hackers &amp;amp; Designers, October 24, 2019, https://hackersanddesigners.nl/s/Activities/p/Interfacial_Workout [https://github.com/hackersanddesigners/interfacial-workout &amp;quot;Interfacial Workout,&amp;quot; and “Workshop ctrl-c HFG Karlsruhe,” YouTube, May 24, 2018, https://youtu.be/T4YkgIshzVg, and “Workshop ctrl-c HFG Karlsruhe – 2,” YouTube, May 24, 2018, https://youtu.be/_rJZJrS40tc]]]<br /> <br /> [[File:Workshop-in-a-bag-3.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-2.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> [[File:Workshop-in-a-bag-1.jpg|thumb]]<br /> <br /> [[File:Workshop-in-a-bag-6.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-5.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-8.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-7.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-14.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-15.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-16.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-17.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-18.png|thumb|Script annotations by Pia Louwerens, Workshop reenactment, Troef Leiden, June 2022]]<br /> [[File:FiguringThingsOut-booklets-19.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-20.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-21.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-22.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-23.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-24.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-30.png|thumb|Workshop anecdotes, written by workshop participants, June 2022]]<br /> [[File:FiguringThingsOut-booklets-smaller-32.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-34.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-33.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-36.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-37.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-38.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-39.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-43.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-44.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-45.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-47.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-48.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-49.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-50.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-51.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-52.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-53.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-54.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-55.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-56.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-57.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-58.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-59.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-60.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-61.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-62.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-63.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-64.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-65.png|thumb|]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-1.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-66.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-67.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-70.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-71.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-72.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:pod-mapping.png|thumb|Pod Mapping: During one of the first work sessions with H&amp;D, Mz* Baltazar and Prototype Pittsburgh, Pernilla proposed to try the method &quot;Pod Mapping&quot; as developed by Mia Mingus for Bay Area Transformative Justice Collective (BATJC), June 2016. Find more information about the method and the worksheet: https://batjc.wordpress.com/resources/pods-and-pod-mapping-worksheet/]]<br /> <br /> [[File:Solar-teams.jpg|thumb|Sketch of workshop setup and game]]<br /> [[File:Solar-teams-html.jpg|thumb]]<br /> [[File:Solar-intro.jpg|thumb]]<br /> [[File:ChattyPub-code of conduct.jpg|thumb|Short version of the H&amp;D Code of Conduct. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct]]<br /> <br /> [[File:freegraphicdesign_professional_poster.jpg|thumb|Presentation Poster designed by Workshop Project]]<br /> <br /> [[File:coverGraph.jpg|thumb|https://criticalcode.recipes/resources from: &quot;Aesthetic Programming. A Handbook of Software Studies&quot; Winnie Soon &amp; Geoff Cox https://aesthetic-programming.net/]]<br /> <br /> [[File:Solderingscriptlale.jpg|thumb]]<br /> [[File:All-components.jpeg|thumb]]<br /> [[File:Radio-pub-0.jpg|thumb|Documentation made in ChattyPub during HDSA2021]]<br /> [[File:Radio-pub-1.jpg|thumb]]<br /> [[File:Radio-pub-2.jpg|thumb]]<br /> [[File:Radio-pub-3.jpg|thumb]]<br /> [[File:Radio-pub-4.jpg|thumb]]<br /> [[File:Radio-pub-5.jpg|thumb]]<br /> [[File:Radio-pub-6.jpg|thumb]]<br /> [[File:Radio-pub-7.jpg|thumb]]<br /> [[File:Radio-pub-8.jpg|thumb]]<br /> [[File:Radio-pub-9.jpg|thumb]]<br /> [[File:Radio-pub-10.jpg|thumb]]<br /> [[File:Radio-pub-11.jpg|thumb]]<br /> [[File:Radio-pub-12.jpg|thumb]]<br /> [[File:Radio-pub-13.jpg|thumb]]<br /> <br /> [[File:paper-radio.jpeg|thumb]]<br /> [[File:paper-radio-3.png|thumb]]<br /> [[File:paper-radio-2.png|thumb]]<br /> <br /> [[File:abake-project-swap.jpg|thumb|class=title_image|åbäke's Workshop assignment &quot;A Case of Mistaken Identity,&quot; 2010]] <br /> [[File:brief_Le-Magnifique_Avventure-horizontal.jpg|thumb|Prompt “Le Magnifique Avventure,” Yaïr Barelli, Maki Suzuki, 2012]] <br /> [[File:Pages-from-Unmaking 5 Anxieties IXDM and RIAT Trans.jpg|thumb|class=title_image|Matthias Tarasiewicz, Sophie-Carolin Wagner, Moritz Greiner-Petter, and Felix Gerloff, ''Unmaking 5: Anxieties'', Proceedings Transmediale (2016), 11, https://www.academia.edu/32875905/Unmaking_5_Anxieties_IXDM_and_RIAT_Transmediale_2016_]]<br /> <br /> [[File:Timetable.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration1.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration2.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Manifestation.jpg|thumb]]<br /> [[File:Manifestation-2.jpg|thumb]]<br /> [[File:Manifestation-3.jpg|thumb]]<br /> [[File:Manifestation-4.jpg|thumb]]<br /> [[File:Manifestation-5.jpg|thumb]]<br /> [[File:Tutorial-0.jpg|thumb]]<br /> [[File:Tutorial-1.jpg|thumb]]<br /> [[File:Tutorial-2.jpg|thumb]]<br /> [[File:Tutorial-3.jpg|thumb]]<br /> [[File:Tutorial-4.jpg|thumb]]<br /> [[File:Tutorial-5.jpg|thumb]]<br /> <br /> &lt;/div&gt;<br /> <br /> == First, Then… Repeat. ==<br /> === Workshop scripts in practice ===<br /> &lt;span class=&quot;author&quot;&gt;Hackers &amp; Designers (ed. Anja Groten)&lt;/span&gt;<br /> ==== Introduction ====<br /> &lt;blockquote&gt;<br /> Compress your files. Pick a story. Form a circle. Find yourself a spot on the spreadsheet. Write an anecdote. Run the script. Download the zip. Continue the thread. Install the package. Go on a stroll. Follow each other. Slowly. Like a worm. Rename the repository. Return. Close your eyes. Take turns. Repeat. Come prepared. Nothing to prepare. No prior knowledge required. Be kind. Don't assume. Scoop the mud. Pick a time. Wash your hands. Watch. Swap. Strip the wires. Connect. Take your time. Rearrange. Share the link. Go to line 42. Make a copy. Be patient. <br /> &lt;/blockquote&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> This publication draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers &amp; Designers (H&amp;D).&lt;ref&gt; H&amp;D started as a workshop-based meetup series in Amsterdam in 2013. Since then, we have been organizing workshops—sometimes self-organized, sometimes by invitation. H&amp;D workshops are informal and usually follow a hands-on and practical approach. Attendees mostly work at the intersection of technology, design, art, and education. Alongside organizing workshops, H&amp;D produce online and offline publications, and build open-source tools and platforms.&lt;/ref&gt; H&amp;D has been organizing workshops since 2013, and along the way has established social-technical affinities that are loose and stable, temporary and ongoing. We met and befriended many practitioners and sister organizations since, and got acquainted with manifold, peculiar pedagogical formats, and experimental approaches to working, learning, and being together. This publication 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 /> Situated somewhere between documentation and a call for action, the workshop scripts presented here 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 this 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 /> Documentation is rare, always incomplete, and it is therefore difficult to reconstruct what actually happens during such temporary collective learning communities. This is a challenge that art historian Heike Roms addresses in the conversation about [[#Workshop_Histories_and_Practices|workshop histories and practices]], which offers a wider historical scope for some of the questions addressed in this publication. In her work, Roms is interested in the history of artist initiatives that reformed art education through self-organized educational experiments in the 1960s and ‘70s in the UK, when artists and educators began to organize study-groups for teachers and students in their private homes. Such evening classes were structured around exercises, and became a kind of parallel institution. Roms suggests this was an attempt to create an equal status between the participants. Roms also points out that conducting research into such initiatives is difficult as usually they were not well documented. The emphasis of such practices was on the momentary collective experience, and not so much on what was being produced at the end, though often there were occasions where work was publicly shared. With some luck, there might be some leftover notes or printed materials, such as announcements, flyers, posters, and pamphlets that hint at the character and content of the activity. But few notes remain from the exercises. On occasion Roms found a prompt, a class outline, or a score. However, the ways in which such prompts were perceived, enacted, and iterated on is difficult to reconstruct. <br /> <br /> This publication addresses this challenge by drawing together workshop-based practices as a form of inquiry and by paying attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” This 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 /> Moving through manifold contexts—from institutional to grassroots informal—H&amp;D as a collective is constantly in the making. Along the way, we are developing “terms of transition”&lt;ref&gt; Lauren Berlant, “The commons: Infrastructures for troubling times,” Environment and Planning D: Society and Space 34, no. 3 (2016): 393–419.&lt;/ref&gt;—socio-technical conducts that help us to navigate and “stay in touch” in uncertain times. Workshop scripts are traces of such an attempt. They are ephemeral documents that may be written by hand or take shape in open-source spreadsheets and notepads, Git repositories, Wikis, and mailing lists. These documents are brought into conversation and circulation and as such reveal something about the ways collective practices weave together a range of places, legacies, objects, and people across practices and disciplines, timelines and geographies. They are pragmatic as well as imaginative, capturing approaches, techniques, and atmospheres that evolve from within specific communities and practices, while holding together the chaosmos of collective self-organization. <br /> <br /> For instance, the workshop script “[[#ChattyPub|ChattyPub]],” gives instructions on how to “run” ChattyPub as a workshop and as a platform for discussion and as a publishing tool that explores a decentralized process of designing a publication and as an organizational open-source collaboration software. The script does not solely document an instantaneous workshop situation but rather explores the intersections between workshop/tool/platform/documentation/distribution. The script is pragmatic and invites others to take it on and run with it, while accounting for its entanglements within a specific socio-technical context. <br /> <br /> As situation-specific and context-sensitive artifacts, workshop scripts take manifold shapes and roles in this publication. Some derived from the immediate or wider context of H&amp;D and its members, some are historical examples, and some are works of fiction. They are accompanied by—or enmeshed in—anecdotes, essays, graphic novels, speculative how-tos, and reflexive conversations that both activate and situate them within the respective communities and practices. This eclectic collection of workshop scripts reflects the continued effort of building collective ties through documentation, the practice of sharing with each other, and paying attention to the details. You won’t find a precise definition of what a workshop script is. Instead you will encounter different ways that workshop scripts are understood, materialized, and put into practice across various contexts. A workshop script may be concise or expansive; it may include instructions and install manuals, code snippets, timetables, and readmes. It may also include context-specific, personal and narrative aspects. <br /> <br /> This publication attempts to approach these scripts and the practices they involve not as products of linear or reproducible processes but as resulting from and implied in particular socio-economic, socio-technical conditions. As such, the publication resists a generalized approach to the reproduction of these scripts. When possible, the initial appearance of the scripts, their format, and layout are left intact, forgoing the impression of a blueprint. Thus, the contributions may require some commitment, some attunement, and “getting into.”<br /> <br /> The idea for publishing these situated documents and their stories derived from both the frustration and joy of working and being together while negotiating unstable times and conditions, and paying critical attention to the fleeting nature of formats of encounter, as well as the continuous effort of staying in touch with those who we encounter. The scripts are never finished, they always require more work. In some ways this publication can be considered a scriptothek—a script collection that continues collecting. The script + othek contains bibliotheek. In the German and Dutch languages, the ''Bibliothek/bibliotheek'' is a place of careful collecting, deciphering, making available, and preserving the documents it holds and handles. Often, it is through the work and personal investment of a ''Bibliothekar*in'' that such a place and the documents it holds are activated and brought into circulation. <br /> <br /> My approach as an editor is inspired by that of the Bibliothekar*in. Similarly, it is also through personal and to some extent subjective affinities that I collect, decipher, preserve, and circulate the stories intertwined with the documents this Scriptothek holds. It is rooted in—and energized by—a sort of distributed locality. For instance the workshop script “[[#A_case_of_mistaken_identity|A Case of Mistaken Identity]]” by the graphic design collective Åbäke has been sitting in a pile of pedagogical documents since I received it as a workshop participant in 2010. It has been activated throughout the years, in implicit and explicit ways, and informed my personal appreciation for collective work in and outside art and design education. As you will read in the email conversation with Åbäke, my request to republish the document in this context unraveled an array of exchanges, tasks, and prompts. <br /> <br /> Thus, besides representing or giving visibility to specific documents and practices, publishing this eclectic collection in and of itself became a generative, ongoing, and to some extent uncontrollable collective praxis. The scripts included in this collection are time stamped. They had (or will have) a moment, a place, and a people that activate them. Simultaneously, by entering this collection they also create new correlations and future outlooks. The featured documents and practices are iterative and ongoing yet not “off-the shelf,” not to be executed and re-used in any context; they each come with their own terms of transition.<br /> <br /> Each contribution negotiated specific terms in order to enter this book—terms of activation, contextualization, adjustment, reconsideration, be it through specific licenses that were added or even by being taken out of the public domain entirely. For instance, I invited the makers of the Not For ANY licensing toolkit to contribute some of their exercises to this publication. The Not For ANY toolkit invited “collective engagement with open licenses from a (techno)feminist perspective in a playful and embodied way [...]” and included “a series of exercises to do this with.” And yet my invitation prompted the makers to take the toolkit offline. Instead, the initial page now serves as a redirect to other groups and practices who have been more intensively continuing and complicating the conversation around open licensing. Thus the editorial process set into motion new considerations about the conditions for further sharing (or not).&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Clustering ====<br /> <br /> To assist the reader, the contributions are 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 /> The cluster '''Setting Conditions''' pays attention to the specificity of self-organized collective learning environments, their site and context specific vocabularies, and social-technical conduct. The aforementioned [[#Workshop_Histories_and_Practices|conversation between Anja Groten and Heike Roms]] sketches a larger (historical) context and sets the scene for the contributions that follow. The contribution “[[#Open-source_Parenting|Open-Source Parenting]]” by Naomi Walker and Erin Gatz of Prototype Pittsburgh, takes a “first things first” approach and attends to the conditions that need to be in place before being able to create or engage in any form of learning community. In their conversation, Erin and Naomi reflect on how Black women in Pittsburgh are creating a better future for themselves and how allies can support them in this work. The “[[#Platframe_Postscript|Platframe Postscript]]” compiled by Anja Groten and Karl Moubarak reflects on the collective process of building an online workshop environment that converges various tools and practices in a manner that sustains their “contours.” Throughout the process of imagining, building, and activating this digital infrastructure the edgy term “platframe” reminded the collaborators that this online environment they are building together consists of many parts, which do not necessarily blend together nor are they experienced as seamless. <br /> Angela Jerardi discusses [[#On_consensus,_in_two_parts|consensus-decision making]] models and practices, contextualizes them historically and in relation to contemporary activist communities. The project “[[#WINWIN|WIN WIN]]” by James Bryan Graves and Nienke Huitenga-Broeren concretely and imaginatively explores conditions in which less polarized online debate is possible by proposing a consensus-based algorithm that mediates controversial discussion and collective decision making. <br /> In “[[#Re-,_Un-,_Defining_Tools|Re-, and Undefinining Tools]],” the Feminist Search Tools (FST) workgroup reflects on the slow collective process of building, narrating, and testing an ongoing and evolving library search tool through various workshops, and meetups in various contexts and constellations. This non-conclusive process creates a condition in which various context-specific definitions of tools can be expressed, as well as criteria for the usefulness or usability of such tools. In the following contribution, Qianxun Chen sets new conditions for the FST conversation. The generative textual system “[[#Mycelines:_A_Sympoetic_Imagination|Mycelines]]” brings to the fore recurring terminology and formulations that evolved from this collective reflection on a tool-building process. In “[[#fileSHA_as_protocol|fileSHA as a Protocol]]” André Fincato and Karl Moubarak set the conditions for an asynchronous game by repurposing mailing list software. <br /> <br /> Within the cluster '''Prompts''' inhabit concise propositions and calls for action. Prompts can be playful provocations, invitations to reconsider, to change direction; a proposal to approach something familiar differently. The contribution “[[#Across_Distance_and_Difference|Across Distance and Difference]]” takes into consideration the changing economic and material realities of Mio Koijma and Hanna Müller, who formulate small assignments for each other as an attempt to structure and sustain their collaboration in times and conditions that seem to work against their efforts. Sandy Richter reflects on her [[#Channeling_Listeners|experience of participating in a workshop]] during the H&amp;D Summer Academy (HDSA) 2021, during which it was not immediately evident what the prompt was, who the host was, and who was the participant, or observer/listener. Through her reflection, the prompt of the workshop host Gabriel Fontana, is slowly unraveling. <br /> <br /> The prompts of the “[[#Reading_Food|Relearning Food]]” script challenge participants to pay attention to the routes our produce takes to reach supermarkets and eventually our plates. Their prompt is to reconsider grocery habits according to our geographies and localities. In her essay “[[#Untitling|Untitling]]”, Siwar Kraytem substitutes short anecdotes on the subject and practice of ''naming'' with prompts to trigger a discussion on the politics of naming. <br /> <br /> The prompts of the “[[#Spreadsheet_Routines|Spreadsheet Routines]]” by Anja Groten and Karl Moubarak as well as the “[[#Roleplaying_in_Etherpad|Etherpad roleplay]]” by Juliette Lizotte both utilize playful open-source collaborative writing and editing tools, which serve as workshop sites, which weave together prompt, method, and execution into an evolving collective techno-social narrative. Susan Ploets' LARP (Live Action Roleplay) script, “[[#Skinship|Skinship]],” prompts participants to explore the condition of being a collective body that inhabits, shapes and is shaped by an environment through sensory information. <br /> <br /> The contributions collected within the cluster '''How-to''' explore the tension between the pragmatism of workshop scripts on the one hand, and the imaginative, fictional aspects at work in such documents on the other. The contribution by Julia Bee and Gerko Egert offers a generous and comprehensive backdrop to the format and role of the how-to as it is explored in art, art education, and activism. They draw on several concrete examples of [[#Learning_to_Experiment,_Sharing_Techniques|how-tos]] such as “The perfect robbery” by Juli Reinartz and Tea Tupajic, “Give and Take” by the Social Muscle Club, “Conceptual Speed Dating” by Brian Massumi, and “Bodystrike” by the Feminist Health Care Research Group. These prompts derive from a compendium of how-tos, the publication Experimente Lernen, Techniken Tauschen edited by Julia Bee and Gerko Egert, and the accompanying platform Nocturne. According to Julia and Gerko, “the logic of speculative pragmatism allows us to think of techniques not as something one needs to earn, or learn to master, but as a way to put into practice speculation in the midst of an actual situation.”<br /> <br /> Similarly, contributions such as Mz* Baltazar's “[[#Mud_Batteries|Mud-batteries]]” and Juliette Lizotte’s “[[#The_Button_Saga|The Button Saga]]” are also rooted in actual situations, imbuing their reflexive stories with practical instruction. Juliette Lizotte recounts the eventful story of creating a seemingly straightforward interactive installation. The saga includes misunderstandings, pitfalls, and detours of working collaboratively, and negotiating diverging expectations and techno-social dependencies. Stefanie Wuschitz's graphic novel tells the history of the magazine [[#Gerwani_and_Api_Kartini._Indonesian_Womens_Movement|''Api Kartini'']] that evolved from the Indonesian Women's movement GERWANI. The Api Kartini zines focussed on publishing and disseminating practical knowledge for Indonesian women in the 1950s and ‘60s around health, repair, fashion, self-defense, and negotiating better work conditions, but also contain elements of storytelling and poetry, and imagine alternative futures for women in Indonesia at that time. <br /> In “[[#Display(ing)|Display(ing)]]” the fanfare collective discusses the way a workshop script can be induced in an object. Through its material affordances, the modular display system designed by Freja Kir and Lotte van de Hoef carries its own script and has been enmeshed in the ongoing and morphing collective practice of fanfare, who have been traveling with the display since 2014.<br /> <br /> The scripts and accompanying reflections collected in the cluster '''Distributed Curricula''' address aspects of time and duration, be it through timed exercises, through expressing a certain intentionality for continuation and longer-term engagement, or by paying attention to and taking as a starting point what is already there, the prevailing collective condition. Giselle Jhunjhnuwala reflects on the [[#Cooperative_gaming|workshop ''Phylomon'']] that catered to making and playing a cooperative game informed by local ecosystems. It addresses questions of longevity through the cooperative game mechanisms as well as the subject of building sustainable collective ecosystems, and durable ways of co-existing on planet Earth. The conversations “[[#Interfacial-Workouts|Interfacial Workhout]]” with designer, coder, and cook Sarah Garcin takes as a starting point one particular workshop instance and its residual effects within manifold workshop situations that followed. The text and accompanying scripts in [[#Scripting_Workshops|“Scripting Workshops”]] further contextualize the notion of the “workshop script” in the context of the collective practice of H&amp;D and reflect on our long-term commitment to organizing short-term learning situations.<br /> <br /> The contribution “[[#Am_I_a_hacker_now?|Am I a hacker now?]]” by Loes Bogers and Pernilla Manjula Philip about their intergenerational ''Solarpunk'' workshop reflects on an ongoing exchange and multi-local process of developing workshop scripts in collaboration with two sister organizations Mz* Balthazar's lab and Prototype Pittsburgh. While departing from the shared goal of developing intergenerational learning formats about and around sustainable technologies, the evolving workshop scripts took shape and were reshaped according to their respective local communities. <br /> <br /> The publishing tool “ChattyPub” evolved from and fed back into various workshop situations, of which the first one was hosted by Xin Xin and Lark VCR at the HDSA. The goal of the workshop, designing and building experimental chatrooms, sparked the idea among H&amp;D to develop [[#ChattyPub|''ChattyPub'']]—a platform and tool for co-designing a publication that utilizes a chat environment. In autumn of 2021, H&amp;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, featuring the various chatrooms that were built during their workshop. For this publication we reconnected with XinXin to continue our conversation about their practice as educator, artist, and activist, taking as a starting point the “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” which they recently published together with Katherine Moriwaki. (See cluster 'Active Bibliographies') <br /> <br /> The [[#wiki_reflections|====== wiki reflections ======]] by Yasmin Khan and Jessica Wexler look to the past and toward the future, exploring the ways a janky platform—the ''Workshop Project Wiki'' (WPW) developed by H&amp;D (André Fincato and Anja Groten)—can shape a learning community for design educators. The very condition of the platform and its unfamiliar syntax transformed the intergenerational group of workshop participants into peers. After several iterations of the FREE educators workshop, the Wiki remains the key location for publishing prompts, documenting outcomes, editing a growing glossary, and planning future workshop iterations. <br /> <br /> Contributions gathered under the cluster '''Active Bibliographies''' put forward careful selections of resources, generous catalogs, narrated reference lists, tips and tricks. They are ''active'' bibliographies because they are rooted in a sense of urgency and propose a shift. In “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” Katherine and XinXin generously share their considerations and tactics of exploring their critical coding practices in parallel, local communities—informal educational environments that are multi-generational and non-hierarchical. Drawing on several “recipes” from the “Critical Coding Cookbook” they demonstrate multiple pathways to intersectional computing. Both contributions, “ChattyPub” and “Critical Coding Cookbook,” are exemplary of the inventive ways that collective practices initiate experimental and critical learning environments outside of or in parallel to institutional environments. And furthermore, they show how such conglomerates of critical makers and educators manage to create and sustain networks of like-minded practitioners—for instance through reusing code and methods, riffing off each other, co-organizing workshops, publishing and circulating their methods, and developing tools. <br /> <br /> Petra Eros reflects on her experience of participating in the [[#Did_video_kill_the_radio_(star)?|workshop + Rad I O]] by Mz* Baltazar’s Lab, which was further developed and hosted during the in 2021. She connects her workshop experience and the curiosities it sparked to various other initiatives with a stake in radio-making, and took her contribution as an opportunity to strike up an exchange with Good Times Bad Times community radio, which is published as part of her contribution. The contribution by Åbäke takes as starting point an [[#A_case_of_mistaken_identity|assignment]] of a workshop hosted by Åbäke in 2010. In their email conversation Maki Suzuki and Anja Groten ''re-collect'' their workshop experience and reflect on their evolving pedagogical practices since. <br /> <br /> Loes Bogers curated, edited, and commented on [[#Solarpunk_Postscript|an array of resources]] that take as a starting point the question: How can we resist compliance with the unsustainable status quo of digital computing and electronics? The resources she draws together are accompanied by short personal reviews followed by short prompts that translate some of the concepts proposed into simple, practical exercises. This resourceful and active list evolved along with the Solarpunk workshop development trajectory. <br /> <br /> Lastly, the [[#Workshop_Matters_and_Materials|conversation between Gabriel Fontana and Anja Groten]] took place while sifting through a pile of workshop scripts. Encountering these workshop scripts together and explaining what they meant to unravelled reflection on the various considerations that went into the specific workshops and their scripts, their different moments of activation, as well as their iterations. <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Introduction-Figuring-Things&diff=4539 2022-11-19T07:53:32Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Workshop_scripts_in_practice layout-1&quot; id=&quot;Workshop_scripts_in_practice&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<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. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/7/74/2263639.pdf]]<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 /> [[File:Slide-Hanna-Podig-2.png|thumb|In her talk &quot;The Workshop as an Emancipatory Mediation Method of Resistant Practices&quot; 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 /> [[File:JohnCageWaterWalk.png|thumb|&quot;A section of Water Walk,&quot; score by John Cage]]<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 /> [[File:RobertFilliou.jpg|thumb|Page from &quot;Teaching and Learning as Performings Arts&quot; in 1979. Find a downloadable pdf of the publication on: https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-2.jpg|thumb|Fluxus artist Robert Filliou published the book &quot;Teaching and Learning as Performings Arts&quot; in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-3.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-4.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-5.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-6.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-7.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-8.jpg|thumb]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg|thumb|Page from: 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.]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-1.jpg|thumb|The workshop and conceptual framework of 'open-source parenting' was developed as part of 'Solarpunk—Who owns the Web?'—a collaborative exploration resulting in a series of intergenerational online and offline workshop formats. Partner organizations were Hackers &amp; Designers in Amsterdam (The Netherlands), Mz* Baltazar’s Laboratory in Vienna (Austria) and Prototype PGH in Pittsburgh (USA). Along with the development of a series of solar punk workshops, the aim was to engage in an active peer exchange and support each other in the process of developing context-sensitive learning formats.]]<br /> <br /> [[File:Prototype-slides-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-3.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-4.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-5.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-6.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-7.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-8.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-1.jpg|thumb|Pages from Bloomcraft Agreements, Code of conduct of the Bloomcraft Building, which was founded in 2015 and is where Prototype Pittsburgh is located. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/0/00/BloomcraftAgreementswithallAttachments.pdf]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-2.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-3.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-4.jpg|thumb|]]<br /> <br /> [[File:CatalogOFFDigitalDiscomfort-scan-1.jpg|thumb|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> <br /> [[File:Pages from obfuscation-website-fallback.jpg|thumb|Website fallback pdf: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/5/58/Obfuscation-website-fallback.pdf]]<br /> <br /> [[File:Page-post-script-print-10-12-21.jpg|thumb|Complete post script &quot;The 3rd Workshop on Obfuscation&quot;, Post-Script workflow and lay-out by Cristina Cochior and Manetta Berends: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/8f/Post-script-print-10-12-21.pdf]]<br /> <br /> [[File:Page-3rd_WO_BB_Bmanual.jpg|thumb|Big Blue Button How-to: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/80/3rd_WO_BB_Bmanual.pdf]]<br /> <br /> [[File:4-Consensusdiagram-web.jpg|thumb|A basic diagram for doing consensus]]<br /> <br /> [[File:Consensus1.jpg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> <br /> [[File:Consensus2.jpeg|thumb|]]<br /> <br /> [[File:Consensus3.jpeg|thumb|]]<br /> <br /> [[File:Consensus4.jpeg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page01.jpg|thumb|Cover of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page02.jpg|thumb|Pages of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page03.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page04.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page05.jpg|thumb|]]<br /> <br /> [[File:Flowchart.png|thumb|Flowchart of the discussion process]]<br /> <br /> [[File:paper-prototype.jpg|thumb|Paper prototypes|Prompts: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/3/3e/Paper_Prototyping_%E2%80%93_Feminist_Search_Tool_%282%29.pdf]]<br /> <br /> [[File:Paper-prototype1.jpg|thumb]]<br /> <br /> [[File:Paper-prototype2.jpg|thumb]]<br /> <br /> [[File:Paper-prototype3.jpg|thumb]]<br /> <br /> [[File:Unbound-libraries-reader.jpg|thumb|The “Unbound Libraries” folder arrived in 2020 at the H&amp;D studio in Amsterdam. It was sent to us by Elodie, Martino and An of CAssociation for Arts and Media in Brussels in preparation for a one week work session. The work session “Unbound Libraries” took place online due to the global COVID-19 pandemic. The folder contained preparatory reading materials related to the session. It had a navigation system stapled to its front cover—an overview of the materials and a suggestion on how to approach them. It was not a fixated, bound reader but a loose collection—a repository of materials that can grow and changes over time. More information can be found on https://constantvzw.org/wefts/unboundlibraries_materials_index.en.html and https://feministsearchtools.nl/]]<br /> <br /> [[File:splitscreen.png|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 2.jpg|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 3.jpg|thumb|]]<br /> <br /> [[File:screenshot-bbb.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:whiteboard.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:1819-1600-max.jpg|thumb|]]<br /> <br /> [[File:BBB-drawing.png|thumb|]]<br /> <br /> [[File:wall-notes.jpg|thumb|]]<br /> <br /> [[File:2231-256.png|thumb|]]<br /> <br /> [[File:diagram.JPG|thumb|]]<br /> <br /> [[File:Screenshot_sexuality.png|thumb|]]<br /> <br /> [[File:Visualzation Sally.jpg|thumb|In this version of Myclines, the text corpus is based on the content from [[#Re-_and_Un-_Defining_Tools]]]]<br /> <br /> [[File:Screenshot 2022-10-18 at 21.05.16.png|thumb|]]<br /> <br /> [[File:Idk-ays-1.jpg|thumb|&quot;I don’t know. Are you sure?&quot; searches for a way of working together that actively engages with friction and appreciates differences instead of seeking the comforts of compromise and middle ground. The collection of fifteen collaborative methods is accompanied by short interviews reflecting on topics such as conflict, sharing skills and resources, and the resilience. A free pdf can be downloaded here: http://miokojima.com/idontknow-areyousure/idk-ays.pdf]]<br /> [[File:Idk-ays-2.jpg|thumb]]<br /> [[File:Idk-ays-5.jpg|thumb]]<br /> [[File:Idontknow-page7.jpg|thumb]]<br /> [[File:Idk-ays-8.jpg|thumb]]<br /> [[File:Idk-ays-9.jpg|thumb]]<br /> [[File:Idontknow-page10.jpg.jpg|thumb]]<br /> [[File:Idk-ays-11.jpg|thumb]]<br /> [[File:Idk-ays-12.jpg|thumb]]<br /> [[File:Idk-ays-13.jpg|thumb]]<br /> [[File:Idk-ays-14.jpg|thumb]]<br /> [[File:Idk-ays-15.jpg|thumb]]<br /> [[File:Idk-ays-17.jpg|thumb]]<br /> <br /> [[File:Scriptgrabriel.jpg|thumb|Channeling performance script, H&amp;D Summer Academy 2021, Gabriel Fontana]]<br /> [[File:Scriptgrabriel-2.jpg|thumb]]<br /> [[File:CharacterSheet_Xylen.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_OneRing.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_Dishonoured.png|thumb|Character card reference]]<br /> [[File:CharacterSheet_D_D.jpg|thumb|Character card reference]]|<br /> [[File:Ethercalc-roleplay-1.png|thumb|Character making in Ethercalc]]<br /> [[File:Ethercalc-roleplay-2.png|thumb|]]<br /> [[File:Ethercalc-roleplay-3.png|thumb|]]<br /> [[File:Ethercalc-roleplay-4.png|thumb|]]<br /> [[File:Ethercalc-roleplay-5.png|thumb|]]<br /> <br /> [[File:Etherpad-roleplay-1.png|thumb|]]<br /> [[File:Etherpad-roleplay-2.png|thumb|]]<br /> [[File:Etherpad-roleplay-3.png|thumb|]]<br /> [[File:Etherpad-roleplay-4.png|thumb|]]<br /> [[File:Etherpad-roleplay-5.png|thumb|]]<br /> [[File:Etherpad-roleplay-6.png|thumb|]]<br /> <br /> [[File:Screenshot 2022-08-24 at 09.44.58.png|thumb]]<br /> [[File:ethercalc-prompt-1.png|thumb]]<br /> [[File:ethercalc-prompt-2.png|thumb]]<br /> [[File:ethercalc-prompt-3.png|thumb]]<br /> [[File:ethercalc-prompt-4.png|thumb]]<br /> [[File:ethercalc-prompt-5.png|thumb]]<br /> [[File:ethercalc-prompt-6.png|thumb]]<br /> <br /> [[File:liquify.png|thumb]]<br /> <br /> [[File:Screenshot_2022-08-24_at_09.47.52.png|thumb]]<br /> [[File:Screenshot 2022-08-24 at 10.55.04.png|thumb]]<br /> [[File:time-table.png|thumb]]<br /> <br /> [[File:Experimene-Lernen-cover.jpg|thumb]]<br /> [[File:Perfect-robbery-Experimente-lernen.jpg|thumb|How-to &quot;The Perfect Robbery&quot; by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Give-and-take-Experimente-lernen.jpg|thumb|How-to &quot;Give and Take&quot; by Social Muscle Club,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Massumo-Experimente-lernen.jpg|thumb|How-to &quot;Conceptual Speed Dating&quot; by Brian Massumi,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen-web.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen2.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> <br /> [[File:Api-photo-archive.jpg|thumb|Page from scanned microfiches, “Api Kartini Djakarta: Jajasan Melati,” 1959-1964, Leiden University Library, Special Collection.]]<br /> [[File:Api-Selected-pages-1.jpg|thumb]]<br /> [[File:Api-Selected-pages-2.jpg|thumb]]<br /> [[File:Api-Selected-pages-10.jpg|thumb]]<br /> <br /> [[File:mud-how-to.jpg|thumb]]<br /> [[File:Mud-drawing3.jpg|thumb]]<br /> [[File:Mud-drawing2.jpg|thumb]]<br /> <br /> [[File:mz-baltazar-coc.png|thumb|<br /> Code of conduct of Mz* Baltazhar's Lab. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. CoC Mz*Baltazar’s Lab https://www.mzbaltazarslaboratory.org/code-of-conduct/]]<br /> <br /> [[File:Measurementbuttonsjuju.jpg|thumb|]]<br /> <br /> [[File:FANFARE beams 2-01.jpg|thumb|class=title_image|Technical drawing of the different components of the fanfare display system]]<br /> <br /> [[File:HD-Species-onesided Page 2.jpg|thumb|Phylomon card deck (HDSA–Amsterdam edition)]]<br /> [[File:HD-Species-onesided Page 3.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 4.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 5.jpg|thumb|]]<br /> [[File:HD-Events-onesided Page 1.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 2.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 3.jpg|thumb]]<br /> [[File:Workshop-GitBook.jpg|thumb|https://thinkcolorful.org/?p=1003]]<br /> <br /> [[File:Frankenstein-1.jpeg|thumb|Publication collectively made by Algolit: Piero Bisello, Sarah Garcin, James Bryan Graves, Anne Laforet, Catherine Lenoble, An Mertens, bots and PJ Machine]]<br /> [[File:Frankenstein-3.jpeg|thumb|]]<br /> [[File:Frankenstein-2.jpeg|thumb|]]<br /> [[File:frankie-2.jpeg|thumb|Documentation of PJ Machine: https://github.com/sarahgarcin/pj-machine-workshop]]<br /> [[File:Manual-photo.jpg|thumb|Documentation and user manual of the workshop &quot;ctrl-c&quot; at HFG Karlsruhe. During the hands-on workshop participants investigated ways to take apart and reassemble remote controllers and other battery powered toys in unusal ways. By saving redundant electronics from becoming e-waste we hacked our way into the mechanics of human computer interaction and user interfaces. At the same time we learned about electronics–all the while critically reflecting on the notion of control. The toy-tools were documented by participants in the form of a user manual that explained and demonstrated the main functionalities]]<br /> [[File:Image-MakeyMakey.jpeg|thumb|See “Interfacial Workout,” Hackers &amp;amp; Designers, October 24, 2019, https://hackersanddesigners.nl/s/Activities/p/Interfacial_Workout [https://github.com/hackersanddesigners/interfacial-workout &amp;quot;Interfacial Workout,&amp;quot; and “Workshop ctrl-c HFG Karlsruhe,” YouTube, May 24, 2018, https://youtu.be/T4YkgIshzVg, and “Workshop ctrl-c HFG Karlsruhe – 2,” YouTube, May 24, 2018, https://youtu.be/_rJZJrS40tc]]]<br /> <br /> [[File:Workshop-in-a-bag-3.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-2.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> [[File:Workshop-in-a-bag-1.jpg|thumb]]<br /> <br /> [[File:Workshop-in-a-bag-6.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-5.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-8.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-7.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-14.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-15.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-16.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-17.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-18.png|thumb|Script annotations by Pia Louwerens, Workshop reenactment, Troef Leiden, June 2022]]<br /> [[File:FiguringThingsOut-booklets-19.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-20.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-21.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-22.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-23.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-24.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-30.png|thumb|Workshop anecdotes, written by workshop participants, June 2022]]<br /> [[File:FiguringThingsOut-booklets-smaller-32.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-34.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-33.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-36.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-37.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-38.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-39.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-43.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-44.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-45.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-47.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-48.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-49.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-50.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-51.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-52.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-53.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-54.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-55.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-56.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-57.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-58.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-59.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-60.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-61.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-62.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-63.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-64.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-65.png|thumb|]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-1.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-66.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-67.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-70.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-71.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-72.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:pod-mapping.png|thumb|Pod Mapping: During one of the first work sessions with H&amp;D, Mz* Baltazar and Prototype Pittsburgh, Pernilla proposed to try the method &quot;Pod Mapping&quot; as developed by Mia Mingus for Bay Area Transformative Justice Collective (BATJC), June 2016. Find more information about the method and the worksheet: https://batjc.wordpress.com/resources/pods-and-pod-mapping-worksheet/]]<br /> <br /> [[File:Solar-teams.jpg|thumb|Sketch of workshop setup and game]]<br /> [[File:Solar-teams-html.jpg|thumb]]<br /> [[File:Solar-intro.jpg|thumb]]<br /> [[File:ChattyPub-code of conduct.jpg|thumb|Short version of the H&amp;D Code of Conduct. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct]]<br /> <br /> [[File:freegraphicdesign_professional_poster.jpg|thumb|Presentation Poster designed by Workshop Project]]<br /> <br /> [[File:coverGraph.jpg|thumb|https://criticalcode.recipes/resources from: &quot;Aesthetic Programming. A Handbook of Software Studies&quot; Winnie Soon &amp; Geoff Cox https://aesthetic-programming.net/]]<br /> <br /> [[File:Solderingscriptlale.jpg|thumb]]<br /> [[File:All-components.jpeg|thumb]]<br /> [[File:Radio-pub-0.jpg|thumb|Documentation made in ChattyPub during HDSA2021]]<br /> [[File:Radio-pub-1.jpg|thumb]]<br /> [[File:Radio-pub-2.jpg|thumb]]<br /> [[File:Radio-pub-3.jpg|thumb]]<br /> [[File:Radio-pub-4.jpg|thumb]]<br /> [[File:Radio-pub-5.jpg|thumb]]<br /> [[File:Radio-pub-6.jpg|thumb]]<br /> [[File:Radio-pub-7.jpg|thumb]]<br /> [[File:Radio-pub-8.jpg|thumb]]<br /> [[File:Radio-pub-9.jpg|thumb]]<br /> [[File:Radio-pub-10.jpg|thumb]]<br /> [[File:Radio-pub-11.jpg|thumb]]<br /> [[File:Radio-pub-12.jpg|thumb]]<br /> [[File:Radio-pub-13.jpg|thumb]]<br /> <br /> [[File:paper-radio.jpeg|thumb]]<br /> [[File:paper-radio-3.png|thumb]]<br /> [[File:paper-radio-2.png|thumb]]<br /> <br /> [[File:abake-project-swap.jpg|thumb|class=title_image|åbäke's Workshop assignment &quot;A Case of Mistaken Identity,&quot; 2010]] <br /> [[File:brief_Le-Magnifique_Avventure-horizontal.jpg|thumb|Prompt “Le Magnifique Avventure,” Yaïr Barelli, Maki Suzuki, 2012]] <br /> [[File:Pages-from-Unmaking 5 Anxieties IXDM and RIAT Trans.jpg|thumb|class=title_image|Matthias Tarasiewicz, Sophie-Carolin Wagner, Moritz Greiner-Petter, and Felix Gerloff, ''Unmaking 5: Anxieties'', Proceedings Transmediale (2016), 11, https://www.academia.edu/32875905/Unmaking_5_Anxieties_IXDM_and_RIAT_Transmediale_2016_]]<br /> <br /> [[File:Timetable.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration1.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration2.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Manifestation.jpg|thumb]]<br /> [[File:Manifestation-2.jpg|thumb]]<br /> [[File:Manifestation-3.jpg|thumb]]<br /> [[File:Manifestation-4.jpg|thumb]]<br /> [[File:Manifestation-5.jpg|thumb]]<br /> [[File:Tutorial-0.jpg|thumb]]<br /> [[File:Tutorial-1.jpg|thumb]]<br /> [[File:Tutorial-2.jpg|thumb]]<br /> [[File:Tutorial-3.jpg|thumb]]<br /> [[File:Tutorial-4.jpg|thumb]]<br /> [[File:Tutorial-5.jpg|thumb]]<br /> <br /> &lt;/div&gt;<br /> <br /> == First, Then… Repeat. ==<br /> === Workshop scripts in practice ===<br /> &lt;span class=&quot;author&quot;&gt;Hackers &amp; Designers (ed. Anja Groten)&lt;/span&gt;<br /> ==== Introduction ====<br /> &lt;blockquote&gt;<br /> Compress your files. Pick a story. Form a circle. Find yourself a spot on the spreadsheet. Write an anecdote. Run the script. Download the zip. Continue the thread. Install the package. Go on a stroll. Follow each other. Slowly. Like a worm. Rename the repository. Return. Close your eyes. Take turns. Repeat. Come prepared. Nothing to prepare. No prior knowledge required. Be kind. Don't assume. Scoop the mud. Pick a time. Wash your hands. Watch. Swap. Strip the wires. Connect. Take your time. Rearrange. Share the link. Go to line 42. Make a copy. Be patient. <br /> &lt;/blockquote&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> This publication draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers &amp; Designers (H&amp;D).&lt;ref&gt; H&amp;D started as a workshop-based meetup series in Amsterdam in 2013. Since then, we have been organizing workshops—sometimes self-organized, sometimes by invitation. H&amp;D workshops are informal and usually follow a hands-on and practical approach. Attendees mostly work at the intersection of technology, design, art, and education. Alongside organizing workshops, H&amp;D produce online and offline publications, and build open-source tools and platforms.&lt;/ref&gt; H&amp;D has been organizing workshops since 2013, and along the way has established social-technical affinities that are loose and stable, temporary and ongoing. We met and befriended many practitioners and sister organizations since, and got acquainted with manifold, peculiar pedagogical formats, and experimental approaches to working, learning, and being together. This publication 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 /> Situated somewhere between documentation and a call for action, the workshop scripts presented here 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 this 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 /> Documentation is rare, always incomplete, and it is therefore difficult to reconstruct what actually happens during such temporary collective learning communities. This is a challenge that art historian Heike Roms addresses in the conversation about [[#Workshop_Histories_and_Practices|workshop histories and practices]], which offers a wider historical scope for some of the questions addressed in this publication. In her work, Roms is interested in the history of artist initiatives that reformed art education through self-organized educational experiments in the 1960s and ‘70s in the UK, when artists and educators began to organize study-groups for teachers and students in their private homes. Such evening classes were structured around exercises, and became a kind of parallel institution. Roms suggests this was an attempt to create an equal status between the participants. Roms also points out that conducting research into such initiatives is difficult as usually they were not well documented. The emphasis of such practices was on the momentary collective experience, and not so much on what was being produced at the end, though often there were occasions where work was publicly shared. With some luck, there might be some leftover notes or printed materials, such as announcements, flyers, posters, and pamphlets that hint at the character and content of the activity. But few notes remain from the exercises. On occasion Roms found a prompt, a class outline, or a score. However, the ways in which such prompts were perceived, enacted, and iterated on is difficult to reconstruct. <br /> <br /> This publication addresses this challenge by drawing together workshop-based practices as a form of inquiry and by paying attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” This 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 /> Moving through manifold contexts—from institutional to grassroots informal—H&amp;D as a collective is constantly in the making. Along the way, we are developing “terms of transition”&lt;ref&gt; Lauren Berlant, “The commons: Infrastructures for troubling times,” Environment and Planning D: Society and Space 34, no. 3 (2016): 393–419.&lt;/ref&gt;—socio-technical conducts that help us to navigate and “stay in touch” in uncertain times. Workshop scripts are traces of such an attempt. They are ephemeral documents that may be written by hand or take shape in open-source spreadsheets and notepads, Git repositories, Wikis, and mailing lists. These documents are brought into conversation and circulation and as such reveal something about the ways collective practices weave together a range of places, legacies, objects, and people across practices and disciplines, timelines and geographies. They are pragmatic as well as imaginative, capturing approaches, techniques, and atmospheres that evolve from within specific communities and practices, while holding together the chaosmos of collective self-organization. <br /> <br /> For instance, the workshop script “[[#ChattyPub|ChattyPub]],” gives instructions on how to “run” ChattyPub as a workshop and as a platform for discussion and as a publishing tool that explores a decentralized process of designing a publication and as an organizational open-source collaboration software. The script does not solely document an instantaneous workshop situation but rather explores the intersections between workshop/tool/platform/documentation/distribution. The script is pragmatic and invites others to take it on and run with it, while accounting for its entanglements within a specific socio-technical context. <br /> <br /> As situation-specific and context-sensitive artifacts, workshop scripts take manifold shapes and roles in this publication. Some derived from the immediate or wider context of H&amp;D and its members, some are historical examples, and some are works of fiction. They are accompanied by—or enmeshed in—anecdotes, essays, graphic novels, speculative how-tos, and reflexive conversations that both activate and situate them within the respective communities and practices. This eclectic collection of workshop scripts reflects the continued effort of building collective ties through documentation, the practice of sharing with each other, and paying attention to the details. You won’t find a precise definition of what a workshop script is. Instead you will encounter different ways that workshop scripts are understood, materialized, and put into practice across various contexts. A workshop script may be concise or expansive; it may include instructions and install manuals, code snippets, timetables, and readmes. It may also include context-specific, personal and narrative aspects. <br /> <br /> This publication attempts to approach these scripts and the practices they involve not as products of linear or reproducible processes but as resulting from and implied in particular socio-economic, socio-technical conditions. As such, the publication resists a generalized approach to the reproduction of these scripts. When possible, the initial appearance of the scripts, their format, and layout are left intact, forgoing the impression of a blueprint. Thus, the contributions may require some commitment, some attunement, and “getting into.”<br /> <br /> The idea for publishing these situated documents and their stories derived from both the frustration and joy of working and being together while negotiating unstable times and conditions, and paying critical attention to the fleeting nature of formats of encounter, as well as the continuous effort of staying in touch with those who we encounter. The scripts are never finished, they always require more work. In some ways this publication can be considered a scriptothek—a script collection that continues collecting. The script + othek contains bibliotheek. In the German and Dutch languages, the ''Bibliothek/bibliotheek'' is a place of careful collecting, deciphering, making available, and preserving the documents it holds and handles. Often, it is through the work and personal investment of a ''Bibliothekar*in'' that such a place and the documents it holds are activated and brought into circulation. <br /> <br /> My approach as an editor is inspired by that of the Bibliothekar*in. Similarly, it is also through personal and to some extent subjective affinities that I collect, decipher, preserve, and circulate the stories intertwined with the documents this Scriptothek holds. It is rooted in—and energized by—a sort of distributed locality. For instance the workshop script “[[#A_case_of_mistaken_identity|A Case of Mistaken Identity]]” by the graphic design collective Åbäke has been sitting in a pile of pedagogical documents since I received it as a workshop participant in 2010. It has been activated throughout the years, in implicit and explicit ways, and informed my personal appreciation for collective work in and outside art and design education. As you will read in the email conversation with Åbäke, my request to republish the document in this context unraveled an array of exchanges, tasks, and prompts. <br /> <br /> Thus, besides representing or giving visibility to specific documents and practices, publishing this eclectic collection in and of itself became a generative, ongoing, and to some extent uncontrollable collective praxis. The scripts included in this collection are time stamped. They had (or will have) a moment, a place, and a people that activate them. Simultaneously, by entering this collection they also create new correlations and future outlooks. The featured documents and practices are iterative and ongoing yet not “off-the shelf,” not to be executed and re-used in any context; they each come with their own terms of transition.<br /> <br /> Each contribution negotiated specific terms in order to enter this book—terms of activation, contextualization, adjustment, reconsideration, be it through specific licenses that were added or even by being taken out of the public domain entirely. For instance, I invited the makers of the Not For ANY licensing toolkit to contribute some of their exercises to this publication. The Not For ANY toolkit invited “collective engagement with open licenses from a (techno)feminist perspective in a playful and embodied way [...]” and included “a series of exercises to do this with.” And yet my invitation prompted the makers to take the toolkit offline. Instead, the initial page now serves as a redirect to other groups and practices who have been more intensively continuing and complicating the conversation around open licensing. Thus the editorial process set into motion new considerations about the conditions for further sharing (or not).&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Clustering ====<br /> <br /> To assist the reader, the contributions are 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 /> The cluster '''Setting Conditions''' pays attention to the specificity of self-organized collective learning environments, their site and context specific vocabularies, and social-technical conduct. The aforementioned [[#Workshop_Histories_and_Practices|conversation between Anja Groten and Heike Roms]] sketches a larger (historical) context and sets the scene for the contributions that follow. The contribution “[[#Open-source_Parenting|Open-Source Parenting]]” by Naomi Walker and Erin Gatz of Prototype Pittsburgh, takes a “first things first” approach and attends to the conditions that need to be in place before being able to create or engage in any form of learning community. In their conversation, Erin and Naomi reflect on how Black women in Pittsburgh are creating a better future for themselves and how allies can support them in this work. The “[[#Platframe_Postscript|Platframe Postscript]]” compiled by Anja Groten and Karl Moubarak reflects on the collective process of building an online workshop environment that converges various tools and practices in a manner that sustains their “contours.” Throughout the process of imagining, building, and activating this digital infrastructure the edgy term “platframe” reminded the collaborators that this online environment they are building together consists of many parts, which do not necessarily blend together nor are they experienced as seamless. <br /> Angela Jerardi discusses [[#On_consensus,_in_two_parts|consensus-decision making]] models and practices, contextualizes them historically and in relation to contemporary activist communities. The project “[[#WINWIN|WIN WIN]]” by James Bryan Graves and Nienke Huitenga-Broeren concretely and imaginatively explores conditions in which less polarized online debate is possible by proposing a consensus-based algorithm that mediates controversial discussion and collective decision making. <br /> In “[[#Re-,_Un-,_Defining_Tools|Re-, and Undefinining Tools]],” the Feminist Search Tools (FST) workgroup reflects on the slow collective process of building, narrating, and testing an ongoing and evolving library search tool through various workshops, and meetups in various contexts and constellations. This non-conclusive process creates a condition in which various context-specific definitions of tools can be expressed, as well as criteria for the usefulness or usability of such tools. In the following contribution, Qianxun Chen sets new conditions for the FST conversation. The generative textual system “[[#Mycelines:_A_Sympoetic_Imagination|Mycelines]]” brings to the fore recurring terminology and formulations that evolved from this collective reflection on a tool-building process. In “[[#fileSHA_as_protocol|fileSHA as a Protocol]]” André Fincato and Karl Moubarak set the conditions for an asynchronous game by repurposing mailing list software. <br /> <br /> Within the cluster '''Prompts''' inhabit concise propositions and calls for action. Prompts can be playful provocations, invitations to reconsider, to change direction; a proposal to approach something familiar differently. The contribution “[[#Across_Distance_and_Difference|Across Distance and Difference]]” takes into consideration the changing economic and material realities of Mio Koijma and Hanna Müller, who formulate small assignments for each other as an attempt to structure and sustain their collaboration in times and conditions that seem to work against their efforts. Sandy Richter reflects on her [[#Channeling_Listeners|experience of participating in a workshop]] during the H&amp;D Summer Academy (HDSA) 2021, during which it was not immediately evident what the prompt was, who the host was, and who was the participant, or observer/listener. Through her reflection, the prompt of the workshop host Gabriel Fontana, is slowly unraveling. <br /> <br /> The prompts of the “[[#Reading_Food|Relearning Food]]” script challenge participants to pay attention to the routes our produce takes to reach supermarkets and eventually our plates. Their prompt is to reconsider grocery habits according to our geographies and localities. In her essay “[[#Untitling|Untitling]]”, Siwar Kraytem substitutes short anecdotes on the subject and practice of ''naming'' with prompts to trigger a discussion on the politics of naming. <br /> <br /> The prompts of the “[[#Spreadsheet_Routines|Spreadsheet Routines]]” by Anja Groten and Karl Moubarak as well as the “[[#Roleplaying_in_Etherpad|Etherpad roleplay]]” by Juliette Lizotte both utilize playful open-source collaborative writing and editing tools, which serve as workshop sites, which weave together prompt, method, and execution into an evolving collective techno-social narrative. Susan Ploets' LARP (Live Action Roleplay) script, “[[#Skinship|Skinship]],” prompts participants to explore the condition of being a collective body that inhabits, shapes and is shaped by an environment through sensory information. <br /> <br /> The contributions collected within the cluster '''How-to''' explore the tension between the pragmatism of workshop scripts on the one hand, and the imaginative, fictional aspects at work in such documents on the other. The contribution by Julia Bee and Gerko Egert offers a generous and comprehensive backdrop to the format and role of the how-to as it is explored in art, art education, and activism. They draw on several concrete examples of [[#Learning_to_Experiment,_Sharing_Techniques|how-tos]] such as “The perfect robbery” by Juli Reinartz and Tea Tupajic, “Give and Take” by the Social Muscle Club, “Conceptual Speed Dating” by Brian Massumi, and “Bodystrike” by the Feminist Health Care Research Group. These prompts derive from a compendium of how-tos, the publication Experimente Lernen, Techniken Tauschen edited by Julia Bee and Gerko Egert, and the accompanying platform Nocturne. According to Julia and Gerko, “the logic of speculative pragmatism allows us to think of techniques not as something one needs to earn, or learn to master, but as a way to put into practice speculation in the midst of an actual situation.”<br /> <br /> Similarly, contributions such as Mz* Baltazar's “[[#Mud_Batteries|Mud-batteries]]” and Juliette Lizotte’s “[[#The_Button_Saga|The Button Saga]]” are also rooted in actual situations, imbuing their reflexive stories with practical instruction. Juliette Lizotte recounts the eventful story of creating a seemingly straightforward interactive installation. The saga includes misunderstandings, pitfalls, and detours of working collaboratively, and negotiating diverging expectations and techno-social dependencies. Stefanie Wuschitz's graphic novel tells the history of the magazine [[#Gerwani_and_Api_Kartini._Indonesian_Womens_Movement|''Api Kartini'']] that evolved from the Indonesian Women's movement GERWANI. The Api Kartini zines focussed on publishing and disseminating practical knowledge for Indonesian women in the 1950s and ‘60s around health, repair, fashion, self-defense, and negotiating better work conditions, but also contain elements of storytelling and poetry, and imagine alternative futures for women in Indonesia at that time. <br /> In “[[#Display(ing)|Display(ing)]]” the fanfare collective discusses the way a workshop script can be induced in an object. Through its material affordances, the modular display system designed by Freja Kir and Lotte van de Hoef carries its own script and has been enmeshed in the ongoing and morphing collective practice of fanfare, who have been traveling with the display since 2014.<br /> <br /> The scripts and accompanying reflections collected in the cluster '''Distributed Curricula''' address aspects of time and duration, be it through timed exercises, through expressing a certain intentionality for continuation and longer-term engagement, or by paying attention to and taking as a starting point what is already there, the prevailing collective condition. Giselle Jhunjhnuwala reflects on the [[#Cooperative_gaming|workshop ''Phylomon'']] that catered to making and playing a cooperative game informed by local ecosystems. It addresses questions of longevity through the cooperative game mechanisms as well as the subject of building sustainable collective ecosystems, and durable ways of co-existing on planet Earth. The conversations “[[#Interfacial-Workouts|Interfacial Workhout]]” with designer, coder, and cook Sarah Garcin takes as a starting point one particular workshop instance and its residual effects within manifold workshop situations that followed. The text and accompanying scripts in [[#Scripting_Workshops|“Scripting Workshops”]] further contextualize the notion of the “workshop script” in the context of the collective practice of H&amp;D and reflect on our long-term commitment to organizing short-term learning situations.<br /> <br /> The contribution “[[#Am_I_a_hacker_now?|Am I a hacker now?]]” by Loes Bogers and Pernilla Manjula Philip about their intergenerational ''Solarpunk'' workshop reflects on an ongoing exchange and multi-local process of developing workshop scripts in collaboration with two sister organizations Mz* Balthazar's lab and Prototype Pittsburgh. While departing from the shared goal of developing intergenerational learning formats about and around sustainable technologies, the evolving workshop scripts took shape and were reshaped according to their respective local communities. <br /> <br /> The publishing tool “ChattyPub” evolved from and fed back into various workshop situations, of which the first one was hosted by Xin Xin and Lark VCR at the HDSA. The goal of the workshop, designing and building experimental chatrooms, sparked the idea among H&amp;D to develop [[#ChattyPub|''ChattyPub'']]—a platform and tool for co-designing a publication that utilizes a chat environment. In autumn of 2021, H&amp;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, featuring the various chatrooms that were built during their workshop. For this publication we reconnected with XinXin to continue our conversation about their practice as educator, artist, and activist, taking as a starting point the “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” which they recently published together with Katherine Moriwaki. (See cluster 'Active Bibliographies') <br /> <br /> The [[#wiki_reflections|====== wiki reflections ======]] by Yasmin Khan and Jessica Wexler look to the past and toward the future, exploring the ways a janky platform—the ''Workshop Project Wiki'' (WPW) developed by H&amp;D (André Fincato and Anja Groten)—can shape a learning community for design educators. The very condition of the platform and its unfamiliar syntax transformed the intergenerational group of workshop participants into peers. After several iterations of the FREE educators workshop, the Wiki remains the key location for publishing prompts, documenting outcomes, editing a growing glossary, and planning future workshop iterations. <br /> <br /> Contributions gathered under the cluster '''Active Bibliographies''' put forward careful selections of resources, generous catalogs, narrated reference lists, tips and tricks. They are ''active'' bibliographies because they are rooted in a sense of urgency and propose a shift. In “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” Katherine and XinXin generously share their considerations and tactics of exploring their critical coding practices in parallel, local communities—informal educational environments that are multi-generational and non-hierarchical. Drawing on several “recipes” from the “Critical Coding Cookbook” they demonstrate multiple pathways to intersectional computing. Both contributions, “ChattyPub” and “Critical Coding Cookbook,” are exemplary of the inventive ways that collective practices initiate experimental and critical learning environments outside of or in parallel to institutional environments. And furthermore, they show how such conglomerates of critical makers and educators manage to create and sustain networks of like-minded practitioners—for instance through reusing code and methods, riffing off each other, co-organizing workshops, publishing and circulating their methods, and developing tools. <br /> <br /> Petra Eros reflects on her experience of participating in the [[#Did_video_kill_the_radio_(star)?|workshop + Rad I O]] by Mz* Baltazar’s Lab, which was further developed and hosted during the in 2021. She connects her workshop experience and the curiosities it sparked to various other initiatives with a stake in radio-making, and took her contribution as an opportunity to strike up an exchange with Good Times Bad Times community radio, which is published as part of her contribution. The contribution by Åbäke takes as starting point an [[#A_case_of_mistaken_identity|assignment]] of a workshop hosted by Åbäke in 2010. In their email conversation Maki Suzuki and Anja Groten ''re-collect'' their workshop experience and reflect on their evolving pedagogical practices since. <br /> <br /> Loes Bogers curated, edited, and commented on [[#Solarpunk_Postscript|an array of resources]] that take as a starting point the question: How can we resist compliance with the unsustainable status quo of digital computing and electronics? The resources she draws together are accompanied by short personal reviews followed by short prompts that translate some of the concepts proposed into simple, practical exercises. This resourceful and active list evolved along with the Solarpunk workshop development trajectory. <br /> <br /> Lastly, the [[#Workshop_Matters_and_Materials|conversation between Gabriel Fontana and Anja Groten]] took place while sifting through a pile of workshop scripts. Encountering these workshop scripts together and explaining what they meant to unravelled reflection on the various considerations that went into the specific workshops and their scripts, their different moments of activation, as well as their iterations. <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Introduction-Figuring-Things&diff=4538 2022-11-19T07:51:11Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article-default Workshop_scripts_in_practice layout-1&quot; id=&quot;Workshop_scripts_in_practice&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<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. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/7/74/2263639.pdf]]<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 /> [[File:Slide-Hanna-Podig-2.png|thumb|In her talk &quot;The Workshop as an Emancipatory Mediation Method of Resistant Practices&quot; 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 /> [[File:JohnCageWaterWalk.png|thumb|&quot;A section of Water Walk,&quot; score by John Cage]]<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 /> [[File:RobertFilliou.jpg|thumb|Page from &quot;Teaching and Learning as Performings Arts&quot; in 1979. Find a downloadable pdf of the publication on: https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-2.jpg|thumb|Fluxus artist Robert Filliou published the book &quot;Teaching and Learning as Performings Arts&quot; in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-3.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-4.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-5.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-6.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-7.jpg|thumb]]<br /> <br /> [[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-8.jpg|thumb]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg|thumb|Page from: 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.]]<br /> <br /> [[File:Pages-from-SYBILLE_TOOLKIT_WEB-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-1.jpg|thumb|The workshop and conceptual framework of 'open-source parenting' was developed as part of 'Solarpunk—Who owns the Web?'—a collaborative exploration resulting in a series of intergenerational online and offline workshop formats. Partner organizations were Hackers &amp; Designers in Amsterdam (The Netherlands), Mz* Baltazar’s Laboratory in Vienna (Austria) and Prototype PGH in Pittsburgh (USA). Along with the development of a series of solar punk workshops, the aim was to engage in an active peer exchange and support each other in the process of developing context-sensitive learning formats.]]<br /> <br /> [[File:Prototype-slides-2.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-3.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-4.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-5.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-6.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-7.jpg|thumb|]]<br /> <br /> [[File:Prototype-slides-8.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-1.jpg|thumb|Pages from Bloomcraft Agreements, Code of conduct of the Bloomcraft Building, which was founded in 2015 and is where Prototype Pittsburgh is located. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/0/00/BloomcraftAgreementswithallAttachments.pdf]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-2.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-3.jpg|thumb|]]<br /> <br /> [[File:Pages from BloomcraftAgreementswithallAttachments-4.jpg|thumb|]]<br /> <br /> [[File:CatalogOFFDigitalDiscomfort-scan-1.jpg|thumb|The “catalog of formats for digital discomfort” was catalogued by Jara Rocha, edited by: Seda Gürses and Jara Rocha. Accompaniment by: Femke Snelting, Helen Nissenbaum, Caspar Chorus, Ero Balsa. The first booklet version of this catalog was co-produced by the [http://www.obfuscationworkshop.org/ Obfuscation event series] organizing committee, Digital Life Initiative at [https://www.dli.tech.cornell.edu/ Cornell Tech], [http://behave.tbm.tudelft.nl/ BEHAVE’s ERC-Consolidation Grant] and the Department of Multi Actor Systems (MAS) at the Faculty of Technology, Policy and Management at [https://www.tudelft.nl/en/tpm/ TU Delft], in February 2021. In collaboration with the [http://titipi.org/ Institute for Technology in the Public Interest (TITiPI)], the Catalog is transforming into an editable MediaWiki form. Copyleft with a difference note to whoever encounters A catalog of formats for digital discomfort... and other ways to resist totalitarian zoomification: this is work-in-progress, please join the editing tasks! You are also invited to copy, distribute, and modify this work under the terms of the Collective Conditions for (re-)use [https://gitlab.constantvzw.org/unbound/cc4r (CC4r) license], 2020. It implies a straightforward recognition of this Catalog’s collective roots and is an invitation for multiple and diverse after lifes of the document: [http://titipi.org/projects/discomfort/ Downloadable pdf] and [http://titipi.org/wiki/index.php/Catalog_of_Formats_for_Digital_Discomfort wiki version] of this catalog. Referenced projects and materials, each hold their own license.]]<br /> <br /> [[File:Pages from obfuscation-website-fallback.jpg|thumb|Website fallback pdf: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/5/58/Obfuscation-website-fallback.pdf]]<br /> <br /> [[File:Page-post-script-print-10-12-21.jpg|thumb|Complete post script &quot;The 3rd Workshop on Obfuscation&quot;, Post-Script workflow and lay-out by Cristina Cochior and Manetta Berends: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/8f/Post-script-print-10-12-21.pdf]]<br /> <br /> [[File:Page-3rd_WO_BB_Bmanual.jpg|thumb|Big Blue Button How-to: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/8/80/3rd_WO_BB_Bmanual.pdf]]<br /> <br /> [[File:4-Consensusdiagram-web.jpg|thumb|A basic diagram for doing consensus]]<br /> <br /> [[File:Consensus1.jpg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> <br /> [[File:Consensus2.jpeg|thumb|]]<br /> <br /> [[File:Consensus3.jpeg|thumb|]]<br /> <br /> [[File:Consensus4.jpeg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page01.jpg|thumb|Cover of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page02.jpg|thumb|Pages of 'Communities: Journal of Cooperative Living,' July/August 1977. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/e/ec/2a-communities-no-27.pdf]]<br /> <br /> [[File:2a-communities-no-27Page03.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page04.jpg|thumb|]]<br /> <br /> [[File:2a-communities-no-27Page05.jpg|thumb|]]<br /> <br /> [[File:Flowchart.png|thumb|Flowchart of the discussion process]]<br /> <br /> [[File:paper-prototype.jpg|thumb|Paper prototypes|Prompts: https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/3/3e/Paper_Prototyping_%E2%80%93_Feminist_Search_Tool_%282%29.pdf]]<br /> <br /> [[File:Paper-prototype1.jpg|thumb]]<br /> <br /> [[File:Paper-prototype2.jpg|thumb]]<br /> <br /> [[File:Paper-prototype3.jpg|thumb]]<br /> <br /> [[File:Unbound-libraries-reader.jpg|thumb|The “Unbound Libraries” folder arrived in 2020 at the H&amp;D studio in Amsterdam. It was sent to us by Elodie, Martino and An of CAssociation for Arts and Media in Brussels in preparation for a one week work session. The work session “Unbound Libraries” took place online due to the global COVID-19 pandemic. The folder contained preparatory reading materials related to the session. It had a navigation system stapled to its front cover—an overview of the materials and a suggestion on how to approach them. It was not a fixated, bound reader but a loose collection—a repository of materials that can grow and changes over time. More information can be found on https://constantvzw.org/wefts/unboundlibraries_materials_index.en.html and https://feministsearchtools.nl/]]<br /> <br /> [[File:splitscreen.png|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 2.jpg|thumb|]]<br /> <br /> [[File:Unbound-libraries-reader 3.jpg|thumb|]]<br /> <br /> [[File:screenshot-bbb.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:whiteboard.png|thumb|Screenshot of the Unbound Libraries work session]]<br /> <br /> [[File:1819-1600-max.jpg|thumb|]]<br /> <br /> [[File:BBB-drawing.png|thumb|]]<br /> <br /> [[File:wall-notes.jpg|thumb|]]<br /> <br /> [[File:2231-256.png|thumb|]]<br /> <br /> [[File:diagram.JPG|thumb|]]<br /> <br /> [[File:Screenshot_sexuality.png|thumb|]]<br /> <br /> [[File:Visualzation Sally.jpg|thumb|In this version of Myclines, the text corpus is based on the content from [[#Re-_and_Un-_Defining_Tools]]]]<br /> <br /> [[File:Screenshot 2022-10-18 at 21.05.16.png|thumb|]]<br /> <br /> [[File:Idk-ays-1.jpg|thumb|&quot;I don’t know. Are you sure?&quot; searches for a way of working together that actively engages with friction and appreciates differences instead of seeking the comforts of compromise and middle ground. The collection of fifteen collaborative methods is accompanied by short interviews reflecting on topics such as conflict, sharing skills and resources, and the resilience. A free pdf can be downloaded here: http://miokojima.com/idontknow-areyousure/idk-ays.pdf]]<br /> [[File:Idk-ays-2.jpg|thumb]]<br /> [[File:Idk-ays-5.jpg|thumb]]<br /> [[File:Idontknow-page7.jpg|thumb]]<br /> [[File:Idk-ays-8.jpg|thumb]]<br /> [[File:Idk-ays-9.jpg|thumb]]<br /> [[File:Idontknow-page10.jpg.jpg|thumb]]<br /> [[File:Idk-ays-11.jpg|thumb]]<br /> [[File:Idk-ays-12.jpg|thumb]]<br /> [[File:Idk-ays-13.jpg|thumb]]<br /> [[File:Idk-ays-14.jpg|thumb]]<br /> [[File:Idk-ays-15.jpg|thumb]]<br /> [[File:Idk-ays-17.jpg|thumb]]<br /> <br /> [[File:Scriptgrabriel.jpg|thumb|Channeling performance script, H&amp;D Summer Academy 2021, Gabriel Fontana]]<br /> [[File:Scriptgrabriel-2.jpg|thumb]]<br /> [[File:CharacterSheet_Xylen.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_OneRing.jpg|thumb|Character card reference]]<br /> [[File:CharacterSheet_Dishonoured.png|thumb|Character card reference]]<br /> [[File:CharacterSheet_D_D.jpg|thumb|Character card reference]]|<br /> [[File:Ethercalc-roleplay-1.png|thumb|Character making in Ethercalc]]<br /> [[File:Ethercalc-roleplay-2.png|thumb|]]<br /> [[File:Ethercalc-roleplay-3.png|thumb|]]<br /> [[File:Ethercalc-roleplay-4.png|thumb|]]<br /> [[File:Ethercalc-roleplay-5.png|thumb|]]<br /> <br /> [[File:Etherpad-roleplay-1.png|thumb|]]<br /> [[File:Etherpad-roleplay-2.png|thumb|]]<br /> [[File:Etherpad-roleplay-3.png|thumb|]]<br /> [[File:Etherpad-roleplay-4.png|thumb|]]<br /> [[File:Etherpad-roleplay-5.png|thumb|]]<br /> [[File:Etherpad-roleplay-6.png|thumb|]]<br /> <br /> [[File:Screenshot 2022-08-24 at 09.44.58.png|thumb]]<br /> [[File:ethercalc-prompt-1.png|thumb]]<br /> [[File:ethercalc-prompt-2.png|thumb]]<br /> [[File:ethercalc-prompt-3.png|thumb]]<br /> [[File:ethercalc-prompt-4.png|thumb]]<br /> [[File:ethercalc-prompt-5.png|thumb]]<br /> [[File:ethercalc-prompt-6.png|thumb]]<br /> <br /> [[File:liquify.png|thumb]]<br /> <br /> [[File:Screenshot_2022-08-24_at_09.47.52.png|thumb]]<br /> [[File:Screenshot 2022-08-24 at 10.55.04.png|thumb]]<br /> [[File:time-table.png|thumb]]<br /> <br /> [[File:Experimene-Lernen-cover.jpg|thumb]]<br /> [[File:Perfect-robbery-Experimente-lernen.jpg|thumb|How-to &quot;The Perfect Robbery&quot; by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Give-and-take-Experimente-lernen.jpg|thumb|How-to &quot;Give and Take&quot; by Social Muscle Club,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Massumo-Experimente-lernen.jpg|thumb|How-to &quot;Conceptual Speed Dating&quot; by Brian Massumi,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen-web.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen2.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> <br /> [[File:Api-photo-archive.jpg|thumb|Page from scanned microfiches, “Api Kartini Djakarta: Jajasan Melati,” 1959-1964, Leiden University Library, Special Collection.]]<br /> [[File:Api-Selected-pages-1.jpg|thumb]]<br /> [[File:Api-Selected-pages-2.jpg|thumb]]<br /> [[File:Api-Selected-pages-10.jpg|thumb]]<br /> <br /> [[File:mud-how-to.jpg|thumb]]<br /> [[File:Mud-drawing3.jpg|thumb]]<br /> [[File:Mud-drawing2.jpg|thumb]]<br /> <br /> [[File:mz-baltazar-coc.png|thumb|<br /> Code of conduct of Mz* Baltazhar's Lab. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. CoC Mz*Baltazar’s Lab https://www.mzbaltazarslaboratory.org/code-of-conduct/]]<br /> <br /> [[File:Measurementbuttonsjuju.jpg|thumb|]]<br /> <br /> [[File:FANFARE beams 2-01.jpg|thumb|class=title_image|Technical drawing of the different components of the fanfare display system]]<br /> <br /> [[File:HD-Species-onesided Page 2.jpg|thumb|Phylomon card deck (HDSA–Amsterdam edition)]]<br /> [[File:HD-Species-onesided Page 3.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 4.jpg|thumb|]]<br /> [[File:HD-Species-onesided Page 5.jpg|thumb|]]<br /> [[File:HD-Events-onesided Page 1.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 2.jpg|thumb]]<br /> [[File:HD-Events-onesided Page 3.jpg|thumb]]<br /> [[File:Workshop-GitBook.jpg|thumb|https://thinkcolorful.org/?p=1003]]<br /> <br /> [[File:Frankenstein-1.jpeg|thumb|Publication collectively made by Algolit: Piero Bisello, Sarah Garcin, James Bryan Graves, Anne Laforet, Catherine Lenoble, An Mertens, bots and PJ Machine]]<br /> [[File:Frankenstein-3.jpeg|thumb|]]<br /> [[File:Frankenstein-2.jpeg|thumb|]]<br /> [[File:frankie-2.jpeg|thumb|Documentation of PJ Machine: https://github.com/sarahgarcin/pj-machine-workshop]]<br /> [[File:Manual-photo.jpg|thumb|Documentation and user manual of the workshop &quot;ctrl-c&quot; at HFG Karlsruhe. During the hands-on workshop participants investigated ways to take apart and reassemble remote controllers and other battery powered toys in unusal ways. By saving redundant electronics from becoming e-waste we hacked our way into the mechanics of human computer interaction and user interfaces. At the same time we learned about electronics–all the while critically reflecting on the notion of control. The toy-tools were documented by participants in the form of a user manual that explained and demonstrated the main functionalities]]<br /> [[File:Image-MakeyMakey.jpeg|thumb|See “Interfacial Workout,” Hackers &amp;amp; Designers, October 24, 2019, https://hackersanddesigners.nl/s/Activities/p/Interfacial_Workout [https://github.com/hackersanddesigners/interfacial-workout &amp;quot;Interfacial Workout,&amp;quot; and “Workshop ctrl-c HFG Karlsruhe,” YouTube, May 24, 2018, https://youtu.be/T4YkgIshzVg, and “Workshop ctrl-c HFG Karlsruhe – 2,” YouTube, May 24, 2018, https://youtu.be/_rJZJrS40tc]]]<br /> <br /> [[File:Workshop-in-a-bag-3.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-2.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> [[File:Workshop-in-a-bag-1.jpg|thumb]]<br /> <br /> [[File:Workshop-in-a-bag-6.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-5.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-8.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> [[File:Workshop-in-a-bag-7.jpg|thumb|Worksheet for “An Automatic Workshop,” collaboration with Shailoh Philips during the H&amp;D Summer Academy 2018, Amsterdam]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-14.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-15.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-16.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-17.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-18.png|thumb|Script annotations by Pia Louwerens, Workshop reenactment, Troef Leiden, June 2022]]<br /> [[File:FiguringThingsOut-booklets-19.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-20.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-21.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-22.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-23.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-24.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-30.png|thumb|Workshop anecdotes, written by workshop participants, June 2022]]<br /> [[File:FiguringThingsOut-booklets-smaller-32.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-34.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-33.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-36.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-37.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-38.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-39.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-43.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-44.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-45.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-47.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-48.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-49.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-50.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-51.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-52.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-53.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-54.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-55.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-56.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-57.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-58.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-59.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-60.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-61.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-62.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-63.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-64.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-65.png|thumb|]]<br /> <br /> <br /> [[File:FiguringThingsOut-booklets-smaller-1.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-66.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-67.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-70.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-71.png|thumb|]]<br /> [[File:FiguringThingsOut-booklets-smaller-72.png|thumb|]]<br /> <br /> [[File:FiguringThingsOut-booklets-smaller-25.png|thumb|]]<br /> <br /> [[File:pod-mapping.png|thumb|Pod Mapping: During one of the first work sessions with H&amp;D, Mz* Baltazar and Prototype Pittsburgh, Pernilla proposed to try the method &quot;Pod Mapping&quot; as developed by Mia Mingus for Bay Area Transformative Justice Collective (BATJC), June 2016. Find more information about the method and the worksheet: https://batjc.wordpress.com/resources/pods-and-pod-mapping-worksheet/]]<br /> <br /> [[File:Solar-teams.jpg|thumb|Sketch of workshop setup and game]]<br /> [[File:Solar-teams-html.jpg|thumb]]<br /> [[File:Solar-intro.jpg|thumb]]<br /> [[File:ChattyPub-code of conduct.jpg|thumb|Short version of the H&amp;D Code of Conduct. One of the &quot;Solarpunk&quot; work sessions focussed on the partner organizations' code of conducts, in which the divergences and similarities of the different contexts of Hackers &amp; Designers, Prototype Pittsburgh and Mz* Baltazhar's Lab were discussed. https://hackersanddesigners.nl/p/H%26D_Code_of_Conduct]]<br /> <br /> [[File:freegraphicdesign_professional_poster.jpg|thumb|Presentation Poster designed by Workshop Project]]<br /> <br /> [[File:coverGraph.jpg|thumb|https://criticalcode.recipes/resources from: &quot;Aesthetic Programming. A Handbook of Software Studies&quot; Winnie Soon &amp; Geoff Cox https://aesthetic-programming.net/]]<br /> <br /> [[File:Solderingscriptlale.jpg|thumb]]<br /> [[File:All-components.jpeg|thumb]]<br /> [[File:Radio-pub-0.jpg|thumb|Documentation made in ChattyPub during HDSA2021]]<br /> [[File:Radio-pub-1.jpg|thumb]]<br /> [[File:Radio-pub-2.jpg|thumb]]<br /> [[File:Radio-pub-3.jpg|thumb]]<br /> [[File:Radio-pub-4.jpg|thumb]]<br /> [[File:Radio-pub-5.jpg|thumb]]<br /> [[File:Radio-pub-6.jpg|thumb]]<br /> [[File:Radio-pub-7.jpg|thumb]]<br /> [[File:Radio-pub-8.jpg|thumb]]<br /> [[File:Radio-pub-9.jpg|thumb]]<br /> [[File:Radio-pub-10.jpg|thumb]]<br /> [[File:Radio-pub-11.jpg|thumb]]<br /> [[File:Radio-pub-12.jpg|thumb]]<br /> [[File:Radio-pub-13.jpg|thumb]]<br /> <br /> [[File:paper-radio.jpeg|thumb]]<br /> [[File:paper-radio-3.png|thumb]]<br /> [[File:paper-radio-2.png|thumb]]<br /> <br /> [[File:abake-project-swap.jpg|thumb|class=title_image|åbäke's Workshop assignment &quot;A Case of Mistaken Identity,&quot; 2010]] <br /> [[File:brief_Le-Magnifique_Avventure-horizontal.jpg|thumb|Prompt “Le Magnifique Avventure,” Yaïr Barelli, Maki Suzuki, 2012]] <br /> [[File:Pages-from-Unmaking 5 Anxieties IXDM and RIAT Trans.jpg|thumb|class=title_image|Matthias Tarasiewicz, Sophie-Carolin Wagner, Moritz Greiner-Petter, and Felix Gerloff, ''Unmaking 5: Anxieties'', Proceedings Transmediale (2016), 11, https://www.academia.edu/32875905/Unmaking_5_Anxieties_IXDM_and_RIAT_Transmediale_2016_]]<br /> <br /> [[File:Timetable.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration1.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Transit-iteration2.jpg|thumb|Page from Workshop manual &quot;Gestures in Transit,&quot; Gabriel Fontana, Vivien Tauchmann, 2021]]<br /> [[File:Manifestation.jpg|thumb]]<br /> [[File:Manifestation-2.jpg|thumb]]<br /> [[File:Manifestation-3.jpg|thumb]]<br /> [[File:Manifestation-4.jpg|thumb]]<br /> [[File:Manifestation-5.jpg|thumb]]<br /> [[File:Tutorial-0.jpg|thumb]]<br /> [[File:Tutorial-1.jpg|thumb]]<br /> [[File:Tutorial-2.jpg|thumb]]<br /> [[File:Tutorial-3.jpg|thumb]]<br /> [[File:Tutorial-4.jpg|thumb]]<br /> [[File:Tutorial-5.jpg|thumb]]<br /> <br /> &lt;/div&gt;<br /> <br /> == First, Then… Repeat. ==<br /> === Workshop scripts in practice ===<br /> &lt;span class=&quot;author&quot;&gt;Hackers &amp; Designers (ed. Anja Groten)&lt;/span&gt;<br /> ==== Introduction ====<br /> &lt;blockquote&gt;<br /> Compress your files. Pick a story. Form a circle. Find yourself a spot on the spreadsheet. Write an anecdote. Run the script. Download the zip. Continue the thread. Install the package. Go on a stroll. Follow each other. Slowly. Like a worm. Rename the repository. Return. Close your eyes. Take turns. Repeat. Come prepared. Nothing to prepare. No prior knowledge required. Be kind. Don't assume. Scoop the mud. Pick a time. Wash your hands. Watch. Swap. Strip the wires. Connect. Take your time. Rearrange. Share the link. Go to line 42. Make a copy. Be patient. <br /> &lt;/blockquote&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> This publication draws together self-published and unpublished workshop scripts that evolved in and around the collective ecosystem of Hackers &amp; Designers (H&amp;D).&lt;ref&gt; H&amp;D started as a workshop-based meetup series in Amsterdam in 2013. Since then, we have been organizing workshops—sometimes self-organized, sometimes by invitation. H&amp;D workshops are informal and usually follow a hands-on and practical approach. Attendees mostly work at the intersection of technology, design, art, and education. Alongside organizing workshops, H&amp;D produce online and offline publications, and build open-source tools and platforms.&lt;/ref&gt; H&amp;D has been organizing workshops since 2013, and along the way has established social-technical affinities that are loose and stable, temporary and ongoing. We met and befriended many practitioners and sister organizations since, and got acquainted with manifold, peculiar pedagogical formats, and experimental approaches to working, learning, and being together. This publication 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 /> Situated somewhere between documentation and a call for action, the workshop scripts presented here 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 this 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 /> Documentation is rare, always incomplete, and it is therefore difficult to reconstruct what actually happens during such temporary collective learning communities. This is a challenge that art historian Heike Roms addresses in the conversation about [[#Workshop_Histories_and_Practices|workshop histories and practices]], which offers a wider historical scope for some of the questions addressed in this publication. In her work, Roms is interested in the history of artist initiatives that reformed art education through self-organized educational experiments in the 1960s and ‘70s in the UK, when artists and educators began to organize study-groups for teachers and students in their private homes. Such evening classes were structured around exercises, and became a kind of parallel institution. Roms suggests this was an attempt to create an equal status between the participants. Roms also points out that conducting research into such initiatives is difficult as usually they were not well documented. The emphasis of such practices was on the momentary collective experience, and not so much on what was being produced at the end, though often there were occasions where work was publicly shared. With some luck, there might be some leftover notes or printed materials, such as announcements, flyers, posters, and pamphlets that hint at the character and content of the activity. But few notes remain from the exercises. On occasion Roms found a prompt, a class outline, or a score. However, the ways in which such prompts were perceived, enacted, and iterated on is difficult to reconstruct. <br /> <br /> This publication addresses this challenge by drawing together workshop-based practices as a form of inquiry and by paying attention to the practice of (re)writing, (re)activating, documenting, and reflecting on “workshop scripts.” This 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 /> Moving through manifold contexts—from institutional to grassroots informal—H&amp;D as a collective is constantly in the making. Along the way, we are developing “terms of transition”&lt;ref&gt; Lauren Berlant, “The commons: Infrastructures for troubling times,” Environment and Planning D: Society and Space 34, no. 3 (2016): 393–419.&lt;/ref&gt;—socio-technical conducts that help us to navigate and “stay in touch” in uncertain times. Workshop scripts are traces of such an attempt. They are ephemeral documents that may be written by hand or take shape in open-source spreadsheets and notepads, Git repositories, Wikis, and mailing lists. These documents are brought into conversation and circulation and as such reveal something about the ways collective practices weave together a range of places, legacies, objects, and people across practices and disciplines, timelines and geographies. They are pragmatic as well as imaginative, capturing approaches, techniques, and atmospheres that evolve from within specific communities and practices, while holding together the chaosmos of collective self-organization. <br /> <br /> For instance, the workshop script “[[#ChattyPub|ChattyPub]],” gives instructions on how to “run” ChattyPub as a workshop and as a platform for discussion and as a publishing tool that explores a decentralized process of designing a publication and as an organizational open-source collaboration software. The script does not solely document an instantaneous workshop situation but rather explores the intersections between workshop/tool/platform/documentation/distribution. The script is pragmatic and invites others to take it on and run with it, while accounting for its entanglements within a specific socio-technical context. <br /> <br /> As situation-specific and context-sensitive artifacts, workshop scripts take manifold shapes and roles in this publication. Some derived from the immediate or wider context of H&amp;D and its members, some are historical examples, and some are works of fiction. They are accompanied by—or enmeshed in—anecdotes, essays, graphic novels, speculative how-tos, and reflexive conversations that both activate and situate them within the respective communities and practices. This eclectic collection of workshop scripts reflects the continued effort of building collective ties through documentation, the practice of sharing with each other, and paying attention to the details. You won’t find a precise definition of what a workshop script is. Instead you will encounter different ways that workshop scripts are understood, materialized, and put into practice across various contexts. A workshop script may be concise or expansive; it may include instructions and install manuals, code snippets, timetables, and readmes. It may also include context-specific, personal and narrative aspects. <br /> <br /> This publication attempts to approach these scripts and the practices they involve not as products of linear or reproducible processes but as resulting from and implied in particular socio-economic, socio-technical conditions. As such, the publication resists a generalized approach to the reproduction of these scripts. When possible, the initial appearance of the scripts, their format, and layout are left intact, forgoing the impression of a blueprint. Thus, the contributions may require some commitment, some attunement, and “getting into.”<br /> <br /> The idea for publishing these situated documents and their stories derived from both the frustration and joy of working and being together while negotiating unstable times and conditions, and paying critical attention to the fleeting nature of formats of encounter, as well as the continuous effort of staying in touch with those who we encounter. The scripts are never finished, they always require more work. In some ways this publication can be considered a scriptothek—a script collection that continues collecting. The script + othek contains bibliotheek. In the German and Dutch languages, the ''Bibliothek/bibliotheek'' is a place of careful collecting, deciphering, making available, and preserving the documents it holds and handles. Often, it is through the work and personal investment of a ''Bibliothekar*in'' that such a place and the documents it holds are activated and brought into circulation. <br /> <br /> My approach as an editor is inspired by that of the Bibliothekar*in. Similarly, it is also through personal and to some extent subjective affinities that I collect, decipher, preserve, and circulate the stories intertwined with the documents this Scriptothek holds. It is rooted in—and energized by—a sort of distributed locality. For instance the workshop script “[[#A_case_of_mistaken_identity|A Case of Mistaken Identity]]” by the graphic design collective Åbäke has been sitting in a pile of pedagogical documents since I received it as a workshop participant in 2010. It has been activated throughout the years, in implicit and explicit ways, and informed my personal appreciation for collective work in and outside art and design education. As you will read in the email conversation with Åbäke, my request to republish the document in this context unraveled an array of exchanges, tasks, and prompts. <br /> <br /> Thus, besides representing or giving visibility to specific documents and practices, publishing this eclectic collection in and of itself became a generative, ongoing, and to some extent uncontrollable collective praxis. The scripts included in this collection are time stamped. They had (or will have) a moment, a place, and a people that activate them. Simultaneously, by entering this collection they also create new correlations and future outlooks. The featured documents and practices are iterative and ongoing yet not “off-the shelf,” not to be executed and re-used in any context; they each come with their own terms of transition.<br /> <br /> Each contribution negotiated specific terms in order to enter this book—terms of activation, contextualization, adjustment, reconsideration, be it through specific licenses that were added or even by being taken out of the public domain entirely. For instance, I invited the makers of the Not For ANY licensing toolkit to contribute some of their exercises to this publication. The Not For ANY toolkit invited “collective engagement with open licenses from a (techno)feminist perspective in a playful and embodied way [...]” and included “a series of exercises to do this with.” And yet my invitation prompted the makers to take the toolkit offline. Instead, the initial page now serves as a redirect to other groups and practices who have been more intensively continuing and complicating the conversation around open licensing. Thus the editorial process set into motion new considerations about the conditions for further sharing (or not).&lt;br&gt;<br /> &lt;br&gt;<br /> <br /> ==== Clustering ====<br /> <br /> To assist the reader, the contributions are 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 /> The cluster '''Setting Conditions''' pays attention to the specificity of self-organized collective learning environments, their site and context specific vocabularies, and social-technical conduct. The aforementioned [[#Workshop_Histories_and_Practices|conversation between Anja Groten and Heike Roms]] sketches a larger (historical) context and sets the scene for the contributions that follow. The contribution “[[#Open-source_Parenting|Open-Source Parenting]]” by Naomi Walker and Erin Gatz of Prototype Pittsburgh, takes a “first things first” approach and attends to the conditions that need to be in place before being able to create or engage in any form of learning community. In their conversation, Erin and Naomi reflect on how Black women in Pittsburgh are creating a better future for themselves and how allies can support them in this work. The “[[#Platframe_Postscript|Platframe Postscript]]” compiled by Anja Groten and Karl Moubarak reflects on the collective process of building an online workshop environment that converges various tools and practices in a manner that sustains their “contours.” Throughout the process of imagining, building, and activating this digital infrastructure the edgy term “platframe” reminded the collaborators that this online environment they are building together consists of many parts, which do not necessarily blend together nor are they experienced as seamless. <br /> Angela Jerardi discusses [[#On_consensus,_in_two_parts|consensus-decision making]] models and practices, contextualizes them historically and in relation to contemporary activist communities. The project “[[#WINWIN|WIN WIN]]” by James Bryan Graves and Nienke Huitenga-Broeren concretely and imaginatively explores conditions in which less polarized online debate is possible by proposing a consensus-based algorithm that mediates controversial discussion and collective decision making. <br /> In “[[#Re-,_Un-,_Defining_Tools|Re-, and Undefinining Tools]],” the Feminist Search Tools (FST) workgroup reflects on the slow collective process of building, narrating, and testing an ongoing and evolving library search tool through various workshops, and meetups in various contexts and constellations. This non-conclusive process creates a condition in which various context-specific definitions of tools can be expressed, as well as criteria for the usefulness or usability of such tools. In the following contribution, Qianxun Chen sets new conditions for the FST conversation. The generative textual system “[[#Mycelines:_A_Sympoetic_Imagination|Mycelines]]” brings to the fore recurring terminology and formulations that evolved from this collective reflection on a tool-building process. In “[[#fileSHA_as_protocol|fileSHA as a Protocol]]” André Fincato and Karl Moubarak set the conditions for an asynchronous game by repurposing mailing list software. <br /> <br /> Within the cluster '''Prompts''' inhabit concise propositions and calls for action. Prompts can be playful provocations, invitations to reconsider, to change direction; a proposal to approach something familiar differently. The contribution “[[#Across_Distance_and_Difference|Across Distance and Difference]]” takes into consideration the changing economic and material realities of Mio Koijma and Hanna Müller, who formulate small assignments for each other as an attempt to structure and sustain their collaboration in times and conditions that seem to work against their efforts. Sandy Richter reflects on her [[#Channeling_Listeners|experience of participating in a workshop]] during the H&amp;D Summer Academy (HDSA) 2021, during which it was not immediately evident what the prompt was, who the host was, and who was the participant, or observer/listener. Through her reflection, the prompt of the workshop host Gabriel Fontana, is slowly unraveling. <br /> <br /> The prompts of the “[[#Reading_Food|Relearning Food]]” script challenge participants to pay attention to the routes our produce takes to reach supermarkets and eventually our plates. Their prompt is to reconsider grocery habits according to our geographies and localities. In her essay “[[#Untitling|Untitling]]”, Siwar Kraytem substitutes short anecdotes on the subject and practice of ''naming'' with prompts to trigger a discussion on the politics of naming. <br /> <br /> The prompts of the “[[#Spreadsheet_Routines|Spreadsheet Routines]]” by Anja Groten and Karl Moubarak as well as the “[[#Roleplaying_in_Etherpad|Etherpad roleplay]]” by Juliette Lizotte both utilize playful open-source collaborative writing and editing tools, which serve as workshop sites, which weave together prompt, method, and execution into an evolving collective techno-social narrative. Susan Ploets' LARP (Live Action Roleplay) script, “[[#Skinship|Skinship]],” prompts participants to explore the condition of being a collective body that inhabits, shapes and is shaped by an environment through sensory information. <br /> <br /> The contributions collected within the cluster '''How-to''' explore the tension between the pragmatism of workshop scripts on the one hand, and the imaginative, fictional aspects at work in such documents on the other. The contribution by Julia Bee and Gerko Egert offers a generous and comprehensive backdrop to the format and role of the how-to as it is explored in art, art education, and activism. They draw on several concrete examples of [[#Learning_to_Experiment,_Sharing_Techniques|how-tos]] such as “The perfect robbery” by Juli Reinartz and Tea Tupajic, “Give and Take” by the Social Muscle Club, “Conceptual Speed Dating” by Brian Massumi, and “Bodystrike” by the Feminist Health Care Research Group. These prompts derive from a compendium of how-tos, the publication Experimente Lernen, Techniken Tauschen edited by Julia Bee and Gerko Egert, and the accompanying platform Nocturne. According to Julia and Gerko, “the logic of speculative pragmatism allows us to think of techniques not as something one needs to earn, or learn to master, but as a way to put into practice speculation in the midst of an actual situation.”<br /> <br /> Similarly, contributions such as Mz* Baltazar's “[[#Mud_Batteries|Mud-batteries]]” and Juliette Lizotte’s “[[#The_Button_Saga|The Button Saga]]” are also rooted in actual situations, imbuing their reflexive stories with practical instruction. Juliette Lizotte recounts the eventful story of creating a seemingly straightforward interactive installation. The saga includes misunderstandings, pitfalls, and detours of working collaboratively, and negotiating diverging expectations and techno-social dependencies. Stefanie Wuschitz's graphic novel tells the history of the magazine [[#Gerwani_and_Api_Kartini._Indonesian_Womens_Movement|''Api Kartini'']] that evolved from the Indonesian Women's movement GERWANI. The Api Kartini zines focussed on publishing and disseminating practical knowledge for Indonesian women in the 1950s and ‘60s around health, repair, fashion, self-defense, and negotiating better work conditions, but also contain elements of storytelling and poetry, and imagine alternative futures for women in Indonesia at that time. <br /> In “[[#Display(ing)|Display(ing)]]” the fanfare collective discusses the way a workshop script can be induced in an object. Through its material affordances, the modular display system designed by Freja Kir and Lotte van de Hoef carries its own script and has been enmeshed in the ongoing and morphing collective practice of fanfare, who have been traveling with the display since 2014.<br /> <br /> The scripts and accompanying reflections collected in the cluster '''Distributed Curricula''' address aspects of time and duration, be it through timed exercises, through expressing a certain intentionality for continuation and longer-term engagement, or by paying attention to and taking as a starting point what is already there, the prevailing collective condition. Giselle Jhunjhnuwala reflects on the [[#Cooperative_gaming|workshop ''Phylomon'']] that catered to making and playing a cooperative game informed by local ecosystems. It addresses questions of longevity through the cooperative game mechanisms as well as the subject of building sustainable collective ecosystems, and durable ways of co-existing on planet Earth. The conversations “[[#Interfacial-Workouts|Interfacial Workhout]]” with designer, coder, and cook Sarah Garcin takes as a starting point one particular workshop instance and its residual effects within manifold workshop situations that followed. The text and accompanying scripts in [[#Scripting_Workshops|“Scripting Workshops”]] further contextualize the notion of the “workshop script” in the context of the collective practice of H&amp;D and reflect on our long-term commitment to organizing short-term learning situations.<br /> <br /> The contribution “[[#Am_I_a_hacker_now?|Am I a hacker now?]]” by Loes Bogers and Pernilla Manjula Philip about their intergenerational ''Solarpunk'' workshop reflects on an ongoing exchange and multi-local process of developing workshop scripts in collaboration with two sister organizations Mz* Balthazar's lab and Prototype Pittsburgh. While departing from the shared goal of developing intergenerational learning formats about and around sustainable technologies, the evolving workshop scripts took shape and were reshaped according to their respective local communities. <br /> <br /> The publishing tool “ChattyPub” evolved from and fed back into various workshop situations, of which the first one was hosted by Xin Xin and Lark VCR at the HDSA. The goal of the workshop, designing and building experimental chatrooms, sparked the idea among H&amp;D to develop [[#ChattyPub|''ChattyPub'']]—a platform and tool for co-designing a publication that utilizes a chat environment. In autumn of 2021, H&amp;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, featuring the various chatrooms that were built during their workshop. For this publication we reconnected with XinXin to continue our conversation about their practice as educator, artist, and activist, taking as a starting point the “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” which they recently published together with Katherine Moriwaki. (See cluster 'Active Bibliographies') <br /> <br /> The [[#wiki_reflections|====== wiki reflections ======]] by Yasmin Khan and Jessica Wexler look to the past and toward the future, exploring the ways a janky platform—the ''Workshop Project Wiki'' (WPW) developed by H&amp;D (André Fincato and Anja Groten)—can shape a learning community for design educators. The very condition of the platform and its unfamiliar syntax transformed the intergenerational group of workshop participants into peers. After several iterations of the FREE educators workshop, the Wiki remains the key location for publishing prompts, documenting outcomes, editing a growing glossary, and planning future workshop iterations. <br /> <br /> Contributions gathered under the cluster '''Active Bibliographies''' put forward careful selections of resources, generous catalogs, narrated reference lists, tips and tricks. They are ''active'' bibliographies because they are rooted in a sense of urgency and propose a shift. In “[[#Critical_Coding_Cookbook|Critical Coding Cookbook]],” Katherine and XinXin generously share their considerations and tactics of exploring their critical coding practices in parallel, local communities—informal educational environments that are multi-generational and non-hierarchical. Drawing on several “recipes” from the “Critical Coding Cookbook” they demonstrate multiple pathways to intersectional computing. Both contributions, “ChattyPub” and “Critical Coding Cookbook,” are exemplary of the inventive ways that collective practices initiate experimental and critical learning environments outside of or in parallel to institutional environments. And furthermore, they show how such conglomerates of critical makers and educators manage to create and sustain networks of like-minded practitioners—for instance through reusing code and methods, riffing off each other, co-organizing workshops, publishing and circulating their methods, and developing tools. <br /> <br /> Petra Eros reflects on her experience of participating in the [[#Did_video_kill_the_radio_(star)?|workshop + Rad I O]] by Mz* Baltazar’s Lab, which was further developed and hosted during the in 2021. She connects her workshop experience and the curiosities it sparked to various other initiatives with a stake in radio-making, and took her contribution as an opportunity to strike up an exchange with Good Times Bad Times community radio, which is published as part of her contribution. The contribution by Åbäke takes as starting point an [[#A_case_of_mistaken_identity|assignment]] of a workshop hosted by Åbäke in 2010. In their email conversation Maki Suzuki and Anja Groten ''re-collect'' their workshop experience and reflect on their evolving pedagogical practices since. <br /> <br /> Loes Bogers curated, edited, and commented on [[#Solarpunk_Postscript|an array of resources]] that take as a starting point the question: How can we resist compliance with the unsustainable status quo of digital computing and electronics? The resources she draws together are accompanied by short personal reviews followed by short prompts that translate some of the concepts proposed into simple, practical exercises. This resourceful and active list evolved along with the Solarpunk workshop development trajectory. <br /> <br /> Lastly, the [[#Workshop_Matters_and_Materials|conversation between Gabriel Fontana and Anja Groten]] took place while sifting through a pile of workshop scripts. Encountering these workshop scripts together and explaining what they meant to unravelled reflection on the various considerations that went into the specific workshops and their scripts, their different moments of activation, as well as their iterations. <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Mud-Batteries&diff=4358 2022-11-18T02:15:58Z

<p>MaisaMaisa: /* Mud Batteries  */</p> <hr /> <div>&lt;div class=&quot;article mud-batteries layout-1&quot; id=&quot;Mud_Batteries&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-website&quot;&gt;<br /> [[File:mud-how-to.jpg|thumb|class=title_image|Stills from an instruction animation by Stefanie Wuschitz]]<br /> &lt;/div&gt; <br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<br /> [[File:mud-how-to.jpg|thumb]]<br /> [[File:Mud-drawing3.jpg|thumb]]<br /> [[File:Mud-drawing2.jpg|thumb]]<br /> &lt;/div&gt;<br /> <br /> === Mud Batteries ===<br /> ==== [[#Solarpunk Postscript|Solarpunks]] Intergenerational Workshops—Vienna edition ==== <br /> &lt;span class=&quot;author&quot;&gt;Olivia Jaques and Stefanie Wuschitz (Mz* Baltazar's Lab)&lt;/span&gt; <br /> &lt;div class=&quot;block&quot;&gt;<br /> <br /> 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 /> <br /> &lt;hr /&gt;<br /> <br /> ==== 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 /> <br /> &lt;div class=&quot;video-center&quot;&gt;[[File:mud.mp4|thumb|Animation How to make a battery from mud]]&lt;/div&gt;<br /> <br /> [[File:Muddy.jpg|thumb|Workshop participants scooping mud]]<br /> <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 /> <br /> [[File:Mud-drawing1.jpg|thumb|Detail image from a follow-up zine workshop]]<br /> <br /> 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 /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> ::''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 /> '''Stefanie Wuschitz:''' When Anja Groten and Loes Bogers asked our collective, Mz* Baltazar's Lab, to collaborate with H&amp;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 /> <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 /> <br /> 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;amp; Designers, Prototype, and Mz* Baltazar's Lab play different roles or perform different functions to their specific environments? <br /> <br /> '''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;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 /> <br /> '''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 /> <br /> Referring to the adults as “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 /> <br /> [[File:Muddy2.jpg|thumb|Image from mud batteries workshop]]<br /> <br /> '''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|Detail image from a follow-up zine workshop]]<br /> &lt;br&gt;<br /> <br /> &lt;small&gt;<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 /> ::'''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 /> &lt;/small&gt;<br /> <br /> &lt;/div class=&quot;block&quot;&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Template:Intergenerational-Solarpunks&diff=4357 2022-11-17T23:04:14Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Am_I_a_hacker_now? layout-2 add-chaptertitle2&quot; id=&quot;Am_I_a_hacker_now?&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-website&quot;&gt;<br /> [[File:Solar-teams.jpg|class=title_image|thumb|Sketch of workshop setup and game]]<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<br /> [[File:pod-mapping.png|thumb|Pod Mapping: During one of the first work sessions with H&amp;D, Mz* Baltazar and Prototype Pittsburgh, Pernilla proposed to try the method &quot;Pod Mapping&quot; as developed by Mia Mingus for Bay Area Transformative Justice Collective (BATJC), June 2016. Find more information about the method and the worksheet: https://batjc.wordpress.com/resources/pods-and-pod-mapping-worksheet/]]<br /> <br /> [[File:Solar-teams.jpg|thumb|Sketch of workshop setup and game]]<br /> [[File:Solar-teams-html.jpg|thumb]]<br /> [[File:Solar-intro.jpg|thumb]]<br /> &lt;/div&gt;<br /> <br /> ===Am I a hacker now?===<br /> &lt;span class=&quot;author&quot;&gt; Loes Bogers and Pernilla Manjula Philip &lt;/span&gt;<br /> ==== [[#Mud_Batteries|Solarpunks]] Intergenerational Workshops—Amsterdam edition ====<br /> <br /> &lt;blockquote&gt;&quot;Am I a hacker how?&quot;&lt;/blockquote&gt;<br /> ''Quote by Uma (11-year old participant)''<br /> <br /> As part of an [[#Mud Batteries|international collaboration]] on the topic of solarpunk, H&amp;D members Loes Bogers, Pernilla Manjula Philip, Anja Groten, and Heerko van der Kooij developed an [[#Open-source_Parenting|intergenerational workshop]] for children and adults that imagines sustainable networking in a solarpunk manner. In this text we reflect on the workshop experiences and how they helped us to articulate our views on what solarpunk could mean within our practice.<br /> <br /> ==== Solarpunk beginnings ==== <br /> The term solarpunk was not invented by us. Solarpunk is an existing movement, aesthetic, and genre of fiction—including literature but also art, fashion and activism—that envisions a future where inhabitants of the earth have managed to find a way to live sustainably, and/or imagines how we might get there. Jay Springet compiled a nice list of references.&lt;ref&gt;https://medium.com/solarpunks/solarpunk-a-reference-guide-8bcf18871965&lt;/ref&gt; What you notice in these texts, and the imagery associated with it, is that technology plays a role in supporting the lives of people as well as other living beings. H&amp;D approached the concept in a very hands-on way: by carrying out practical experiments around an alternative internet— network infrastructures—that are more sustainable than our current infrastructures and the way we design and use them. Exploring no-power or low-power computing can be solarpunk, for example. Solarpunk has radical potential, it's optimistic and hopeful. For that reason it seems like a fitting genre to explore with children. Children are quite good at imagining things in a positive way and are often unafraid to tear things down. This seems fitting to the project of radical future-making: things cannot stay as they are, something's gotta give. <br /> <br /> [[File:Findfirstrteasure.jpg|thumb|Image from the scavenger hunt]]<br /> <br /> &lt;blockquote&gt;<br /> Examples of solarpunk that resonate with us are the works of fiction writer Ursula K. Le Guin, in particular the novel The Dispossessed (1974). The role of technology in this novel is very advanced (like quantum technologies advanced), but limited to the common good—never solely for the benefit of one (group of) individual(s). It also portrays queerness and forms of childrearing, and alternative divisions of labour, which particularly resonated with us in the context of this [[#Open-source Parenting|intergenerational project]]. &lt;/blockquote&gt;<br /> <br /> [[File:Solarpunk-4.jpg|thumb|The designer team making the cases for the Wifi packages]]<br /> <br /> &lt;blockquote&gt;The afro-futurist blockbuster Black Panther (2018) could also be seen as an example of solarpunk. It shows a way of dealing with technology in a society that is highly advanced and at the same time attuned to prevailing living eco-systems and natural resources.&lt;/blockquote&gt;<br /> <br /> [[File:Solarpunk-3.jpg|thumb|Hacker team making the mini websites that were uploaded on the Wifi modules]]<br /> <br /> &lt;blockquote&gt;In our shared solar punk adventure we tried to build something that could be anchored in a concrete setting within which fictional solar punk scenarios could be experience in material ways.&lt;/blockquote&gt;<br /> <br /> ==== Scavenger Hunt (Bring Your Own Grown-up) ==== <br /> We developed the workshop Solarpunk Kids Scavenger Hunt (Bring Your Own Grown-up), which was held at NDSM-Kunststad in Amsterdam, and later at Page Not Found in the Hague. For this workshop we invited the participating kids to bring a grown-up they liked. In most cases—but not all— this was a parent. In the workshop, participants learnt how to program solar-powered wifi modules and played a digital scavenger hunt in public space together. To create this, we proposed that the kids would play the role of the game “designers” and the parents would play the “hackers” of the infrastructure. <br /> <br /> [[File:Solarpunk-8.jpg|thumb|Participant assembling the Wifi package]]<br /> [[File:Solarpunk-9.jpg|thumb|Assembled Wifi package]]<br /> <br /> * “Turn on the wifi on your phone and see if you can find the network called ‘solarpunk-schat.’ What happens when you connect to it?”<br /> * “I see a website that says we have to look for a treasure that is hidden in the NDSM hangar<br /> * “I think I've seen those yellow pillars shown in the photo! Come!”<br /> * “Oh I can't see the website anymore, the signal is gone, did anyone save the pictures?”<br /> * “No, let's go back to the signal and look at them again!”<br /> <br /> In the workshop, the hackers (grown-ups) learned how to program an ESP-based device so that it functioned as a small local web server which could host a small website of no more than 1 MB. The device can be powered by a battery that is charged by a small solar cell, which serves as a mobile signal sender that broadcasts the website locally—not via the WWW—from your pocket or wherever you put it in the space. Each server gives out a Wi-Fi signal with a range of 20-25 meters, so users have to be pretty close to the module in order to connect to the wifi signal, and see the small webpage the ESP is serving. While you are connected to the ESPs wifi signal, you can view the page that holds the clues you need to find the hidden treasure. We were first introduced to this method by dianaband, an artist-duo based in Seoul who used it in the Walking Signals workshop they hosted at H&amp;D in 2019. <br /> <br /> * “I found the box!”<br /> ** “Great! What's inside?”<br /> * “Umm, a lot of little devices, I don't know what they are, and pieces of a jigsaw puzzle.”<br /> ** “You found the workshop materials! With these, we will make a small, solar-powered internet, and design a scavenger hunt game for it that we play together at the end of the afternoon.”<br /> ** “Oh cool, do we each get one?”<br /> * “Yes, each of you gets to hide one piece of the puzzle, and you will make a website together to provide clues about your hiding spots.”<br /> ** “But first, let's talk a bit about the Internet. Who is willing to share how long you are up before you open your phone in the morning?”<br /> <br /> By means of introduction, and to activate the knowledge and experiences already present in the group, we asked questions such as: Can you name any devices the Internet is made up of? Do you have an idea what a router does (that little device with the lights, that is probably in your hallway or in a closet)? Where does a website live? Let's compare our mini servers to a &quot;data center,&quot; how is it different you think? How much power do these consume? Is it bad for the environment? <br /> <br /> [[File:Modules notes.jpg|thumb]]<br /> [[File:Modules and boxes.jpg|thumb|Workshop sets]]<br /> <br /> The small DIY internet we made in the workshop helped to put into perspective the scale and vastness of the resources, materials, and infrastructure to be mined, dug, and maintained in order to create the Internet as we know it. The system was not going to be worldwide, more of a neighborhood network. What would that mean and what would it allow us to do? Is it possible to imagine that not all of the Internet has to be worldwide and running all the time? How much power is consumed by everyday infinite scrolling and streaming? Is it bad for the environment? What could a lighter, more sustainable internet look like? And would such an internet be as fun as the one we know?<br /> <br /> <br /> * “Can you think of a moment when you noticed that the Internet is very ‘heavy’?”  <br /> ** “Yes, when a YouTube video loads very slowly and keeps stopping!”<br /> * “Ah right, yes, I get that too sometimes. What can you do to make it better?” <br /> ** “Well, you can change the quality but then it looks a bit ugly and it's not as fun.”<br /> * “Sure, if you don't have the bandwidth for it, it's not so nice to watch a heavy video. What could we do to make it lighter?” <br /> ** “Umm maybe we could make all the videos extra fast, so they're shorter? That could be funny.”<br /> * “Good idea! Maybe we can think of some more ways to make a smaller internet, and make sure it's still really fun.”<br /> <br /> The Internet often feels like an abstract thing for most of us, even though it's everywhere, all the time. But building a kind of internet for ourselves allows us to relate to networking in a new way. It becomes less abstract and more of a material to work with/against/through, which continuously interacts with all sorts of other things. In the process of doing that, you notice that not everything is possible and there are many forces with which to negotiate. People might police the space you are working in, and ask why you are installing strange devices. There is limited memory space available on devices you can power with a solar cell, so you have to shrink your ideas somehow. There are other people who might be younger, or older, or otherwise different, so you have to adapt how you play to make sure everyone enjoys themselves and feels safe.<br /> <br /> [[File:Design by uma.jpg|thumb|Web design by Uma]]<br /> <br /> * “So, designers, let's decide what our rules are so everyone has a good time. The grown-ups also have to follow them, so this is your chance.”<br /> ** “Don't hide anything higher than your head so everyone can reach it!”<br /> * “Be nice and help each other!”<br /> ** “The grown-ups have to get us ice creams!”<br /> * “Very good. We're ready to go hide the puzzle pieces! Make sure to pick locations that are challenging but not impossible to find. Take a few photos of where you hid the treasure.<br /> These photos will serve as clues for the other designer/hacker duos. No snitching about your hiding spot!”<br /> <br /> [[File:Searching.jpg|thumb]]<br /> [[File:Shop.jpg|thumb]]<br /> [[File:Shop2.jpg|thumb|Scavenger hunt]]<br /> [[File:Street.jpg|thumb|Scavenger hunt]]<br /> <br /> The treasure for this scavenger hunt was a jigsaw puzzle, but it could be anything. The first time we played the game were at NDSM Kunststad, where the H&amp;D studio is based. NDSM was previously a ship wharf and now hosts studios for all kinds of creative people, as well as hosting regular events like a large flea market. It’s a very large space with lots of little nooks and split levels. The location plays a huge part in establishing the dynamics of making and playing the game. A good way to start is to go out and observe the surrounding area such as streets, people, shops, and sounds. Sharing ideas and thoughts in a space with people you have just met can be challenging. We found that physical activities such as exploring the area were a good way to break through these initial discomforts. <br /> <br /> The second workshop was hosted at the bookshop Page Not Found in the Hague. This time, the space wasn't big enough for the scavenger hunt, so we had to take it outside. And sure enough, it was raining all day. As such, part of the design process involved approaching shop owners in the neighborhood and asking them to hide our treasures and host our electronics inside their shops. Our requests were met with curiosity and enthusiasm. Some of the shopkeepers even logged into our internet with their phones, kept up with the workshop as it unfolded and found out where the clues were hidden. With these new (passive) participants, putting up our temporary light internet involved more actors and negotiation. Hosting a workshop on the streets and making contact with shopkeepers relates to the real-life Internet: Where do you put the infrastructural elements? Whose cooperation do you need? Who gets to say yes to a datacenter and what does it mean for the place where it’s built?<br /> <br /> “Now that all of you have hidden the treasure and taken pictures of the hiding spots, let's think of clues to help the other players find your treasure. Are there interesting details that could help the players to recognize the spot? Which details do you want to give so players know where to look without making it too easy?” <br /> <br /> We asked the designers to provide clues in the form of text and images to help the players find the treasure during the scavenger hunt. They explained this to their hacker partner, who by this point had learned how to upload a 1MB website to the Wi-Fi device. After pairing up again and showing each other what they had done so far, each pair was asked to create a very small website that provided the clues, and upload it to a server module. In the process, the designers shared tricks and tools for dithering and compressing images, finding cool fonts, and downloading GIFs from a website. <br /> <br /> * “How big is 1 Megabyte?” <br /> ** “Hmmm, I don't know. Not very big?” <br /> * “I think a high quality photo you take with your phone is already more than 1MB?” <br /> ** “And videos are even bigger.”<br /> * “That's totally right. One minute of MP3 audio is about one MB, or one good quality picture from a website. These are often made a bit smaller before they are put on the Internet. That's called compression and there's many tools for that.” <br /> What are the limitations of the hardware we chose to build this DIY internet? For one, it meant that the designers could not build websites larger than 1 MB. Because file size is quite an abstract concept, it was interesting to explore how a 1 MB website compared to a website, or an hour of online gaming or YouTubing. How can you make files smaller using compression tools, and how does that relate to file sizes and file types? <br /> * ”Uploading the websites is in process! Let's take a look at the other parts we need. What else is in your kit?” <br /> ** ”A solar panel! And a battery I think, and I don't know what this device is.”<br /> * ”Ok let's see how all these things need to be connected, we made some instructions to help you.” <br /> ** ”Which one is the minus side of the battery again?” <br /> * ”The flat side!” <br /> ** ”The first modules are ready, let's make cardboard houses for protection that keeps it all together. You can also design it and make it look good!”<br /> <br /> It was fun for the kids to design small boxes for the models and it buffered some of the time required for website building and hardware uploads. Some kids found this part a bit too tedious, and crafting the housing was a good hands-on alternative. It turned out that these playful box designs not only protected the devices, it also made them look a more innocent, like a friendly disguise. When we were testing the modules during the workshop development process, someone had already come up and asked what we were doing. They had become suspicious having seen two adults leaving random hardware in a shared space. <br /> <br /> * “All set! One of the hosts will go and hide your modules now, so it's a surprise for everyone where the network nodes are broadcasting from.”<br /> ** “In the meantime, we still have to tell the grown-ups about the rules we made to play the game. Who wants to explain the rules? ”<br /> * “I will do that!”<br /> ** “Oh, and I see there's something about ice creams...?”<br /> <br /> When all the servers with the clue websites were hidden, we made a list of network names to look for, and played our own adrenaline-fueled scavenger hunt. Participants had to find and connect to Wi-Fi networks on their phones to see the clues for where the treasure was hidden, and continue until the entire puzzle was complete. The workshop culminated in playing the game, which was fun and exciting to play together. And of course, there was ice cream to top it off. <br /> <br /> ==== Reflection: Solarpunk futures ====<br /> The workshop was developed in the context of a larger collaboration with feminist hacklab Mz* Baltazar's Lab in Vienna and feminist makerspace Prototype in Pittsburg, with whom we regularly exchanged ideas and tracked our progress. Our regular conversations helped us grow further understanding of other locations, communities and urgencies, as we developed the intergenerational solarpunk workshops connected to our respective practices. Stefanie Wuschitz from Mz* Balthazar's Lab gave a very insightful presentation about the materials involved in creating the circuitry for the ESPs, batteries, and solar charging boards we were using. It transpired that this electronic circuitry, and the batteries needed to transmit steady voltage to most computer chips, contained many toxic and/or finite resources like semi-precious metals. This discovery set us back slightly: We wanted to make a solar powered internet, but for that, we needed batteries, circuit boards, the solar panel itself, and a microcontroller. So we had to sit with that thought a bit more. <br /> <br /> Solarpunk is known for having a positive attitude toward the future, but at the same time it is positioned as an adherent to the systems that prevent this brighter future from being achieved—making it anti-capitalist, anti-authoritarian, anti-consumerist.<br /> <br /> These critical reflections led us to zoom in on the general assumption that any problem can be fixed with more technology. Such problem-solving attitudes are preserving the status quo. A positive outlook and creative space can be found in playing and experimenting with expectations and demands that are put on the tools like network technologies. Do we really need constant internet access, and for every single thing we do? Is there a way to do more with less? Can the practice of unlearning or deactivating desires around technology show us new ways of imagining desirable futures? <br /> <br /> For us, both the development process and the actual workshops provided critical yet thoroughly joyful opportunities to carve out a playground for sharing, rewriting and acting out techno-imaginaries for our shared future. <br /> <br /> <br /> ''Do you want to host your own workshop? The complete workshop script is available here: https://github.com/hackersanddesigners/WifiZineThrowie_ScavengerHunt''<br /> <br /> &lt;small&gt;<br /> '''Loes Bogers''' is a jack of all trades, exploring many disciplines at once. She often gets lost in the world of technology and philosophy, but fluidly tinkers her way back with her accessible hands-on approaches to complex ideas. Loes has formal training in interactive media (MA, Goldsmiths) and media theory and cultural studies (BA, University of Amsterdam). She is an experienced facilitator and educator, and sometimes writes when she's not busy dancing or shape-shifting all things tangible. She has been a core member of Hackers &amp; Designers since 2019 and currently works at the Amsterdam University of the Arts. Loes is based in Rotterdam.&lt;br&gt;<br /> <br /> '''Pernilla Manjula Philip''' is an Amsterdam-based Desi from Sweden who likes to make things and tell stories. She’s interested in exploring what it’s like to live in a body in the world. She wonders how tools shape norms and influence our feelings. How do institutions like the healthcare system affect confidence? Can you build your own tools to help? The artworks Pernilla likes to make often take her lived experience as a starting point, although a variety of experiences and viewpoints are central to the process.<br /> &lt;/small&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Learning-to-Experiment&diff=4356 2022-11-17T22:58:58Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Learning_to_Experiment,_Sharing_Techniques layout-1 add-chaptertitle1&quot; id=&quot;Learning_to_Experiment,_Sharing_Techniques&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-website&quot;&gt;<br /> [[File:Perfect-robbery-Experimente-lernen-cropped.jpg|thumb|class=title_image|How-to &quot;The Perfect Robbery by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;

<br /> [[File:Experimene-Lernen-cover.jpg|thumb]]<br /> [[File:Perfect-robbery-Experimente-lernen.jpg|thumb|How-to &quot;The Perfect Robbery&quot; by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Give-and-take-Experimente-lernen.jpg|thumb|How-to &quot;Give and Take&quot; by Social Muscle Club,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Massumo-Experimente-lernen.jpg|thumb|How-to &quot;Conceptual Speed Dating&quot; by Brian Massumi,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen-web.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen2.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> &lt;/div&gt;<br /> <br /> === Learning to Experiment, Sharing Techniques ===<br /> &lt;span class=&quot;author&quot;&gt; Julia Bee and Gerko Egert &lt;/span&gt;<br /> <br /> &lt;div class=&quot;block&quot;&gt;<br /> <br /> &lt;blockquote&gt;<br /> “[S]tudy is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held under the name of speculative practice. The notion of a rehearsal – being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory – there are these various modes of activity.”''&lt;ref&gt;Stefano Harney and Fred Moten, ''The Undercommons. Fugitive Planning and Black Study'' (Wivenhoe: Minor Compositions: 2013),110.&lt;/ref&gt; &lt;/blockquote&gt;<br /> <br /> “To study” is an activity—it combines teaching and learning, two activities that are usually considered separate. In the book ''The Undercommons. Fugitive Planning and Black Study'', Stefano Harney and Fred Moten set out to distinguish the collective activity of study from the study that takes place within educational and academic institutions. They point out that collective study happens while playing, making music, biking, discussing with friends, traveling. While teaching and learning in Western societies is deemed to take place within educational institutions, and is structured by evaluation systems, assessments, and grades, Harney and Moten show that study is by no means limited to these spaces. They argue that most study happens beyond institutional settings. Study is collective, sometimes you are a learner and sometimes a teacher, but often you are both. Teaching and learning do not just happen, they are not only emergent events, they are made possible through a series of techniques. Sometimes these techniques are visible, while often they go unnoticed. These techniques—rather than the institutions with which they are associated—are what we are interested in.<br /> <br /> ==== ''nocturne'': A platform for teaching and learning ====<br /> <br /> Often, we meet scholars, artists, and activists who have developed ideas and pedagogical techniques in their personal practices and in dialogue with their students and workshop participants. In order to share these techniques beyond their initial contexts—classroom, studio, workshops—we initiated ''nocturne'',&lt;ref&gt;See [http://www.nocturne-plattform.de/ www.nocturne-plattform.de]&lt;/ref&gt; a platform for experimental knowledge production across art, academia, and activism. It is a platform that grew from our curiosity and enthusiasm for the many experimental pedagogical formats that exist outside of dominant institutional settings. It brings together a series of techniques for experimental teaching sourced across the fields of art, performance, philosophy, theater, film, and media studies. Each contribution consists of a technique that was developed during seminars and workshops, and in studios and rehearsal spaces. The contributions include: a collaborative fabulation of a bansk robbery; the now familiar format of the reading group; writing workshops; collage; film essays; and a group performance. The platform is intended to offer an insight into the field of experimental and collaborative pedagogy. It is understood as open-source in the sense that it is an invitation to try, adapt, and further develop the techniques in other contexts. In this respect, by collecting and documenting the techniques, we are contributing to the continued circulation of knowledge that extends beyond institutional boundaries.<br /> <br /> We focus primarily on techniques that use artistic practices not only as illustrations of theories, but that take them seriously as practical ways of thinking. As such, the techniques are connected to academic education and political activism. We are interested in the diversity of techniques and procedures at work in artistic practices and the processual knowledge they produce. These techniques include playing, dancing, creating space, montaging, collaging, writing, etc. Through reading groups, teach-ins, or collective fabulations,&lt;ref&gt;Gilles Deleuze, “Mediators,” in ''Negotiations, 1972-1990'', (New York: Columbia University Press, 1995), 121-134.&lt;/ref&gt; they question the hierarchical order between production and reproduction, practice and theory, n research and teaching.<br /> <br /> Through our engagement with experimental pedagogies, we build upon a long history of activity including that of Black Mountain College; the Feminist Studio Workshop; the work of artists such as Lygia Clark, Miklós Erdély, and Dóra Maurer; and educators such as Paulo Freire, bell hooks, and Leanne Betasamosake Simpson. Recent initiatives include the Performing Arts Forum in St. Erme and the SenseLab in Montréal. Most examples practice(d) outside of established institutions, while others are part of existing curriculums for art and design.&lt;ref&gt;Nina Paim, Corinne Gisel, and Emilia Bergmark (ed.). ''Taking a Line for a Walk. Assignments in Design Education''. (Leipzig: Spector Books, 2019); Gerko Egert et al. ''Radical Pedagogies. Inflexions. A Journal for Research Creation'', No. 8 (2015): http://inflexions.org/radicalpedagogy/main.html; 
Beatrice Jaschke, Nora Sternfeld, and Schnittpunkte (ed.) (2012): ''Educational Turn. Handlungsräume der Kunst'', Wien and Berlin: Turia &amp; Kant.&lt;/ref&gt; <br /> <br /> These foundations are echoed in the techniques explored in ''nocturne''. Some techniques, like the contributions by Erin Manning and Brian Massumi, were developed in the context of one of the projects, while others, like Juli Reinartz’ or Inga Zimprichs engaged with this history more indirectly.<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> ==== How-To… ====<br /> <br /> In our first publication ''Learning to Experiment, Sharing Techniques: A Speculative Handbook''&lt;ref&gt;Julia Bee and Gerko Egert (ed.), ''Experimente lernen, Techniken tauschen. Ein spekulatives Handlbuch'' (''Learning to Experiment, Sharing Techniques: A Speculative Handbook'') (Weimar/Berlin: Nocturne, 2020).&lt;/ref&gt; we adopt the format of a “how-to” style manual to “document” the techniques included. By mimicking the how-to of a handbook we emphasize the pragmatic approach to every technique. It is a book to use. And yet its pragmatism does not equate with a goal-oriented approach. In fact, for us, pragmatism is a form of engagement that is attuned to an actual situation but not limited to it. To avoid pragmatism becoming a means to an end, we emphasize its speculative dimension. It may seem paradoxical at first to use speculation and pragmatism simultaneously. But the logic of speculative pragmatism&lt;ref&gt;Erin Manning and Brian Massumi. ''Thought in the Act: Passages in the Ecology of Experience''. (Minneapolis: University of Minnesota Press, 2014).&lt;/ref&gt; allows us to think of techniques not as something one needs to earn or learn to master, but rather as a way to put into practice speculatively in the midst of an actual situation. Speculative how-tos, as we propose them, are open to appropriation. They are, in Brian Massumi’s words, “enabling constraints.”&lt;ref&gt;Brian Massumi, Brian and Joel MacKim. “Of Microperceptions and Micropolitics. An Interview with Brian Massumi,” ''Inflexions. A Journal for Research-Creation,'' 3 (2009), http://www.inflexions.org/n3_massumihtml.html&lt;/ref&gt; <br /> <br /> A technique that straddles the line between pragmatism and speculation in a performative way is [[#The_perfect_robbery|The Perfect Robbery]] by Juli Reinartz&lt;ref&gt;Juli Reinartz studied philosophy and dance in Berlin and choreography in Stockholm. Since 2012, she works as freelance choreographer. In 2012, she received a one-year residency at the Royal Institute of Art in Stockholm. Since 2019, Juli is conducting a doctoral research at Uniarts Helsinki in which she explores disorientation as a choreographic strategy. “Konturen” (2020) and “Yes Contours Time Disorientation xt”(2021) have put different performative structures into practice. “All late, all babe” will conclude the research in 2024.&lt;/ref&gt; The task is simple: plan to rob a bank. While time and location situate the technique in the here and now, the task immediately opens up a space for collective planning fueled by the speculative energy of criminal conspiracy, making it speculative in its radical sense. It is a technique of future problem-solving rather than free-floating imagination. This combination of pragmatism and speculation is shared by many of the techniques included on ''nocturne''. They are pragmatic because they orient an action or a collective toward processes embedded in the here and now. They are speculative because they transform this process, feeding it into new situations, and thereby changing the collective as much as the situation itself.<br /> <br /> ==== Pragmatic Experimentation ====<br /> <br /> The techniques gathered at ''nocturne'' are not simply practice-based, but pragmatic in their philosophical sense. They take experience seriously as a starting point from which to work with theoretical concepts.&lt;ref&gt;John Dewey, ''Experience and Education'' (New York: Free Press, 2015); James, William. ''Essays in Radical Empiricism'' (Lincoln: University of Nebraska Press, 1996); Whitehead, Alfred North. ''The Aims of Education and other Essays'' (New York: Free Press, 1967). &lt;/ref&gt; Rather than just applying thinking to experience or experience to thinking, the relation between the two realms—theory and practice, thinking and experiencing—grounds every practice. This logic of co-composition shifts teaching from an act of mediating learning content, to a form of experimentation in which content and techniques are in constant dialogue and constantly rearranged, making the very distinctions between theory and practice, and concept and experience, even harder to maintain. When we think of pedagogical techniques and the activity of teaching, we do not limit it to the explanation of existing knowledge, but think of them as situations joint together by learning and experimentation, from which topics and techniques emerge and are experimented with. We consider learning in a broad and embodied sense, focusing on the art of creating situations from which something new can emerge. This is why we turn to those spaces where art, activism, and pedagogy are intertwined.<br /> <br /> Through her work as a teacher, bell hooks has shown us how the personal experiences of teachers and learners—inside and outside of the classroom—are key for pedagogical processes. These experiences are social and saturated by power structures. It is these power structures that must become the starting point of a political and critical reflection on education.<br /> <br /> The questioning of existing structures generates new access to knowledge spaces, especially for those who are formally or informally excluded due to their background and biography.&lt;ref&gt;Pierre Bourdieu, ''The Inheritors: French Students and Their Relation to Culture'' (Chicago: University of Chicago Press 1979).&lt;/ref&gt; Therefore, ''nocturne'' places artistic research in dialogue with classical examples of social emancipation in the fields of media, art, and cultural studies. The aim of artistic pedagogies is not the promotion of creativity as an end in itself, but the activation of emancipative and reflexive processes on the level of perception and bodily activity.<br /> <br /> bell hooks, writing from an African-American working-class perspective, sees her teaching practice as a professor and lecturer at a university as an activity of change, liberation, and empowerment. In ''Teaching to Transgress'',&lt;ref&gt;bell hooks, ''Teaching to Transgress. Education as the Practice to Freedom'' (London and New York: Routledge, 1994).&lt;/ref&gt; the first title of her trilogy on teaching, hooks describes her encounters with those who resisted the different and radical forms of pedagogy she tried to put into practice. According to hooks, freedom and transgression can by no means be achieved by simply negating outmoded pedagogies. New techniques and new pedagogical concepts are needed to empower precisely those students (African-Americans, immigrants, women*, first-generation academics) who are all too often overlooked in existing structures. For hooks, teaching can form a technique of transformation and collectivity, “The power of the liberatory classroom is in fact the power of the learning process, the work we do to establish a community.”&lt;ref&gt;bell hooks, ''Teaching to Transgress. Education as the Practice to Freedom'' (London and New York: Routledge, 1994), 153.&lt;/ref&gt; Affects such as “excitement” and “fun”&lt;ref&gt;hooks, ''Teaching to Transgress'', 7.&lt;/ref&gt; are prerequisites for learning and teaching. She calls for pedagogical techniques that focus less on teaching and more on the “atmosphere” of learning itself.&lt;ref&gt;hooks, ''Teaching to Transgress'', 7.&lt;/ref&gt; This shows how affect is not incidental, but in fact determines how habitus makes one move subconsciously away from or toward certain learning situations.&lt;ref&gt;Pierre Bourdieu, ''The Logic of Practice''. (Stanford (CA): Stanford University Press, 1990).&lt;/ref&gt; We think of terms like “excitement” as affective spaces of possibility and ways in which bodies affect other bodies and can themselves be affected.&lt;ref&gt;Benedictus de Spinoza, ''Ethics: Proved in Geometrical Order'' (Cambridge: Cambridge University Press, 2018).&lt;/ref&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> ==== Learning outside of the University ====<br /> <br /> In recent years, non-academic learning formats have gained traction. They connect to the radical pedagogies of the 1970s and 1980s, to feminist and Black reading circles, to empowerment and consciousness raising, and to decolonial struggles in the Americas. They reference the pedagogical and therapeutic reforms of Fernand Oury and Aïda Vasques (1969), Paulo Freire (2018), bell hooks (1994), Félix Guattari (2015), and Fernand Deligny (2013). Movements influenced by these thinkers, teachers, artists, and political activists, have invented ways of learning that aim to make social, individual, and institutional transformation and change.<br /> <br /> Next to critical developments in pedagogy, artists of the 20&lt;sup&gt;th&lt;/sup&gt; century engaged repeatedly in new and different forms of teaching and learning. For example, Alan Kaprow explored playful pedagogies in his happenings, extending activities of teaching and learning into the realm of art and feeding artistic techniques into the curriculum of schools and universities.&lt;ref&gt;Vesna Krstich, “The Pedagogy of Play: Fluxus, Happenings, and Curriculum Reform in the 1960s,” in ''C Magazin'' 131 (2015): 14–18.&lt;/ref&gt; Or, in a similar manner, composer, musician, and university professor George E. Lewis, in ''Collaborative Improvisation as Critical Pedagogy'',&lt;ref&gt;George E. Lewis, “Collaborative Improvisation as Critical Pedagogy.” ''Nka Journal of Contemporary African Art'' 34, (2014): 40–47.&lt;/ref&gt; describes his artistic practice of jazz as an act of collective mediation in experimental improvisation, “In this view, improvisation becomes a critical practice as well as a means to aesthetic statement - a space where discontinuity, disruption, support, and struggle become audible pathways to new experience.”&lt;ref&gt;Lewis, G. E., “Collaborative Improvisation as Critical Pedagogy.” ''Nka Journal of Contemporary African Art'' 34, (2014): 46.&lt;/ref&gt; Both of them&lt;ref&gt;Lewis more implicitly, Kaprow explicitly in his interest in the philosophy of John Dewey.&lt;/ref&gt; tie in with the theories of pragmatism mentioned above. Their artistic engagements placed experience at the very heart of learning. Rather than the teaching serving as a way to bestow knowledge upon students, the impact of the material learning environment became the focus of their pedagogies.<br /> <br /> Today, at film or theater festivals, museums and galleries, both formal and informal learning takes place. Silent University, School of Commons, Training for the Future, and Black Market for Useful Knowledge and Non-Knowledge are just a few of the many frameworks in which alternative modes of learning are being organized. In Black Market, Hannah Hurzig for example assembles teachers and learners who, in precisely-timed sessions, share, and produce knowledge through one-to-one conversations. The people she invites are experts in many regards. Hurzig is explicitly concerned with creating informal structures in which a broad spectrum of knowledge is negotiated with and circulated.<br /> <br /> While many of these projects share references to educational intuitions by referring to themselves as schools or universities, others, like the Social Muscle Club&lt;ref&gt;Social Muscle Club is a group of international artists who have been working together in different forms since 2012 to change our usual habits of thinking and doing and 'train the social muscle'. The club was founded for everyone in the global village seeking to support each other in a society in which one often feels alone. The club began in a Berlin living room and was inspired by a documentary about a workers club in Sheffield, English which promised 'entertainment and mutual support'. As a contrast to stress and pressure to a capitalistic, competitive working world, the club offers a self-organised social net.&lt;/ref&gt;, emphasize the collective aspect of their work, while still being places of learning and sharing. Centered on a game-like structure of [[#Give_and_Take|give and take]], the Social Muscle Club developed a technique to create social relations. Its engagement with learning and training forms of collectivity makes it a key contribution to the techniques of alternative and experimental forms of pedagogy.<br /> <br /> Most aforementioned projects resort to the workshop as a format to facilitate their pedagogical and collective engagements. The workshop—be it a collective movement session, a hackathon, or a reading group—has developed out of the need to question the institution of the university. Especially nowadays, in times of increasingly modularized university education, workshops offer a way to collectively learn outside of established institutions.&lt;ref&gt;Anja Groten, “Workshop,” in ''Making Matters'', ed. Janneke Wesseling, Florian Cramer (Amsterdam: Valiz, 2022).&lt;/ref&gt; These new sites and formats of “other knowledge”&lt;ref&gt;Kathrin Busch (Ed.), ''Anderes Wissen. Kunstformen der Theorie'' (Paderborn: Fink, 2016).&lt;/ref&gt; often combine political intervention and collective organization. Many workshops establish situations that are open, while creating techniques that others can use in new and different contexts.<br /> <br /> ==== Technique and Institution ==== <br /> <br /> On March 24, 1965, teachers and students across the U.S. left their scheduled seminars to spend the entire night in so-called “teach-ins,” debating U.S. policy on the Vietnam War. It was an act of public protest but more so—as Marshal Sahlins, one of the teachers involved noted—this inter-university, nationwide debate on the Vietnam War and U.S. Cold War politics produced “a genuine intellectual experience.” Sahlins elaborates, “for many the first they ever had on campus, perhaps because for the first time ''both'' teachers and students were discussing, seriously and with respect for each other’s opinions, something both were deeply interested in understanding.”&lt;ref&gt;Marshall Sahlins, ''Culture as Practice. Selected Essays'' (New York: Zone, 2000).&lt;/ref&gt; This example shows that it is impossible for the university (the school, the museum, etc.) to capture the powerful act of teaching. In fact, Sahlins’ quote shows that, when teaching leaves the institution, it becomes an “intellectual experience” and a truly collective practice. Teach-ins opened up a space for other and new pedagogical techniques to emerge, techniques that were academic as much as activist. The simple shift of time and location produced other knowledges as much as collectivity.<br /> <br /> As this example shows, techniques are more than an institutional intervention. As much as we find techniques at work in institutions they can also challenge and work against existing and emerging institutions. Techniques can transform power relations as well as ingrained patterns of acting and thinking. Techniques can render background structures conscious&lt;ref&gt;Kathie Sarachild, “Consciousness-Raising: A Radical Weapon.” in ''Feminist Revolution'', ed. by Redstockings (New York: Random House, 1978), 144–50.&lt;/ref&gt; and create communities that oppose the processes of institutionalization and/or neoliberalization in the spirit of “lifelong learning.” Techniques are neither good or bad; institutional or revolutionary. They can always be hacked and used in different ways. It is, to use Alfred North Whitehead’s phrase, a question of “style,”&lt;ref&gt;Alfred North Whitehead, ''The Aims of Education and other Essays'' (New York: Free Press, 1967).&lt;/ref&gt; how a technique is used determines its effects and impacts. In this sense, the style of experimentation can help to keep techniques in a process of continuous transformation. Changing and combining them with other techniques prevents their sedimentation into a rule or even law. It is sometimes necessary to continue a discussion beyond the timeframe of the seminar, for instance to allow an extensive debate on foreign policy, as in the case of the teach-ins.<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> ==== Create access! ====<br /> <br /> Teach-ins, workshops, and informal reading groups are modes of organizing learning beyond institutional frameworks, especially in countries with extremely high educational costs. Many of them aim to facilitate learning differently than universities—decolonized, democratized, and organized in solidary ways.&lt;ref&gt;Linda Tuhiwai Smith, ''Decolonizing Methodologies: Research and Indigenous Peoples'', (New York: St. Martin's Press, 1999).&lt;/ref&gt; They create new collectives of thought, experience, and imagination. But even the simple act of reading together can lead to the exclusion of others and create hierarchies among its participants. Especially in collectives working across art, academia, and activism, the use of language and the distribution of who speaks when and for how long can institute and reinforce social power relations. How, then, can we create techniques that challenge these structures? How to invent formats that do not privilege certain (often academic) knowledge, but fosters the exchange between different forms and practices of knowledge?<br /> <br /> Sometimes a small shift in the spatial setting or a playful formalization of who talks and when can create an entirely different dynamic. [[#Conceptual_Speed_Dating|Conceptual speed dating]]&lt;ref&gt;Brian Massumi is professor of communication at the University of Montreal. He specializes in the philosophy of experience, art and media theory, and political philosophy.&lt;/ref&gt;, a technique stemming from the practice of the SenseLab and shared by Brian Massumi is one such attempt. Organizing a text discussion in a flow of multiple short conversations decentralizes discussions, de-personalizes arguments, and creates new modes of collective thinking.<br /> <br /> While such techniques to increase access often stem from contexts outside of educational institutions they can be important contributions to the techniques of schools and universities. Even in countries without tuition fees, the informal ways access is blocked to the university or to an academic career are numerous. Pierre Bourdieu has described these unconscious forms as exclusions and self-exclusions with his concept of habitus.&lt;ref&gt;Pierre Bourdieu, ''The Inheritors: French Students and Their Relation to Cultur''e. Chicago: University of Chicago Press 1979; Pierre Bourdieu, Homo Academicus. Cambridge: Polity Press, 1990.; Bourdieu, Pierre, ''The Logic of Practice''. Stanford (CA): Stanford University.Press, 1990. &lt;/ref&gt; Didier Eribon, in ''Returning to Reims,''&lt;ref&gt;Didier Eribon, ''Returning to Reims'', (Los Angeles CA: Semiotext(e), 2013).&lt;/ref&gt; explored these thresholds through his own experience and made vivid how complex exclusions function in the educational system.<br /> <br /> Every pedagogical relation and every technique must therefore ask how it addresses exclusions based on gender, race, class, and dis_ability. The techniques assembled on the platform, ''nocturne,'' aim to counter subconscious exclusions and increase access on multiple levels. When sharing these techniques between the artistic, academic, and activist field, the question of access makes it important not to simply reproduce techniques in different settings. What creates access in one situation can be exclusionary in another one. Every technique needs to be tried out and developed in context-sensitive ways.<br /> <br /> ==== Make situations! ====<br /> <br /> We founded ''nocturne'' with an enthusiasm for learning and unlearning as critical and emancipative educational processes. In this context, we understand pedagogy primarily as a way of working with techniques to produce collective situations i.e., less autodidactic or individualistic learning. Here, we have primarily social and ecological processes in mind. Learning also means the experience of becoming different. This means not to be re-educated, but to create and encounter every new learning situation openly.<br /> <br /> In emancipatory teaching, chaos is used in a productive way. Deleuze and Guattari&lt;ref&gt;Gilles Deleuze and Félix Guattari, ''What Is Philosophy?'' (New York: Columbia University Press, 1994).&lt;/ref&gt; describe this by proposing their concept of the refrain: Learning is a chaosmos, a “rhythm”&lt;ref&gt;Gilles Deleuze and Félix Guattari, ''A Thousand Plateaus: Capitalism and Schizophrenia''. (Minneapolis: University of Minnesota Press, 1987), 313.&lt;/ref&gt; between chaos and its frame. This refrain causes a transformation of knowledge as much as its transforms the self of all participants, teachers, and learners. In a situation where learning takes place, the self is not individualized, it “transindividuates.”&lt;ref&gt;Gilbert Simondon, Individuation in Light of Notions of Form and Information. Minneapolis: University of Minnesota Press, 2020; Muriel Combes, ''Gilbert Simondon and the Philosophy of the Transindividual''. (Cambridge (Ma) and London: MIT Press, 2013).&lt;/ref&gt; <br /> <br /> To think of learning as an act of trans/individuation affirms a way of thinking through the situation and the milieu/media it creates.&lt;ref&gt;Isabelle Stengers, “Introductory Notes on an Ecology of Practices.” ''Cultural Studies Review'' 11, 1 (2005), 187.&lt;/ref&gt; Trans/individuation happens through the techniques of learning, teaching, and designing.<br /> <br /> In institutionalized higher education, pedagogy and didactics (as helpful as they can be in some cases) are often subordinated to questions of efficiency. We are urged to complete trainings in didactics to use our pedagogical methods purposefully, to give proper feedback, and to learn how to grade. While it is important to reflect on our power positions in educational contexts, we are rarely taught in these trainings about the activist teaching techniques of Black writers, workers struggle at the university, liberation pedagogies of the Americas, or the ways second-wave feminism organized learning and unlearning. With ''nocturne,'' we want to build on these traditions. <br /> How to engage critically with the knowledge and affects produced by the university and other institutions is at the heart of the technique [[#Bodystrike|Bodystrike]] by the Feminist Health Care Research Group &lt;ref&gt;As artistic research project the Feminist Health Care Research Group (FHCRG) develops exhibitions, workshops and publishes zines. It aims to create space in which we can share vulnerability with each other, center (access) needs and break through the competitive mode of working in the arts. FHCRG questions the internalized, ableist concept of productivity that is rewarded in the art field.&lt;/ref&gt;. Situated in the feminist tradition of self-organized health care, the technique offers way to work with the bodily and affective knowledge often sidelined in institutionalized processes of education.<br /> <br /> ==== Change the logistical university! ====<br /> <br /> The logistical university is, as Moten and Harney put it, a university of debt: Debt through student loans and debt through credits to be earned.&lt;ref&gt;Stefano Harney and Fred Moten, T''he Undercommons. Fugitive Planning and Black Study''. (Wivenhoe u.a.: Minor Compositions, 2013), 61. &lt;/ref&gt; What the students get for their debt is skill. Instead of facts, the university teaches skills that can be used elsewhere, and skills that travel and make the students travel through the market economy. This flow of skills renders the university and its students logistical. If we go back a few years, skills training did not begin as a logistical fantasy but as a critique of the accumulation of facts (as described by Paulo Freire in his “banking model“&lt;ref&gt;Paulo Freire, ''Pedagogy of the Oppressed'' (New York: Bloomsbury, 2018).&lt;/ref&gt; method) and came with the promise of increased freedom. In recent decades, this development turned into a total obliviousness of knowledge only striving towards the teaching of skills to be applied in every situation at all times. If everything is transferable and applicable, any reference to the history, situation, and emancipatory politics of a technique is lost. When we engage in technique-sharing, we are not interested cookie-cutter applications that don’t engage with the situations from which the technique originates. We call for techniques that enable collectivity, solidarity, and openness. Elke Bippus and Monica Gaspar point out that the shift from content to competence (and thus to technique) can also bear the danger of feeding experimental ways of working known from art into all realms of economic production and education. Through collaborations between academia and the arts, precarization of both fields occurs, and this is highly based on self-exploitation. Creative techniques of the arts are fed into the field of capitalist labor, rehearsing its experimental character and accelerating precarious working conditions, which renders the arts as much as labor logistical.&lt;ref&gt;Bojana Kunst, ''Artist at Work, Proximity of Art and Capitalism'' (Winchester: Zero, 2015).&lt;/ref&gt; Yet a critique of neoliberalism should not be conflated with a critique of creativity and experimentation as such. We need to address the critical qualities inherent in experimental techniques. In view of this development as well as the increasing institutionalization of artistic research in the sense of its scientification, we want to ask how techniques can produce solidary and critical forms of collective working. How can we rethink creative collaboration starting from the techniques at work in a situation? How can we foster speculative practices, which go beyond use of goal-oriented techniques? We hope that the exchange of techniques of learning and unlearning can lead to a revaluation of the concept of technique in a non-utilitarian manner. Techniques de-essentialize learning and knowledge through the focus on their processual and situated nature. Sharing these techniques must include engagement with the situations from which they originated. Like ''Everybody’s Toolbox''&lt;ref&gt;See http://www.everybodystoolbox.net &lt;/ref&gt; proposes for the field of performance and dance, we think of techniques and instructions as open-source. They are open to hacking, modification, and speculative adaptation. Each technique Hon the platform is an invitation to its reader to document their own experiences, and share the techniques they work with.<br /> <br /> <br /> ::&lt;small&gt;'''Gerko Egert''' and '''Julia Bee''' founded the platform Nocturne in 2020. A platform aiming to provide a space and time for all the practices that emerge between institutions. A time in which the production and transmission of knowledge become collective practices, in which techniques of teaching become experimental procedures, and in which art and science do not enter into exchange but have already begun to work together in new ways.&lt;/small&gt;<br /> <br /> &lt;/div class=&quot;block&quot;&gt;<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;article Give_and_Take layout-1&quot; id=&quot;Give_and_Take&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;

<br /> [[File:Give-and-take-Experimente-lernen.jpg|thumb|How-to &quot;Give and Take&quot; by Social Muscle Club,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]&lt;/div&gt;<br /> <br /> ===Give and Take===<br /> &lt;span class=&quot;author&quot;&gt;Social Muscle Club&lt;/span&gt;<br /> <br /> &lt;div class=&quot;block&quot;&gt;<br /> <br /> * '''Step 1''': Gather a group of people around a table; 8-10 is a good number. You can be friends or even family—it’s a great way to reconnect and refresh your relationships whenever you need it. It’s also cool if there are people there who don’t know each other, or who would never normally hang out together.<br /> * '''Step 2''': Each person takes a piece of paper and writes down their name and something they would like to GIVE on it, anything at all! It can be big, small, concrete, abstract—even a performance gift!<br /> * '''Step 3''': On a second piece of paper, write down your name and something you would like to RECEIVE. Use your imagination: What do you really need? Ask from the heart.<br /> * '''Step 4''': Put all the pieces of paper in a bowl.<br /> * '''Step 5''': Draw a piece of paper from the bowl and read it aloud. Agatha has some tips on where to go in Berlin. Anyone interested? Jared needs more time. Who can help him?<br /> * '''Step 6''': Take your time to listen to one another!<br /> * '''Step 7''': Keep going until you have worked with every piece of paper. Remember, not every wish has to be fulfilled.<br /> <br /> &lt;small&gt;<br /> ::''[https://nocturne-plattform.de/text/wie-den-sozialen-muskel-trainieren From: “Wie den sozialen Muskel trainieren” by Social Muscle Club'']&lt;/small&gt;<br /> <br /> &lt;/div class=&quot;block&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> &lt;div class=&quot;article Bodystrike layout-1&quot; id=&quot;Bodystrike&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;

<br /> [[File:Body-Strike-Experimente-lernen-web.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> [[File:Body-Strike-Experimente-lernen2.jpg|thumb|How-to &quot;Bodystrike&quot; by Feminist Health Care Research Group,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> &lt;/div&gt;<br /> <br /> === Bodystrike ===<br /> &lt;span class=&quot;author&quot;&gt;Feminist Health Care Research Group&lt;/span&gt;<br /> &lt;div class=&quot;block&quot;&gt;<br /> * Find a quiet, comfortable place where you feel at ease. Prepare what you need for this exercise (pen and paper, timer). Make yourself comfortable. Breathe deeply and feel inside yourself.<br /> * Can you think of a physical reaction that you have learned is embarrassing / out of place in academic / artistic / institutional / school spaces, and that you should hide / be ashamed of, or discard?<br /> * Can you think of a specific physical reaction? Can you trace its history, how it has accompanied you, and how it has changed over time? Red marks, stuttering, diarrhea: when did they strike you? Did they bother you? Did you think about them a lot? Did you learn what helps you?<br /> * Can you feel today what this physical reaction was trying to tell you? Do you feel something about it today that you can accept and appreciate?<br /> * Do you have physical symptoms of discomfort when you are in spaces of power and normalization? What are they? What do they remind you of?<br /> * Try to remember a moment when you perceived this discomfort in others, such as stuttering, red spots, sweat, nervousness, shame. Try to visualize—based on this situation—what power relations were at play. If possible, try to visualize how differently the people present were affected by these power relations.<br /> * Try to write down associatively which things, people, feelings, expressions could be considered inappropriate in academic / university / art spaces due to these subtle and covert ways of exercising power.<br /> * Try to write down associatively what you miss in academic / university / art spaces, in the way that things, people, feelings, and expressions remain absent or suppressed.<br /> * Do you have a sense of which parts of yourself you would rather assign to a knowing and working body and which parts you keep out? Do you have a conception or an image of your “knowing body:” a posture, clothing, way of speaking that you adopt in order to better correspond with the spaces—permeated by these power relations—and to get along well in them?<br /> * Do you have, the other way around, an idea of the parts of you that rather form your “counter-knowing body?” What does it do, what does it communicate to you? What wishes does it have and to whom does it most likely make contact?<br /> <br /> &lt;small&gt;<br /> ::''[https://nocturne-plattform.de/text/korperstreik From: “Körperstreik” by Inga Zimprich (Feministische Gesundheitsrecherchegruppe)'']&lt;/small&gt;<br /> <br /> &lt;/div class=&quot;block&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;article Conceptual_Speed_Dating layout-1&quot; id=&quot;Conceptual_Speed_Dating&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;

<br /> [[File:Massumo-Experimente-lernen.jpg|thumb|How-to &quot;Conceptual Speed Dating&quot; by Brian Massumi,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> &lt;/div&gt;<br /> <br /> === Conceptual Speed Dating ===<br /> &lt;span class=&quot;author&quot;&gt;Brian Massumi&lt;/span&gt;<br /> <br /> &lt;div class=&quot;block&quot;&gt;<br /> <br /> # Choose a generative text. <br /> # Choose a minor concept weaving through the generative text. <br /> # Ask each person in the group to count off as a one or a two. <br /> # Instruct the ones that they are “posts.” <br /> # Instruct the twos that they are “flows.” <br /> # Ask the posts to find a post: a spot in the room where they would like to have a conservation. <br /> # Ask the flows to pair up with a post. <br /> # Direct everyone to a page in the text where the minor concept occurs. <br /> # Ask the participants to discuss the function of the minor concept, staying as close as possible to the text, with detailed attention to how it is constructed. <br /> # Notify participants that when exactly five minutes are up they will hear a signal, and that when they hear the signal they must end their conversation immediately, even if they are in the middle of a word. <br /> # When the five-minute signal sounds, ask all flows to move to the next post in a clockwise direction. <br /> # Repeat eight to ten times. <br /> # Bring the group back together and discuss in plenary session what was discovered about the minor concept and the text.<br /> <br /> &lt;small&gt;<br /> ::''[http://openhumanitiespress.org/books/download/Massumi_2017_The-Principle-of-Unrest.pdf From: Brian Massumi, “Collective Expression. A Radical Pragmatics,” The Principle of Unrest (London: Open Humanities Press, 2017) 111-140, here: 111-112.]''<br /> ::''German version: https://nocturne-plattform.de/text/kollektiver-ausdruck'' &lt;/small&gt;<br /> <br /> &lt;/div class=&quot;block&quot;&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> &lt;div class=&quot;article The_perfect_robbery layout-1&quot; id=&quot;The_perfect_robbery&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;

<br /> [[File:Perfect-robbery-Experimente-lernen.jpg|thumb|How-to &quot;The Perfect Robbery&quot; by Juli Reinartz,&quot; in ''Learning to Experiment, Sharing Techniques: A Speculative Handbook,'' edited by Julia Bee and Gerko Egert (Weimar/Berlin: Nocturne, 2020).]]<br /> &lt;/div&gt;<br /> <br /> === The perfect robbery ===<br /> &lt;span class=&quot;author&quot;&gt;Juli Reinartz&lt;/span&gt;<br /> <br /> &lt;div class=&quot;block&quot;&gt;<br /> <br /> '''Format and tools'''<br /> <br /> * 4-5 days of 5-6 hours per day<br /> * 10-15 participants<br /> * Possible as a stand alone workshop; as part of a festival; or as a seminar with students, doctoral candidates, and teachers<br /> * Preferably in two rooms, one of which is equipped with tables, chairs, and pencils, while<br /> * the other is empty and spacious<br /> * Plenty of coffee, water, and tea<br /> * 1-2 organizers, who prepare the joint process and later become part of the group <br /> * 3-4 additional experts to guide the mini-workshops, who do not have to take part in the planning of the robbery. They facilitate a 2 hour workshop session, answer questions, and respond to participant’s questions <br /> * A list of heist movies<br /> * A computer, a projector, and internet access<br /> * A chosen bank which is easy to reach and a fixed date for the robbery<br /> <br /> '''Timeline'''<br /> <br /> :The course of the workshop is self organized; the participants organize the planning themselves. However, the organizers determine some key dates in advance:<br /> <br /> * Day 1: Introductory round and visit the bank <br /> * Day 2: Mini-workshop and movie night<br /> * Day 3: Second mini-workshop<br /> * Day 4: Third mini-workshop<br /> * Day 5: Fourth mini-workshop (possible) and final performance<br /> <br /> &lt;small&gt;<br /> ::[https://nocturne-plattform.de/text/der-perfekte-bankraub''From: “Der perfekte Bankraub” by Juli Reinartz'']&lt;/small&gt;<br /> <br /> &lt;/div class=&quot;block&quot;&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=History-of-consensus&diff=4355 2022-11-17T22:56:39Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article On_consensus,_in_two_parts layout-2 add-chaptertitle&quot; id=&quot;On_consensus,_in_two_parts&quot;&gt;<br /> &lt;div class=&quot;hide-from-website&quot;&gt;<br /> [[File:4-Consensus-diagram_print.jpg|thumb|class=title_image|A basic diagram for doing consensus]]<br /> &lt;/div&gt;<br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<br /> [[File:4-Consensusdiagram-web.jpg|thumb|A basic diagram for doing consensus]]<br /> [[File:Consensus1.jpg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> [[File:Consensus2.jpeg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> [[File:Consensus3.jpeg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> [[File:Consensus4.jpeg|thumb|Collected hand-out from a workshop for art and design educators, reactivated during H&amp;D Algorithmic Consensus Meetup, 2021. https://hackersanddesigners.nl/s/Events/p/H%26D_Meetup_1%3A_Algorithmic_Consensus<br /> Credits: Workshop: Angela Jerardi, 2019, Hand-out: Seeds for change https://seedsforchange.org.uk/]]<br /> [[File:2a-communities-no-27Page01.jpg|thumb|Cover of 'Communities: Journal of Cooperative Living,', July/August 1977.]]<br /> [[File:2a-communities-no-27Page02.jpg|thumb|Pages from 'Communities: Journal of Cooperative Living,' July/August 1977.]]<br /> [[File:2a-communities-no-27Page03.jpg|thumb|Pages from 'Communities: Journal of Cooperative Living,' July/August 1977.]]<br /> [[File:2a-communities-no-27Page04.jpg|thumb|Pages from 'Communities: Journal of Cooperative Living,' July/August 1977.]]<br /> [[File:2a-communities-no-27Page05.jpg|thumb|Pages from 'Communities: Journal of Cooperative Living,' July/August 1977.]]<br /> [[File:2a-communities-no-27.pdf|thumb|'Communities: Journal of Cooperative Living,' July/August 1977.]]<br /> 

&lt;/div&gt;<br /> <br /> === On consensus, in two parts === <br /> &lt;span class=&quot;author&quot;&gt;Angela Jerardi&lt;/span&gt; &lt;br&gt;<br /> ''The following material was originally collected and delivered as a talk, in an effort to do two things: 1) To tell the story of one of the origins of consensus and its role in decision-making through a situated approach, and 2) To share some practical nuts and bolts learnings on how consensus can be put into practice.''<br /> <br /> ==== Part I: A short and partial history of one genealogy of consensus&lt;ref&gt;Throughout my late teens and early twenties I studied at a Quaker university and became increasingly interested in the Religious Society of Friends, as it is also known. I became connected to some Quaker circles in Philadelphia, and at one point lived in a house connected to the group ''Movement for a New Society''. It feels useful to share this here since my proximity and participation in these communities has deeply shaped me and my understanding of doing democracy.&lt;/ref&gt;====<br /> <br /> &lt;blockquote&gt;“We are so accustomed to majority rule as a necessary part of democracy that it is difficult to imagine any democratic system working without it. It is true that it is better to count heads than to break them… but the party system has proved very far from providing the ideal democracies of people’s dreams.”&lt;ref&gt;This quote comes from the 1945 essay “Sociocracy: Democracy as It Might Be” by Dutch educator and pacifist Kees Boeke. While doing this research I’ve been living in Amsterdam, so it felt important to ground my study by learning about Quaker developments here in the Netherlands. Kees Boeke grew up in Alkmaar, Netherlands, in a Mennonite Dutch Reformed household but later converted to Quakerism. A passionate reformer of education, he founded a school in Bilthoven, and developed a form of critical pedagogy based on Quaker ideas and created the concept known as sociocracy, the theory that all individuals should have a role in decision making. Essay accessed at: https://www.sociocracy.info/sociocracy-democracy-kees-boeke&lt;/ref&gt;&lt;/blockquote&gt;<br /> <br /> This quote takes us slightly astray from where I want to go, but it gets us thinking along a helpful track. For one, why is it so challenging to imagine democracy without majority rule? For many of us, the image of democracy is limited to its representational forms—someone else acting on our behalf, our direct role relegated to that of a voter, and the often entrenched non-action, bickering, and corruption endemic within systems built on political parties and coalition governments. The aim of this text is to think democracy otherwise, proposing consensus as a means for doing democracy. [[#WINWIN|Consensus]] is understood primarily as a method for decision-making, but I want to argue that it also offers a way of organizing methods of thinking and processing in groups that can create infrastructure to develop non-hierarchical collaborations, build community, identify conflict, and gestate shared values and intentions. As community-organizer and facilitator George Lakey puts it, “Consensus is a structural attempt to get equality to happen in decision making.”&lt;ref&gt;Andy Cornell and Andrew Willis-Garcés, “Learning from the Movement for a New Society: An Interview with George Lakey,” ''AK Press'', February 2, 2010, https://revolutionbythebook.akpress.org/2010/02/learning-from-the-movement-for-a-new-society-an-interview-with-george-lakey/.&lt;/ref&gt;<br /> <br /> Surely many people in many places at many times throughout history have been concerned about how to make decisions in a way that feels equal and fair for all involved. It goes without saying that there are likely many genealogies of consensus; methods for collective decision-making must have many histories.&lt;ref&gt;To share a couple other genealogies that I am familiar with: the Haudenosaunee Confederacy, once called the Iroquois Confederacy by the French, and the League of Five Nations by the English, is made up of the Mohawks, Oneidas, Onondagas, Cayugas, and Senecas, and was founded as a way to unite the nations and create a peaceful means of decision making. The governance of the Haudenosaunee Confederacy runs on a spokes-council model. Another rich history of consensus comes from the organizing and governing principles of the Zapatistas in Mexico.&lt;/ref&gt; One particular history of consensus that I was first exposed to in my late teenage years can be traced through a Christian religious community called Quakers. Founded in the 1650s by George Fox, the core philosophy of Quakerism lies in a devotion to peace and nonviolence, coupled with the belief that God is present in everyone, as a sacred light within each of us, thus nullifying the need for clergy to interpret God's will. This democratic belief in equal access to the divine led to a disavowal of formal ministry and set forms of worship, as well as a rejection of many prevailing Christian hierarchies. For example, even at its founding in the 17th century, women were understood to have equal access to God and could therefore minister to the public and have leadership roles in the community. <br /> <br /> [[File:2a-communities-no-27Page01.jpg|thumb|Cover of 'Communities: Journal of Cooperative Living,', July/August 1977.]]<br /> <br /> As it relates to our focus here, this also deeply influenced how communities of Quakers organized themselves. In the tradition of Quaker worship, community members sit together silently until one feels moved to share an insight or message with the congregation. Quakers still use this philosophy for organizational functions too, for business meetings, and social or political initiatives. Similar to a meeting for worship, participants take turns expressing ideas, not necessarily responding directly to one another. Discussion continues until there is a sense that all participants feel agreement about what is to be done, or once all participants can at least accept the direction the decision has taken. Though this is often time consuming, Quakers are invested in consensus because within the origin of its practice is the notion that each of us contains the presence of the divine. As historian A. Paul Hare writes, <br /> <br /> &lt;blockquote&gt;“For over 300 years, the members of the Society of Friends have been making group decisions without voting. Their method is to find a sense of the meeting, which represents a consensus of those involved. Ideally, this consensus is not simply unanimity or an opinion on which all members happen to agree, but an actual unity, a higher truth which grows from the consideration of divergent opinions and unites them all.”&lt;ref&gt; A. Paul Hare, “Group Decision by Consensus: Reaching Unity in the Society of Friends,” ''Sociological Inquiry'' 43, no. 1 (Jan 1973): 75, https://doi.org/10.1111/j.1475-682X.1973.tb01153.x. &lt;/ref&gt;&lt;/blockquote&gt;<br /> <br /> Because of this long-standing practice, those raised within the Quaker faith were intimately familiar with this method of decision-making and increasingly brought these methods into other spheres of their lived realities. Without knowing this history, it may come as a shock that the use of consensus decision-making in most radical and leftist organizations in the U.S. and Europe today—from Occupy Wall Street to Extinction Rebellion—has roots in the beliefs and practices of the Quakers. <br /> <br /> As mentioned above, a core tenet of Quakerism is peace, not solely passive in the sense of not engaging in violence and war, but also through actively working to engender non-violence, in a similar vein, perhaps, as other religious groups give alms or engage in community service projects. The post-war period in America was mired in violence and struggle both at home and abroad. The after-effects of the atomic bomb and the rise of nuclear power, the Vietnam War and other US imperialist incursions into East Asia, and the struggle for civil rights, Black power, and the women’s liberation movement saw a concomitant rise in televised and broadcasted violence (and its normalization) within public life in 1960s America. It was in this context that in 1966 a group of activist Quakers founded A Radical Quaker Action Group. Focused primarily on creative, direct, nonviolent campaigns, as a way of making public examples and methodologies for making peace and protesting violence, one of A Radical Quaker Action Group’s key methods was using sailing boats and the distinct legal territory and status of the ocean as a means for sharing aid. In one such action, they sent antimalarial and antibacterial drugs and bandages to Hiroshima, and in a later action they sailed with similar supplies to Vietnam. The idea behind this was to identify means of doing direct nonviolence, not symbolic actions or protests in hopes of changing state policy. For A Radical Quaker Action Group, war was viewed as an inherent aspect of the system of capitalism, and social inequality was understood as a form of violence maintained by the threat of state violence. To work for peace and equality, to abide by the Quaker testimony of peace, one must engage in social change. This was not to say, however, that they did not have creative ideas about how to enact social change. One of their key tenets was the notion of “image defeat.” In addition to the hoped-for impact of direct action, they aimed to create attention-grabbing, imaginative stories and images that would garner outsized media attention, overshadowing or even replacing news coverage sympathetic to the state and state violence. For example, when their boat the Phoenix sailed to Vietnam, it appeared on the front cover of many newspapers, supplanting the image of the U.S. making war with an image of a small group of radical Quakers sailing to Vietnam with food and supplies.<br /> [[File:1-Phoenix-1967.jpg|thumb|Phoenix in Hong Kong harbor, en route to North Vietnam, 1967.]]<br /> <br /> A Radical Quaker Action Group eventually disbanded, but their impact reverberated both within Quaker activist circles and more broadly amongst organizations tied to the New Left. Some people involved with these earlier activities were then involved in the formation of another group, Movement for a New Society (MNS). Self-identified as a feminist, radical, non-violent organization, Movement for a New Society was active from 1971 to 1988. With chapters in about a dozen cities across the U.S. and a hub in Philadelphia, the ideas they developed connected with many other activist struggles at the time, such as feminist liberation, environmental organizing, and anti-nuke activism. At its core, the group’s ethos was about sharing knowledge with one another and connecting the internal workings of community organizing with the external goals of these campaigns, through trainings and typical activist organizing, but also by practicing unlearning and doing self-work. This manifested as an ongoing commitment to doing anti-oppression training among them and a study format they termed “macro-analysis” seminars. The purpose of these seminars was to ensure they committed to and made time for study and inquiry, not just goal-oriented aims. Through this community study structure, they could practice recognizing and undoing their own internalized racism, sexism, homophobia, and classism. The macro-analysis seminars and study groups were modeled on extant popular education efforts of the time, especially from the civil rights movement, feminist consciousness-raising, and the ideas of critical pedagogue Paulo Freire.<br /> <br /> In its first pamphlet, MNS positioned its distinct understanding of community-organizing, and declared its opposition to, <br /> <br /> &lt;blockquote&gt;“Traditional forms of organization, from [the multinational corporation] ITT to the PTA [Parent-Teacher Association]…for they exhibit the sexism and authoritarianism we seek to supplant. Our goals must be incorporated into the way we organize. Thus the movement we build must be egalitarian and non-centralized.”&lt;ref&gt;Andrew Cornell, ''Oppose and Propose: Lessons from Movement for a New Society'' (Oakland, CA: AK Press, 2011), 24.&lt;/ref&gt;&lt;/blockquote&gt;<br /> <br /> At its core, MNS was concerned with creating different social relations, and saw its own community as a place to practice these ideas in the here and now, while working for these changes within society as a whole. This led MNS to integrate the seemingly external efforts of political organizing with the internal growth of becoming more socially aware and empathetically attuned, as a way of living closer to and more in accord with the world they wanted to see. Practically speaking, MNS built infrastructure to facilitate livelihoods, such as housing co-ops, food co-ops, a publisher, reading rooms, and “counter-institutions” as they termed them, but this philosophy also deeply influenced how they did process, leading to the development of infrastructures for organizing people, dialogue, and decision-making. From this came structures such as affinity groups, macro-analysis seminars and spokes-councils.&lt;ref&gt;I understand the spokes-council governance structure as having Indigenous origins, but I don’t know the details of how MSN developed its approach to spokes-councils or where it came from.&lt;/ref&gt; These developments and the way of thinking that fueled them exemplify the concept of “prefigurative politics,” as coined by sociologist Wini Breines, who identified a central tenet of the work of Students for a Democratic Society (SDS) as the effort to “create and sustain within the lived practice of the movement, relationships and political forms that ‘prefigured’ and embodied the desired society.”&lt;ref&gt;Wini Breines, ''Community and Organization in the New Left'', 1962-1968: The Great Refusal, 2nd ed. (New Brunswick, NJ: Rutgers University Press, 1989), 6.&lt;/ref&gt;<br /> <br /> MNS had the opportunity to promulgate many of these practices more widely because of their involvement in organizing with the Clamshell Alliance to protest the proposed Seabrook Nuclear power plant in 1977. Due to the collective organizing efforts, 1400 people were peaceably arrested, collectively refused bail, and were then able to use the time held for two weeks in large armory buildings to collectively study, organize, and train themselves, testing many of the methods MNS had elaborated. Since then (and via other routes), techniques of horizontal organizing and consensus decision-making have spread and morphed across various social movements, and more broadly through universities, socially-engaged artistic practices, and many other activist adjacent fields. <br /> <br /> [[File:3- Clamshelloct77.png|thumb|We will stop the Seabrook Nuke: join the citizen's occupation, Clamshell Alliance, 1977.]]<br /> <br /> While it might feel commonplace to say, “let’s work in a horizontal way,” “let’s decide this through consensus,” or “let’s create affinity groups for organizing a multi-part project,” it feels important to trace these genealogies and the histories and contexts that brought us here. In one context, consensus is fetishized as a goal in and of itself, while in another, it is demonized due to the tepid, watered-down decisions it leads to in lieu of complete political deadlock. In analyzing the development of direct democratic structures such as Occupy and other recent social movements, commentators David Graeber and Cindy Milstein have both suggested that “[c]onsensus is both our ends and our means of struggle.”&lt;ref&gt; Andrew Cornell, “[c]onsensus: what it is, what it isn’t, where it comes from and where it must go”, in ''We Are Many: Reflections on Movement Strategy From Occupation to Liberation'', ed. by Kate Khatib, Margaret Killjoy, and Mike McGuire (Oakland: AK Press, 2012), 164.&lt;/ref&gt; I am sympathetic to this notion, and I too want to be part of a society that is participatory, egalitarian, and self-organizing. But I think we need to understand consensus as multifaceted and complex, with both histories and contexts tied to these methodologies, worthy of attention and study, not a catch-all phrase and simple concept that can magically make direct democracy possible in and of itself. <br /> <br /> ==== Part II: Some ideas for doing consensus together ====<br /> '''What is consensus?'''&lt;br&gt;<br /> Consensus is a collective creative problem-solving process, created through:<br /> * receptive, perceptive, and empathic listening<br /> * digestion and connecting—finding commonalities and threads between ideas and concerns (and noting differences and dissonance)<br /> * synthesizing and translating—voicing propositions that bring together divergent ideas, concerns, and approaches<br /> <br /> '''What is consensus good for?'''&lt;br&gt;<br /> Movement for a New Society members saw at least three key benefits to the consensus process:<br /> * it helps to empower more reserved and less experienced participants, creating a more even field for all<br /> * it keeps in check the sometimes-competing egos in an organization or group<br /> * the deeply considered discussion aspect of consensus is useful in a group’s early state when it is “searching” for new ideas and building unity in the group<br /> <br /> '''Some conditions needed for consensus: '''&lt;br&gt;<br /> <br /> * '''Shared desires'''<br /> The group needs to share a clear common desire or goal(s), and be willing to work together toward this. It needs to be clear what needs to be decided upon collectively and what can be left to individuals. Discuss together what our goals are and how we will get there. When conflict and differences inevitably arise, return to the common goal(s) to refocus the conversation.<br /> <br /> * '''Nurturing trust, accountability and openness'''<br /> We need to be able to trust that each of us arrives with the intention of working together. We also need to nurture spaces where all voices are heard and valued. Sometimes there is much to do, long before decisions get made, just to get to a point wherein a community or group of people is ready and able to speak together in that way. This isn’t an effort that can be skipped. George Lakey uses the metaphor of a container, <br /> <br /> &lt;blockquote&gt;“I call the kind of social order that supports safety, a ‘container.’ The metaphor of container suggests that it might be thin or thick, weak or robust. A strong container has walls thick enough to hold a group doing even turbulent work, with individuals willing to be vulnerable in order to learn.”&lt;ref&gt;George Lakey, ''Facilitating Group Learning: Strategies for Success with Adult Learners'' (Hoboken: Jossey-Bass, 2010), 11.&lt;/ref&gt;&lt;/blockquote&gt;<br /> <br /> Part of accountability is also accountability to ourselves, to listen internally and openly express our desires (what we’d like to see happen), and our needs (what we must have happen in order to be able to support a decision). If everyone is able to talk openly then the group will have the information it requires to take everyone’s positions into account and come up with a solution that everyone can support. Consensus will inevitably fail if needs aren’t shared publicly or if they are ignored when voiced.<br /> <br /> * '''Commitment to practicing consensus together'''<br /> Everyone needs to be willing to be present in all senses of the word. This means being deeply honest about what it is you want or don’t want, and listening empathetically to what others have to say. Everyone must be willing to shift their positions and opinions, and to notice assumptions they may have been leaning on. Further, we need to be open to alternative and unexpected solutions, and accept the “good enough.”<br /> <br /> * '''Enough time and capacity'''<br /> Consensus takes effort, so it’s not wise to use it for decisions that don’t warrant such energy. Learning to work together with others in this way builds over time, but each scenario or decision deserves consideration and attention. Rushing a process is like shooting it in the foot; inevitably needs or crucial information will be missed or ignored and thus decisions taken will require reworking and revision later. Cultivate circumstances that make it feasible for your group to have time and capacity for this work. Be realistic about what’s possible with the time you all can collectively give, determine limits ahead of time, and make sure this is clearly shared with everyone. Think of concerns and needs that will pull people away from this process and collectively arrange for these needs ahead of time, such as food, rest breaks, suitable space, childcare, etc.<br /> <br /> * '''Honoring process'''<br /> It’s a necessity to have a clear (and accountable) process for making decisions and to do everything possible to ensure that all those present have a shared understanding of how the process works. If specific methods, hand signals, etc. will be used, this needs to be outlined and made clear for everyone. A clear statement or outline of what is aimed for (see “Shared desires”), and information and planning for the meeting (see “Enough time and capacity”) should be voiced from the outset. Honoring the process means listening to where it takes you collectively even when it leads you to an unexpected conclusion. It also means collectively agreeing to take care of the conversation, noticing when things stray off-topic and holding collective responsibility toward guiding the process, while being mindful of the limits and capacity of all involved.<br /> <br /> * '''Being present'''<br /> In consensus we all need to actively participate. We need to listen intently to what everyone has to say, while also voicing our thoughts and feelings about the matter. The process should hold space for all involved. This is possible by being present as a listener but also by being open and vulnerable to share and to speak. Being present asks that each of us proactively imagines and seeks solutions that look out for everyone involved.<br /> <br /> https://drop.hackersanddesigners.nl/17-04-2021-intro-presentation.mp4<br /> <br /> &lt;small&gt;'''Angela Jerardi''' is a writer and curator, arboreal feminist (killjoy) and art school permaculturalist.&lt;/small&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Display(ing)&diff=4354 2022-11-17T22:54:01Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Display(ing) layout-1 add-title1&quot; id=&quot;Display(ing)&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-website&quot;&gt;<br /> [[File:FANFARE beams 2-01.jpg|thumb|class=title_image|Technical drawing of the different components of the fanfare display system]]<br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<br /> [[File:FANFARE beams 2-01.jpg|thumb|class=title_image|Technical drawing of the different components of the fanfare display system]]<br /> &lt;/div&gt;<br /> <br /> === Display(ing) === <br /> &lt;span class=&quot;author&quot;&gt;fanfare&lt;/span&gt;<br /> &lt;div class=&quot;block&quot;&gt;<br /> <br /> The display reflects a system of thoughts: what is to be organized, exposed, published, distributed, shared? Why, how, and for whom?<br /> <br /> The display is also itself a [[#ChattyPub|publishing device]], connecting interdisciplinary research practices across contexts, internal processes, and outputs. It is a medium of its own, a tool for thinking critically about the links between [[#Interfacial-Workout|graphic design]] research, spatial publishing, and its various potential publics.<br /> <br /> The panels, the beams, their holes, the nuts and bolts that thread through the holes to bring the structure together. All the essential components of a more conventional publishing medium are there. Like a book, the panels work like blank pages; by arranging the panels, the beams, their holes, the nuts and bolts, a spatial layout takes shape.<br /> <br /> [[File:Signals post2.jpg|thumb|Display system installed]]<br /> <br /> The fanfare display can be approached concretely as furniture (chairs, desks, shelves, hangers, stage) or constructed into spatial elements as cubes, walls, or walking directions. When constructed in the public, on fairs, or in institutions, the display allows you to [[#Scripting_Workshops|claim space]], frame content, and publish ideas.<br /> <br /> The display combines visual language and material sensibility. The space created is not an empty container in which things happen, but a container and generator of happenings. Its strength comes from this modularity.<br /> <br /> The display catalyzes the research, directs the viewer, exposes the process. It shows the structures we use, the [[#Untitling|language] we choose, the behaviors we embody, and the social interactions we engender. It shapes the experience and, ultimately, the end result.<br /> <br /> [[File:Fanfare retrouvailles display.jpg|thumb]]<br /> <br /> What makes a display? How is the display a [[#wiki_reflections|publishing tool]]? How can a display design be collective? How does the display allow us to claim space?<br /> <br /> fanfare is a platform that curates, designs and educates by providing a timely and critical reflection on design and visual communication—both online and offline. fanfare encourages awareness of new exploratory approaches on visual imagery and cross-disciplinary design methodology.<br /> <br /> The modular fanfare display structure was created by Freja Kir and Lotte van de Hoef in the early days of fanfare (2014) as a response to a lack of a permanent address and a necessity for adaptability in scale and function.<br /> <br /> [[File:MG 0212.jpg|thumb]]<br /> <br /> ::&lt;small&gt;'''fanfare''' is a platform and design studio for cross-disciplinary collaboration and visual communication. Through an active programme, fanfare generates, explores, and curates environments for visual interactions. <br /> ::Since the start in 2014, fanfare has created a unique space for experiments, explorations and collaborations in the realm of graphic design and related disciplines. Through their research and design practice, fanfare sharpens and challenges the notion of visual communication.&lt;/small&gt;<br /> <br /> &lt;/div&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Rad-IO&diff=4353 2022-11-17T22:47:43Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Did_video_kill_the_radio_(star)? layout-1 add-title&quot; id=&quot;Did_video_kill_the_radio_(star)?&quot;&gt;<br /> <br /> &lt;div class=&quot;hide-from-website&quot;&gt;<br /> [[File:ChattyPubPaperRadio.jpg|thumb|class=title_image|The zine 'PubRadioPub' was edited and designed by Loes, Deniz, Jordi, Petra, and Selby on the last day of the Hackers and Designers Summer Academy 2021&lt;br&gt;<br /> Typeface in use: Anthony https://www.velvetyne.fr/fonts/anthony/&lt;br&gt;<br /> https://chatty-pub.hackersanddesigners.nl/pub-radiopub]] <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;hide-from-book scriptothek&quot;&gt;<br /> [[File:Solderingscriptlale.jpg|thumb]]<br /> [[File:All-components.jpeg|thumb]]<br /> [[File:Radio-pub-0.jpg|thumb]]<br /> [[File:Radio-pub-1.jpg|thumb]]<br /> [[File:Radio-pub-2.jpg|thumb]]<br /> [[File:Radio-pub-3.jpg|thumb]]<br /> [[File:Radio-pub-4.jpg|thumb]]<br /> [[File:Radio-pub-5.jpg|thumb]]<br /> [[File:Radio-pub-6.jpg|thumb]]<br /> [[File:Radio-pub-7.jpg|thumb]]<br /> [[File:Radio-pub-8.jpg|thumb]]<br /> [[File:Radio-pub-9.jpg|thumb]]<br /> [[File:Radio-pub-10.jpg|thumb]]<br /> [[File:Radio-pub-11.jpg|thumb]]<br /> [[File:Radio-pub-12.jpg|thumb]]<br /> [[File:Radio-pub-13.jpg|thumb]]<br /> <br /> [[File:paper-radio.jpeg|thumb]]<br /> [[File:paper-radio-3.png|thumb]]<br /> [[File:paper-radio-2.png|thumb]]<br /> &lt;/div&gt;<br /> <br /> === Did video kill the radio (star)? ===<br /> &lt;span class=&quot;author&quot;&gt;Petra Eros&lt;/span&gt;<br /> &lt;div class=&quot;block&quot;&gt;<br /> I recall a time when I was sitting in my grandma’s kitchen. I often found myself beside a weird looking, dark, crackling object. Mostly, it gave voice to middle-aged men who talked only about boring stuff. The jingles helped me to keep track of time, because they played at the exact same time every day. Perhaps the most notorious “jingle” I heard emitted from the object was the Hungarian hymn that would start playing at the stroke of midnight, marking the end of one day and the start of a new one.<br /> <br /> Fast forward to 2021, after having received several opportunities to participate in radio-making projects, it dawns on me that radio has much more potential than the weird looking object that crackled in my grandma’s kitchen.<br /> <br /> &lt;br&gt;<br /> <br /> ==== +Rad I/O ====<br /> &lt;blockquote&gt;“The digitization of the aether brings an unexpected taste. Lastly, it may allow the loss of anonymous radio listening. One of the last bastions of the anonymous, low-cost, low-tech media consumption. The digital aether is – in its interchangeability – only a channel for data transfer.” &lt;/blockquote&gt;<br /> ''Mz* Baltazar’s Lab''<br /> <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> The +Rad I/O workshop organized by Mz* Baltazar’s Lab was one of my personal highlights during the H&amp;D Summer Academy in 2021. We were tasked with building a small FM-Transmitter&lt;ref&gt; From a technical viewpoint, radio is a rather simple technology that signals and communicates through electromagnetic waves ranging between 30 hertz (Hz) and 300 gigahertz (GHz). Any radio setup therefore has two essential parts: the transmitter and the receiver. The task of the transmitter is to take in any audible input and encode it in a transmittable format, the sine wave. On the other end, the receiver does the exact opposite: it receives and decodes the original information from the sine wave and makes it audible for the receiver. Both the transmitter and receiver use antennas to radiate and capture the signal.&lt;/ref&gt; on pre-produced platinas. It was very hacky, super hands-on. <br /> <br /> During my bachelor studies, I was weirdly attracted to anything that had something to do with DIY electronics and “hacking.” I would come up with grandiose ideas and submerge myself in figuring out their technicalities. These projects provided me with much more than just technical knowledge; if you ask anyone who has ever worked with Arduino, things more often than not stop working or simply never become fully functional. Somehow Murphy’s law is exponentially applied: anything that can happen will happen, and it is most likely to happen right before your semester presentation. Arduino teaches you how to be resilient and humble. You are most likely to be working beyond your comfort zone, which forces you to think outside the box and come up with alternative solutions while troubleshooting. <br /> <br /> To me, the hands-on aspect of working with hardware is similar to cultivating an electronic Zen garden. I have found refuge in sharply-defined goals, following step-by-step instructions, and interpreting circuit diagrams. But while the format, the details of its final execution, the presentation, and oftentimes even the primary concept were destined to be modified, the hardware itself offers a controlled environment to be inventive. <br /> <br /> &lt;br&gt;<br /> ====The thousand faces of radio====<br /> After we secured the final bits of loose pieces onto the platinum with a soldering iron and hijacked a radio signal with our own audible input from the jack plug, we discussed how to frame radio as a medium in today’s digitally-dominant media landscape. <br /> <br /> For this publication, I approached the voices behind the Good Times Bad Times community radio to share their insights on this matter.<br /> <br /> ::'''Do you think the definition of radio (making) is changing now that it is having a revival and entering the digital age of wireless Internet?'''<br /> <br /> The core definition of radio-making never really changed, rather it has just found a new home. The thing that is constantly shifting is who and how people can access this media. When a technology is “made obsolete” its definition changes or rather its true value is revealed again. We appreciate vinyl for its slowness and for its physicality because that is what we lost. Radio has gone through a few of these value-shifts that the Internet itself will be able to relate. Radio changed the way we think about the world. It became a medium with so much hope, representing so much freedom, breaking through borders both physically and metaphorically only to be restrained and put in a commodifiable box by regulations. From a magical invention to being used as a military device, from pirate radios to stiff state broadcasts. But it is strange to talk about the Internet and radio as completely separate entities, the Internet could be considered the brainchild of radio.<br /> <br /> Radio-making in the age of the Internet has managed to keep that pirate spirit alive by finding itself a little corner of the Internet to call home. It may be a new world but it knows its way around, their DNA is the same. Good Times Bad Times is using the Internet as a way of embracing that local pirate radio-making spirit along with many other local Internet radio stations.<br /> <br /> ::'''Inevitably, locality is an aspect of radio making, but in the case of Internet radios, these can be listened to from anywhere by anyone. When it comes to addressing local matters and global issues, where do you stand?'''<br /> <br /> Whilst it is somewhat true that the Internet radio’s signal stretches further than FM/AM signals did, these signals were still used to transgress borders and give people access to information across continents. A recent example is the BBC restarting their shortwave broadcasts in order to broadcast information to Ukrainian radios when Russia began their invasion of the country. Radio has always been a global medium and Internet radio is no different. <br /> <br /> However, local radio stations often offer glimpses of their localities to those who might not have access to it. Whether it’s local news, weather reports, the accent of the host, or even advertising for local businesses, radio can capture many aspects of locality.<br /> <br /> At Good Times Bad Times, whilst we have always been streaming to people anywhere with access to the Internet, we have used the radio as a tool to focus on the locality of Rotterdam. The studio that we broadcast from is connected to the internet but it's grounded in a place and surrounded by a community. The connection to both the local and the global is one of the powerful aspects of radio, but where we have found real pleasure and potential in radio making is in the building, supporting, and exploring of the communities around us.<br /> <br /> ::'''By today, a large percentage of our mainstream (social) media content consumption comes from an endless stream of short-form videos. Can the radio be a competitive medium for fostering counterculture and freedom of expression, when not only its technology is considered obsolete, but the format itself is too challenging for our attention spans?'''<br /> <br /> As mentioned before, in obsolescence value can also re-emerge. We’ve seen more and more Internet radio stations pop up, and on a more mainstream level the rise of podcast shows, that there actually is a significant demand for long-form audio-based media even if—or perhaps because—our attention spans are being challenged. Amidst the stream of snappy disconnected algorithmic bits and pieces coming at us at random, we might crave for something that unfolds at a slower pace and in a form that doesn’t require us to stare at a screen. Even more so than a podcast, radio fosters a sense of intimacy due to its live and unedited nature, both on the production and consumption of a broadcast.<br /> So all in all, we believe radio is still a powerful emancipative tool for counterculture and expression at large. Although it’s maybe hard for radio to compete with regularly checked feeds of bite-sized visual content, it offers a more intimate, durational, and situated alternative, which is by definition important—especially when you speak about counterculture.<br /> <br /> <br /> ::''Good Times Bad Times (Jack Bardwell, Benjamin Earl, and Kirsten Spruit)''<br /> <br /> ====Paper Radio Instructions====<br /> '''Parts needed'''<br /> * 2x 2N3904 NPN Transistors (or BC547 or BC548)<br /> * 2x 100 nF ceramic capacitor<br /> * 1x 10 nF ceramic capacitor<br /> * 1x 4 pF ceramic capacitor<br /> * 1x 4-40 pF variable capacitor<br /> * 1x 50 cm #gauge insulated solid wire<br /> * 1x jack cable<br /> * 3x 10k ohm resistor<br /> * 1x 1k ohm resistor<br /> * 1x 100 ohm resistor<br /> * 1x 100k ohm resistor<br /> * 1x 1M ohm resistor<br /> * a large bolt to make a coil from the solid wire<br /> * 6 mm wide copper tape<br /> * 1x 9V battery<br /> * 1x 9V battery clip<br /> <br /> '''Tools needed'''<br /> * Soldering iron + tin<br /> * Multimeter<br /> * Clippers<br /> * Scissors<br /> * An FM radio to receive your station<br /> * Small screwdriver that fits the variable capacitor<br /> <br /> '''Steps'''<br /> # Recreate the circuit with copper tape (see layout image for reference)<br /> # Where you have to overlap tape, make soldering joint to connect the tape parts<br /> # Check your connections with a multimeter<br /> # Cut the jack cable in half, identify the stereo signals and solder them together, identify the – (negative) or GND cable and keep it separated.<br /> # Make an antenna from a ~40cm solid core wire<br /> # Make a coil by wrapping it around a bolt 7-8 times<br /> # Bend the legs of the components so they reach the right copper traces and solder them to the circuit (see layout image for reference)<br /> # Check connections again<br /> # Hook up to the battery and a sound source with the jack cable<br /> # Tune your FM radio and try to find your station!<br /> # If you cannot find it straight away, tune the variable capacitor bit by bit with a little screwdriver, checking the whole FM bandwidth throughout<br /> # Think of interesting projects to do with your short range radio station<br /> <br /> '''Tips'''<br /> * Play with the length of the antenna wire to find the best results<br /> * Try different coils (the tightness, number of windings and thickness/gauge of the wire all influence the output)<br /> * Some components have polarity, which means the right leg needs to be in the right place in the circuit for it to work. These are the battery clip (red to + [positive] and black to – [negative]), the jack cables (black to - and the other two are sound signals) and the transistor. Identify the legs of the transistors by laying the flat side facing up; the left leg is the collector (C).<br /> <br /> '''List of online community radio stations in the Netherlands'''<br /> * ''jajajaneeneenee'', location: Amsterdam, website: https://jajajaneeneenee.com/, community/archive<br /> * ''pub'', location: Sandberg Instituut, Amsterdam, website: https://pub.sandberg.nl
, school community/publication<br /> * ''radio noord'', location: Amsterdam Noord, website: https://www.radionoord.amsterdam/, community<br /> * ''salto'', location: Amsterdam, website: https://www.salto.nl/, community<br /> * ''radio tempo não pára'', location: Amsterdam Noord, website: https://radio-tnp.com/<br /> ** Radio Tempo Não Pára (Portuguese for Time Does Not Stop) is an independent online radio station based inside the iconic decommissioned NDSM shipyard in the North of Amsterdam<br /> * ''operator radio'', location: Rotterdam, website: https://www.operator-radio.com
, community<br /> * ''o, o, radio'', location: The Hague, website: https://ooradio.nl
, community<br /> * ''mushroom radio'', location: KABK, The Hague, website: https://radiomushroom.org
, school community<br /> * ''elevator radio'', location: DAE, Eindhoven, website: https://elevatorradio.network, school community<br /> * ''stranded fm'', location: Utrecht, website: https://stranded.fm/ <br /> ** UNCONVENTIONAL ONLINE RADIO Internet radio-platform Stranded FM desires for a Utrecht that is more radical, experimental and connected. We push local musical talent, amplify voices and give space to sincere cultural initiatives.<br /> &lt;/div class=&quot;block&quot;&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=License&diff=4270 2022-11-15T01:22:16Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article License layout-1&quot; id=&quot;License&quot;&gt;<br /> <br /> === License ===<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=A-Note-on-the-design&diff=4269 2022-11-15T01:21:34Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article A_Note_on_the_design_of_this_publication layout-1&quot; id=&quot;A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> === A Note on the design of this publication ===<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4267 2022-11-13T22:19:47Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div id=“Credits” class=&quot;article Credits layout-1”&gt;<br /> === Credits ===<br /> <br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=License&diff=4266 2022-11-13T22:17:52Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article License layout-1&quot; id=&quot;license&quot;&gt;<br /> <br /> === License ===<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4265 2022-11-13T22:17:15Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;Credits layout-1” id=“Credits”&gt;<br /> === Credits ===<br /> <br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=A-Note-on-the-design&diff=4264 2022-11-13T22:16:34Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article A-Note-on-the-design layout-1&quot; id=&quot;A-Note-on-the-design&quot;&gt;<br /> <br /> === A Note on the design of this publication ===<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4263 2022-11-13T22:15:25Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div id=“Credits layout-1” class=&quot;Credits”&gt;<br /> === Credits ===<br /> <br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:FiguringThingsOutTogether&diff=4214 2022-11-12T22:12:48Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;chapter introduction&quot;&gt;<br /> <br /> {{TOC|limit=3}}<br /> <br /> {{:Introduction-Figuring-Things}} <br /> <br /> &lt;/div&gt;<br /> &lt;div class=&quot;chapter setting-conditions&quot; id=&quot;Setting_conditions&quot;&gt;<br /> <br /> ==Setting conditions==<br /> <br /> {{:Workshop-Histories-and-Practices}}<br /> {{:Open-source-parenting}}<br /> {{:Platframe-Postscript}}<br /> {{:History-of-consensus}}<br /> {{:Algorithmic-consensus}}<br /> {{:Tool-conversation}}<br /> {{:Myclines}}<br /> {{:FileSha}}<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter prompts&quot; id=&quot;Prompts&quot;&gt;<br /> <br /> ==Prompts==<br /> <br /> {{:Propositioning}}<br /> {{:Channeling-Listeners}}<br /> {{:Relearning-Food}}<br /> {{:Untitling}}<br /> {{:Roleplay-in-Etherpad}}<br /> {{:Skinship}}<br /> {{:Ethercalc-Hangouts}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter how-tos&quot; id=&quot;How-tos&quot;&gt;<br /> <br /> ==How-tos==<br /> <br /> {{:Learning-to-Experiment}}<br /> {{:Api-Magazines}}<br /> {{:Mud-Batteries}}<br /> {{:The-Button-Saga}}<br /> {{:Display(ing)}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter scripted-syllabi&quot; id=&quot;Scripted_syllabi&quot;&gt;<br /> <br /> ==Distributed Curricula==<br /> <br /> {{:Cooperative-gaming}} <br /> {{:Interfacial-Workouts}}<br /> {{:Scripting-Workshops}}<br /> {{Intergenerational-Solarpunks}}<br /> {{:ChattyPub}}<br /> {{:FREE-Wiki}}<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter active-bibliographies&quot; id=&quot;Active_bibliographies&quot;&gt;<br /> <br /> ==Active bibliographies== <br /> <br /> {{:Critical-Coding-Cook-Book}}<br /> {{:Rad-IO}}<br /> {{:A-case-of-mistaken-identity}}<br /> {{:Entangled-computing}}<br /> {{:Gabriels-How-Tos}} <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter colophon&quot; id=&quot;colophon&quot;&gt;<br /> ==Colophon== <br /> <br /> {{:Colophon-credits}}<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:FiguringThingsOutTogether&diff=4213 2022-11-12T22:12:06Z

<p>MaisaMaisa: /* Colophon */</p> <hr /> <div>&lt;div class=&quot;chapter introduction&quot;&gt;<br /> <br /> {{TOC|limit=3}}<br /> <br /> {{:Introduction-Figuring-Things}} <br /> <br /> &lt;/div&gt;<br /> &lt;div class=&quot;chapter setting-conditions&quot; id=&quot;Setting_conditions&quot;&gt;<br /> <br /> ==Setting conditions==<br /> <br /> {{:Workshop-Histories-and-Practices}}<br /> {{:Open-source-parenting}}<br /> {{:Platframe-Postscript}}<br /> {{:History-of-consensus}}<br /> {{:Algorithmic-consensus}}<br /> {{:Tool-conversation}}<br /> {{:Myclines}}<br /> {{:FileSha}}<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter prompts&quot; id=&quot;Prompts&quot;&gt;<br /> <br /> ==Prompts==<br /> <br /> {{:Propositioning}}<br /> {{:Channeling-Listeners}}<br /> {{:Relearning-Food}}<br /> {{:Untitling}}<br /> {{:Roleplay-in-Etherpad}}<br /> {{:Skinship}}<br /> {{:Ethercalc-Hangouts}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter how-tos&quot; id=&quot;How-tos&quot;&gt;<br /> <br /> ==How-tos==<br /> <br /> {{:Learning-to-Experiment}}<br /> {{:Api-Magazines}}<br /> {{:Mud-Batteries}}<br /> {{:The-Button-Saga}}<br /> {{:Display(ing)}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter scripted-syllabi&quot; id=&quot;Scripted_syllabi&quot;&gt;<br /> <br /> ==Distributed Curricula==<br /> <br /> {{:Cooperative-gaming}} <br /> {{:Interfacial-Workouts}}<br /> {{:Scripting-Workshops}}<br /> {{Intergenerational-Solarpunks}}<br /> {{:ChattyPub}}<br /> {{:FREE-Wiki}}<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter active-bibliographies&quot; id=&quot;Active_bibliographies&quot;&gt;<br /> <br /> ==Active bibliographies== <br /> <br /> {{:Critical-Coding-Cook-Book}}<br /> {{:Rad-IO}}<br /> {{:A-case-of-mistaken-identity}}<br /> {{:Entangled-computing}}<br /> {{:Gabriels-How-Tos}} <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter colophon&quot; id=&quot;colophon&quot;&gt;<br /> &lt;div&gt;<br /> ==Colophon== <br /> <br /> {{:Colophon-credits}}</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:FiguringThingsOutTogether&diff=4212 2022-11-12T22:10:41Z

<p>MaisaMaisa: /* Colophon */</p> <hr /> <div>&lt;div class=&quot;chapter introduction&quot;&gt;<br /> <br /> {{TOC|limit=3}}<br /> <br /> {{:Introduction-Figuring-Things}} <br /> <br /> &lt;/div&gt;<br /> &lt;div class=&quot;chapter setting-conditions&quot; id=&quot;Setting_conditions&quot;&gt;<br /> <br /> ==Setting conditions==<br /> <br /> {{:Workshop-Histories-and-Practices}}<br /> {{:Open-source-parenting}}<br /> {{:Platframe-Postscript}}<br /> {{:History-of-consensus}}<br /> {{:Algorithmic-consensus}}<br /> {{:Tool-conversation}}<br /> {{:Myclines}}<br /> {{:FileSha}}<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter prompts&quot; id=&quot;Prompts&quot;&gt;<br /> <br /> ==Prompts==<br /> <br /> {{:Propositioning}}<br /> {{:Channeling-Listeners}}<br /> {{:Relearning-Food}}<br /> {{:Untitling}}<br /> {{:Roleplay-in-Etherpad}}<br /> {{:Skinship}}<br /> {{:Ethercalc-Hangouts}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter how-tos&quot; id=&quot;How-tos&quot;&gt;<br /> <br /> ==How-tos==<br /> <br /> {{:Learning-to-Experiment}}<br /> {{:Api-Magazines}}<br /> {{:Mud-Batteries}}<br /> {{:The-Button-Saga}}<br /> {{:Display(ing)}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter scripted-syllabi&quot; id=&quot;Scripted_syllabi&quot;&gt;<br /> <br /> ==Distributed Curricula==<br /> <br /> {{:Cooperative-gaming}} <br /> {{:Interfacial-Workouts}}<br /> {{:Scripting-Workshops}}<br /> {{Intergenerational-Solarpunks}}<br /> {{:ChattyPub}}<br /> {{:FREE-Wiki}}<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter active-bibliographies&quot; id=&quot;Active_bibliographies&quot;&gt;<br /> <br /> ==Active bibliographies== <br /> <br /> {{:Critical-Coding-Cook-Book}}<br /> {{:Rad-IO}}<br /> {{:A-case-of-mistaken-identity}}<br /> {{:Entangled-computing}}<br /> {{:Gabriels-How-Tos}} <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter colophon&quot; id=&quot;colophon&quot;&gt;<br /> &lt;div&gt;<br /> ==Colophon== <br /> <br /> {{:Colophon-credits}} <br /> <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4211 2022-11-12T22:09:19Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div id=“Colophon-names” class=&quot;article Colophon-names”&gt;<br /> ==== Colophon-names ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4210 2022-11-12T22:06:28Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div id=“Colophon-names” class=&quot;article Colophon-names”&gt;<br /> ==== Colophon-names ====<br /> is this working?<br /> &lt;/div&gt;<br /> <br /> ==== Colophon-names ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4209 2022-11-12T22:01:28Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div id=“Colophon-names” class=&quot;article Colophon-names”&gt;<br /> <br /> ==== Colophon-names ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4208 2022-11-12T21:59:22Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div id=“Colophon-names”&gt;<br /> ==== Colophon-names ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4207 2022-11-12T21:55:25Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div id=“Colophon-names” class=&quot;article Colophon-names”&gt;<br /> ==== Colophon-names ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4206 2022-11-12T21:52:34Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Colophon-names” id=“Colophon-names”&gt;<br /> ==== Colophon-names ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:FiguringThingsOutTogether&diff=4205 2022-11-12T21:49:23Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;chapter introduction&quot;&gt;<br /> <br /> {{TOC|limit=3}}<br /> <br /> {{:Introduction-Figuring-Things}} <br /> <br /> &lt;/div&gt;<br /> &lt;div class=&quot;chapter setting-conditions&quot; id=&quot;Setting_conditions&quot;&gt;<br /> <br /> ==Setting conditions==<br /> <br /> {{:Workshop-Histories-and-Practices}}<br /> {{:Open-source-parenting}}<br /> {{:Platframe-Postscript}}<br /> {{:History-of-consensus}}<br /> {{:Algorithmic-consensus}}<br /> {{:Tool-conversation}}<br /> {{:Myclines}}<br /> {{:FileSha}}<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter prompts&quot; id=&quot;Prompts&quot;&gt;<br /> <br /> ==Prompts==<br /> <br /> {{:Propositioning}}<br /> {{:Channeling-Listeners}}<br /> {{:Relearning-Food}}<br /> {{:Untitling}}<br /> {{:Roleplay-in-Etherpad}}<br /> {{:Skinship}}<br /> {{:Ethercalc-Hangouts}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter how-tos&quot; id=&quot;How-tos&quot;&gt;<br /> <br /> ==How-tos==<br /> <br /> {{:Learning-to-Experiment}}<br /> {{:Api-Magazines}}<br /> {{:Mud-Batteries}}<br /> {{:The-Button-Saga}}<br /> {{:Display(ing)}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter scripted-syllabi&quot; id=&quot;Scripted_syllabi&quot;&gt;<br /> <br /> ==Distributed Curricula==<br /> <br /> {{:Cooperative-gaming}} <br /> {{:Interfacial-Workouts}}<br /> {{:Scripting-Workshops}}<br /> {{Intergenerational-Solarpunks}}<br /> {{:ChattyPub}}<br /> {{:FREE-Wiki}}<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter active-bibliographies&quot; id=&quot;Active_bibliographies&quot;&gt;<br /> <br /> ==Active bibliographies== <br /> <br /> {{:Critical-Coding-Cook-Book}}<br /> {{:Rad-IO}}<br /> {{:A-case-of-mistaken-identity}}<br /> {{:Entangled-computing}}<br /> {{:Gabriels-How-Tos}} <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter colophon&quot; id=&quot;colophon&quot;&gt;<br /> ==Colophon== <br /> <br /> {{:Colophon-credits}} <br /> <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4204 2022-11-12T21:46:40Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Colophon-names” id=“Colophon-names”&gt;<br /> ==== Colophon-credits ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4203 2022-11-12T21:45:13Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div id=“Colophon-credits”&gt;<br /> ==== Colophon-credits ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4202 2022-11-12T21:41:57Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Colophon-credits” id=“Colophon-credits”&gt;<br /> ==== Colophon-credits ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4201 2022-11-12T21:41:23Z

<p>MaisaMaisa: /* Colophon */</p> <hr /> <div>&lt;div class=&quot;article Colophonn” id=“Colophon”&gt;<br /> ==== Colophon-credits ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:FiguringThingsOutTogether&diff=4200 2022-11-12T21:39:26Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;chapter introduction&quot;&gt;<br /> <br /> {{TOC|limit=3}}<br /> <br /> {{:Introduction-Figuring-Things}} <br /> <br /> &lt;/div&gt;<br /> &lt;div class=&quot;chapter setting-conditions&quot; id=&quot;Setting_conditions&quot;&gt;<br /> <br /> ==Setting conditions==<br /> <br /> {{:Workshop-Histories-and-Practices}}<br /> {{:Open-source-parenting}}<br /> {{:Platframe-Postscript}}<br /> {{:History-of-consensus}}<br /> {{:Algorithmic-consensus}}<br /> {{:Tool-conversation}}<br /> {{:Myclines}}<br /> {{:FileSha}}<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter prompts&quot; id=&quot;Prompts&quot;&gt;<br /> <br /> ==Prompts==<br /> <br /> {{:Propositioning}}<br /> {{:Channeling-Listeners}}<br /> {{:Relearning-Food}}<br /> {{:Untitling}}<br /> {{:Roleplay-in-Etherpad}}<br /> {{:Skinship}}<br /> {{:Ethercalc-Hangouts}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter how-tos&quot; id=&quot;How-tos&quot;&gt;<br /> <br /> ==How-tos==<br /> <br /> {{:Learning-to-Experiment}}<br /> {{:Api-Magazines}}<br /> {{:Mud-Batteries}}<br /> {{:The-Button-Saga}}<br /> {{:Display(ing)}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter scripted-syllabi&quot; id=&quot;Scripted_syllabi&quot;&gt;<br /> <br /> ==Distributed Curricula==<br /> <br /> {{:Cooperative-gaming}} <br /> {{:Interfacial-Workouts}}<br /> {{:Scripting-Workshops}}<br /> {{Intergenerational-Solarpunks}}<br /> {{:ChattyPub}}<br /> {{:FREE-Wiki}}<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter active-bibliographies&quot; id=&quot;Active_bibliographies&quot;&gt;<br /> <br /> ==Active bibliographies== <br /> <br /> {{:Critical-Coding-Cook-Book}}<br /> {{:Rad-IO}}<br /> {{:A-case-of-mistaken-identity}}<br /> {{:Entangled-computing}}<br /> {{:Gabriels-How-Tos}} <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter colophon-credits&quot;&gt;<br /> ==Colophon== <br /> <br /> {{:Colophon-credits}} <br /> <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:FiguringThingsOutTogether&diff=4199 2022-11-12T21:36:57Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;chapter introduction&quot;&gt;<br /> <br /> {{TOC|limit=3}}<br /> <br /> {{:Introduction-Figuring-Things}} <br /> <br /> &lt;/div&gt;<br /> &lt;div class=&quot;chapter setting-conditions&quot; id=&quot;Setting_conditions&quot;&gt;<br /> <br /> ==Setting conditions==<br /> <br /> {{:Workshop-Histories-and-Practices}}<br /> {{:Open-source-parenting}}<br /> {{:Platframe-Postscript}}<br /> {{:History-of-consensus}}<br /> {{:Algorithmic-consensus}}<br /> {{:Tool-conversation}}<br /> {{:Myclines}}<br /> {{:FileSha}}<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter prompts&quot; id=&quot;Prompts&quot;&gt;<br /> <br /> ==Prompts==<br /> <br /> {{:Propositioning}}<br /> {{:Channeling-Listeners}}<br /> {{:Relearning-Food}}<br /> {{:Untitling}}<br /> {{:Roleplay-in-Etherpad}}<br /> {{:Skinship}}<br /> {{:Ethercalc-Hangouts}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter how-tos&quot; id=&quot;How-tos&quot;&gt;<br /> <br /> ==How-tos==<br /> <br /> {{:Learning-to-Experiment}}<br /> {{:Api-Magazines}}<br /> {{:Mud-Batteries}}<br /> {{:The-Button-Saga}}<br /> {{:Display(ing)}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter scripted-syllabi&quot; id=&quot;Scripted_syllabi&quot;&gt;<br /> <br /> ==Distributed Curricula==<br /> <br /> {{:Cooperative-gaming}} <br /> {{:Interfacial-Workouts}}<br /> {{:Scripting-Workshops}}<br /> {{Intergenerational-Solarpunks}}<br /> {{:ChattyPub}}<br /> {{:FREE-Wiki}}<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter active-bibliographies&quot; id=&quot;Active_bibliographies&quot;&gt;<br /> <br /> ==Active bibliographies== <br /> <br /> {{:Critical-Coding-Cook-Book}}<br /> {{:Rad-IO}}<br /> {{:A-case-of-mistaken-identity}}<br /> {{:Entangled-computing}}<br /> {{:Gabriels-How-Tos}} <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter colophon-credits&quot;&gt;<br /> <br /> &lt;div&gt;<br /> ==Colophon== <br /> <br /> {{:Colophon}} <br /> <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4198 2022-11-12T21:34:58Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Colophonn” id=“Colophon”&gt;<br /> ==== Colophon ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4197 2022-11-12T21:31:55Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Colophon” id=“Colophon”&gt;<br /> ==== Colophon ====<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4196 2022-11-12T21:30:13Z

<p>MaisaMaisa: </p> <hr /> <div>&lt;div class=&quot;article Colophon” id=“Colophon”&gt;<br /> :'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4195 2022-11-12T21:29:46Z

<p>MaisaMaisa: /* A Note on the design of this publication */</p> <hr /> <div>:'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4162 2022-11-10T17:39:34Z

<p>MaisaMaisa: </p> <hr /> <div>:'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> &lt;div id=&quot;A_Note_on_the_design_of_this_publication&quot; class=&quot;article A_Note_on_the_design_of_this_publication&quot;&gt;<br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> &lt;/div&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article License&quot;&gt;<br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4161 2022-11-10T17:37:39Z

<p>MaisaMaisa: </p> <hr /> <div>:'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> &lt;div id=&quot;License&quot; class=&quot;article&quot;&gt;<br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4160 2022-11-10T17:36:21Z

<p>MaisaMaisa: </p> <hr /> <div>:'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> &lt;div id=&quot;License&quot;&gt;<br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4159 2022-11-10T17:32:31Z

<p>MaisaMaisa: /* License */</p> <hr /> <div>:'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> &lt;div class=&quot;article License layout-1” id=&quot;License&quot;&gt;<br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;<br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:FiguringThingsOutTogether&diff=4158 2022-11-10T17:30:52Z

<p>MaisaMaisa: /* Colophon */</p> <hr /> <div>&lt;div class=&quot;chapter introduction&quot;&gt;<br /> <br /> {{TOC|limit=3}}<br /> <br /> {{:Introduction-Figuring-Things}} <br /> <br /> &lt;/div&gt;<br /> &lt;div class=&quot;chapter setting-conditions&quot; id=&quot;Setting_conditions&quot;&gt;<br /> <br /> ==Setting conditions==<br /> <br /> {{:Workshop-Histories-and-Practices}}<br /> {{:Open-source-parenting}}<br /> {{:Platframe-Postscript}}<br /> {{:History-of-consensus}}<br /> {{:Algorithmic-consensus}}<br /> {{:Tool-conversation}}<br /> {{:Myclines}}<br /> {{:FileSha}}<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter prompts&quot; id=&quot;Prompts&quot;&gt;<br /> <br /> ==Prompts==<br /> <br /> {{:Propositioning}}<br /> {{:Channeling-Listeners}}<br /> {{:Relearning-Food}}<br /> {{:Untitling}}<br /> {{:Roleplay-in-Etherpad}}<br /> {{:Skinship}}<br /> {{:Ethercalc-Hangouts}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter how-tos&quot; id=&quot;How-tos&quot;&gt;<br /> <br /> ==How-tos==<br /> <br /> {{:Learning-to-Experiment}}<br /> {{:Api-Magazines}}<br /> {{:Mud-Batteries}}<br /> {{:The-Button-Saga}}<br /> {{:Display(ing)}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter scripted-syllabi&quot; id=&quot;Scripted_syllabi&quot;&gt;<br /> <br /> ==Distributed Curricula==<br /> <br /> {{:Cooperative-gaming}} <br /> {{:Interfacial-Workouts}}<br /> {{:Scripting-Workshops}}<br /> {{Intergenerational-Solarpunks}}<br /> {{:ChattyPub}}<br /> {{:FREE-Wiki}}<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter active-bibliographies&quot; id=&quot;Active_bibliographies&quot;&gt;<br /> <br /> ==Active bibliographies== <br /> <br /> {{:Critical-Coding-Cook-Book}}<br /> {{:Rad-IO}}<br /> {{:A-case-of-mistaken-identity}}<br /> {{:Entangled-computing}}<br /> {{:Gabriels-How-Tos}} <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter colophon-credits&quot;&gt;<br /> <br /> &lt;div&gt;<br /> ==Colophon== <br /> <br /> {{:Colophon-credits}} <br /> <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Publishing:FiguringThingsOutTogether&diff=4157 2022-11-10T17:29:45Z

<p>MaisaMaisa: /* Colophon */</p> <hr /> <div>&lt;div class=&quot;chapter introduction&quot;&gt;<br /> <br /> {{TOC|limit=3}}<br /> <br /> {{:Introduction-Figuring-Things}} <br /> <br /> &lt;/div&gt;<br /> &lt;div class=&quot;chapter setting-conditions&quot; id=&quot;Setting_conditions&quot;&gt;<br /> <br /> ==Setting conditions==<br /> <br /> {{:Workshop-Histories-and-Practices}}<br /> {{:Open-source-parenting}}<br /> {{:Platframe-Postscript}}<br /> {{:History-of-consensus}}<br /> {{:Algorithmic-consensus}}<br /> {{:Tool-conversation}}<br /> {{:Myclines}}<br /> {{:FileSha}}<br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter prompts&quot; id=&quot;Prompts&quot;&gt;<br /> <br /> ==Prompts==<br /> <br /> {{:Propositioning}}<br /> {{:Channeling-Listeners}}<br /> {{:Relearning-Food}}<br /> {{:Untitling}}<br /> {{:Roleplay-in-Etherpad}}<br /> {{:Skinship}}<br /> {{:Ethercalc-Hangouts}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter how-tos&quot; id=&quot;How-tos&quot;&gt;<br /> <br /> ==How-tos==<br /> <br /> {{:Learning-to-Experiment}}<br /> {{:Api-Magazines}}<br /> {{:Mud-Batteries}}<br /> {{:The-Button-Saga}}<br /> {{:Display(ing)}}<br /> <br /> &lt;/div&gt;<br /> <br /> <br /> &lt;div class=&quot;chapter scripted-syllabi&quot; id=&quot;Scripted_syllabi&quot;&gt;<br /> <br /> ==Distributed Curricula==<br /> <br /> {{:Cooperative-gaming}} <br /> {{:Interfacial-Workouts}}<br /> {{:Scripting-Workshops}}<br /> {{Intergenerational-Solarpunks}}<br /> {{:ChattyPub}}<br /> {{:FREE-Wiki}}<br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter active-bibliographies&quot; id=&quot;Active_bibliographies&quot;&gt;<br /> <br /> ==Active bibliographies== <br /> <br /> {{:Critical-Coding-Cook-Book}}<br /> {{:Rad-IO}}<br /> {{:A-case-of-mistaken-identity}}<br /> {{:Entangled-computing}}<br /> {{:Gabriels-How-Tos}} <br /> <br /> &lt;/div&gt;<br /> <br /> &lt;div class=&quot;chapter colophon-credits&quot;&gt;<br /> <br /> &lt;div&gt;<br /> ==Colophon== <br /> <br /> {{:Colophon}} <br /> <br /> &lt;/div&gt;</div>

MaisaMaisa https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/index.php?title=Colophon-credits&diff=4156 2022-11-10T17:25:31Z

<p>MaisaMaisa: /* A Note on the design of this publication */</p> <hr /> <div>:'''Contributors''': 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, Social Muscle Club, Workshop Project, Stefanie Wuschitz, Xin Xin. <br /> <br /> :'''Editor''': Anja Groten &lt;br&gt;<br /> <br /> :'''Design''': Hackers &amp; Designers (Anja Groten, Juliette Lizotte, Heerko van der Kooij, Maisa Imamović)<br /> <br /> :'''Copy-editing''': Georgie Sinclair<br /> <br /> :'''Proofreading''': Loes Bogers<br /> <br /> :'''Paper Inside''': Rebello, 90 grs<br /> <br /> :'''Paper Cover''': Muskat Grijs, 290 grs<br /> <br /> :'''Printing and Binding''': Drukkerij RaddraaierSSP<br /> <br /> :'''Publisher''': Hackers &amp; Designers, www.hackersanddesigners.nl<br /> <br /> <br /> With the kind support of Stimuleringsfonds Creatieve Industrie<br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt; <br /> <br /> ==== A Note on the design of this publication ====<br /> The design of this publication accommodates non-linear reading. Cross-references indicate to connections across chapters, themes, methods and timelines. <br /> <br /> The design of this book is part of an ongoing collective exploration into unusual, non-proprietary, open-source, free and libre publishing tools and workflows. Such tools come with their own quirks and ask us to re-think our relationship to design tools. We hope this publication contributes to a growing community of designers who consider it relevant to rethink their tool-ecologies. Building on the knowledge and practices of many designers and collectives that work with and contribute to open-source approaches to designing on and offline publications,&lt;ref&gt;Collectives that inspire us in our design experiments are Varia, Constant Association for Art and Media, Open Source Publishing, the practices and knowledge deriving from educational contexts such as the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam or XPUB—a master programme of Experimental Publishing at Piet Zwart Institute, the digital and hybrid publishing research groups of the Institute of Network Cultures. Concretely, the technical infrastructure and workflow used to create this publication (wiki-to-pdf) is building on the code repositories of Martino Morandi (Constant Association for Art and Media) developed for the publication ‘Infrastructural Interactions’ edited by TITiPI (Helen V Pritchard, Femke Snelting) (gitlab.constantvzw.org/titipi/wiki-to-pdf), and Manetta Berends (Varia Collective) developed for the publication ''Volumetric Regimes'' edited by Possible Bodies (Jara Rocha, Femke Snelting), published under the CC4r license (git.vvvvvvaria.org/mb/volumetric-regimes-book).&lt;/ref&gt; Hackers &amp; Designers’ publishing experiments intersect computer programming, art, and design, and involve the building of self-made, hacked, and reappropriated tools and technical infrastructures, which sometimes results in books, such as the one you are holding now.<br /> <br /> Following open-source principles, the tool ecosystem that evolved around the design of this publication is documented and published on the H&amp;amp;D website&lt;ref&gt;hackersanddesigners.nl/s/Tools.&lt;/ref&gt; and git repository &lt;ref&gt;github.com/hackersanddesigners.&lt;/ref&gt; under the CC4r license,&lt;ref&gt;constantvzw.org/wefts/cc4r.en.html.&lt;/ref&gt; providing the possibility of continuation in other contexts, studying, critiquing, and repurposing.<br /> <br /> The tools ecosystem includes: MediaWiki, Jinja templating, Pagedjs for the layout.<br /> <br /> All typefaces used in this publication are available at ‘Badass Libre Fonts By Womxn’,&lt;ref&gt;design-research.be/by-womxn.&lt;/ref&gt; a repository of open source and/or libre typefaces composed by Loraine Furter and Velvetyne Libre and Open Source Type Foundry.&lt;ref&gt;https://velvetyne.fr/&lt;/ref&gt;<br /> <br /> Fonts used: Authentic, Louise, Sligoil, Noto Serif, Not-courier. <br /> &lt;span class=&quot;page-break&quot;&gt;&amp;nbsp;&lt;/span&gt;<br /> <br /> ==== License ====<br /> &lt;code&gt;<br /> :COLLECTIVE CONDITIONS FOR RE-USE (CC4r)<br /> <br /> :Hackers &amp; Designers, 2022. <br /> :Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [https://gitlab.constantvzw.org/unbound/cc4r gitlab.constantvzw.org/unbound/cc4r].<br /> <br /> :REMINDER TO CURRENT AND FUTURE AUTHORS:<br /> ::The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.<br /> <br /> :Copyleft Attitude with a difference, 24 November 2022.<br /> <br /> :The CC4r was developed for the Constant work session [[#Re-_and_Un-_Defining_Tools|Unbound libraries]] (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License http://artlibre.org/licence/lal/en/ and inspired by other licensing projects such as The (Cooperative) Non-Violent Public License https://thufie.lain.haus/NPL.html and the Decolonial Media license https://freeculture.org/About/license.<br /> <br /> &lt;/code&gt;</div>

MaisaMaisa