Entangled-computing - Revision history

Hd-onions at 18:09, 10 November 2022

2022-11-10T18:09:58Z

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	<div class="article Solarpunk_Postscript layout-2" id="Solarpunk_Postscript">		<div class="article Solarpunk_Postscript layout-2" id="Solarpunk_Postscript">

			<div class="hide-from-website">
	[[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_]]		[[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_]]
			</div>

			<div class="hide-from-book scriptothek">
			[[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_]]
			</div>

	===Solarpunk Postscript ===		===Solarpunk Postscript ===

Hd-onions: /* Solarpunk Postscript */

2022-11-03T16:32:21Z

Solarpunk Postscript

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	# Peel your eyes for ambiguity and amplify greyness		# Peel your eyes for ambiguity and amplify greyness
	# Apply lightness, liberally		# Apply lightness, liberally

			<span class="page-break"> </span>

	====Deconstructing “expertise”====		====Deconstructing “expertise”====
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	:''Prompt: Meet your friend from another discipline. Swap your work computers. Open each other's email clients and pick an unanswered email. Draft a response. What can you gather from each other's methods of knowing and not knowing? ''		:''Prompt: Meet your friend from another discipline. Swap your work computers. Open each other's email clients and pick an unanswered email. Draft a response. What can you gather from each other's methods of knowing and not knowing? ''

			<span class="page-break"> </span>

	====Untoolkit====		====Untoolkit====

Hd-onions at 14:46, 3 November 2022

2022-11-03T14:46:08Z

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	This next, and for now final, prompt is borrowed from Matthew Fuller’s Media Ecologies.		This next, and for now final, prompt is borrowed from Matthew Fuller’s Media Ecologies.

	:''Prompt: "Accumulate information, techniques, spread them about, stay with a situation long enough to understand its permutations. Find a conjunction of forces, behaviors, technologies, information systems, stretch it, make it open up and swell so that each of the means by which it senses and acts in the world become a landscape that can be explored and built in. Speed it up and slow it down so that its characteristic movements can be recognized at a glance. Lead it through a hall of mirrors until it loses a sense of its own proper border, begins to leak or creates a new zone."''<ref> Matthew Fuller, ''Media Ecologies: Materialist Energies in Art and Technoculture'' (Cambridge: MIT Press, 2007),106. </ref>		:''Prompt: "Accumulate information, techniques, spread them about, stay with a situation long enough to understand its permutations. Find a conjunction of forces, behaviors, technologies, information systems, stretch it, make it open up and swell so that each of the means by which it senses and acts in the world become a landscape that can be explored and built in. Speed it up and slow it down so that its characteristic movements can be recognized at a glance. Lead it through a hall of mirrors until it loses a sense of its own proper border, begins to leak or creates a new zone."''<ref> Matthew Fuller, ''Media Ecologies: Materialist Energies in Art and Technoculture'' (Cambridge: MIT Press, 2007),106.</ref>

Hd-onions: /* Solarpunk Postscript */

2022-11-03T14:45:28Z

Solarpunk Postscript

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	Computing is a form of mediation between beings and materials, brought about by means of abstractions and numbers. These systems of abstractions we live with and by are designed to disappear into the background of our daily rhythms. This is a result of deliberate design and intentional engineering acts, justified by arguments that speak for intuitive interaction, efficiency, and usability. Questions such as “Is this technology bad?” are only of limited use. Google's code of conduct might mention "Don't be evil," but this is an empty phrase. Nobody would disagree with such a statement. As Matthew Fuller and Andrew Goffey convincingly argue,<ref> Matthew Fuller and Andrew Goffey, ''Evil Media'' (Cambridge: MIT Press, 2012).</ref> this phrase implies that even if people involved are good, systems can still do evil, they incite and provoke, twist and bend, leak and manage. It's the infuriating reality of well intended but naïve creations, with unintended consequences on top.		Computing is a form of mediation between beings and materials, brought about by means of abstractions and numbers. These systems of abstractions we live with and by are designed to disappear into the background of our daily rhythms. This is a result of deliberate design and intentional engineering acts, justified by arguments that speak for intuitive interaction, efficiency, and usability. Questions such as “Is this technology bad?” are only of limited use. Google's code of conduct might mention "Don't be evil," but this is an empty phrase. Nobody would disagree with such a statement. As Matthew Fuller and Andrew Goffey convincingly argue,<ref> Matthew Fuller and Andrew Goffey, ''Evil Media'' (Cambridge: MIT Press, 2012).</ref> this phrase implies that even if people involved are good, systems can still do evil, they incite and provoke, twist and bend, leak and manage. It's the infuriating reality of well intended but naïve creations, with unintended consequences on top.

	To parse the complexity of our socio-technical world and undo occlusions in these systems, Matt Ratto and Garnet Hertz suggest a number of strategies under the term “critical making.”<ref> Matt Ratto and Garnet Hertz, “Critical Making and Interdisciplinary Learning: Making as a Bridge Between Art, Science, Engineering, and Social Interventions,” ''The Critical Makers Reader: (Un)Learning Technology'', eds. Loes Bogers and Letizia Chiappini (Amsterdam: Institute of Network Cultures, 2019), 25.</ref> Firstly: identify metaphors and assumptions that guide and shape a discipline (see also Deconstructing Expertise), such as efficiency, convenience, and pervasive connectivity. Secondly: recognize what these values and metaphors exclude or marginalize. How can we see what is meant to be invisible? Keep your eyes peeled for blandness and ambiguity—or grayness—and amplify it. Scrutinize what is bland and unexciting, "Grayness is a quality that is easily overlooked, and that is what gives it its great attraction, an unremarkableness that can be of inestimable value in background operations."<ref> Fuller and Goffey, ''Evil Media'', 11.</ref> In 2013, artist duo YoHa invited fifty-one artists to choose a gray object and describe its exclusionary power. From ASCII character set to Zero-hour-contracts, the texts shown as part of the ''Evil Media Distribution Centre'' highlight a wide range of directive objects forming the background of contemporary society.<ref> “Evil Media Distribution Centre,” YoHa, 2013, http://yoha.co.uk/evilmedia</ref> The texts in this collaborative work are somewhat similar to the third and last move, of making found occlusions legible. This might be in textual form, or occlusions might be inverted by bringing the exclusion to the center, and then building and deploying an object that embodies this reversal. A notable example is the project ''SeatSale'' by Steve Mann: a physical chair that highlights the way digital rights management (DRM) systems create artificial scarcity. Such software allocates "seats" to limit the use of a software license, which took the shape of a mechanical chair with spikes in the seat that can be lowered and lifted depending on the amount of "seats" occupied on the license.<ref> Steve Mann, “Maktivism: Authentic Making for Technology in the Service of Humanity,” D''IY Citizenship: Critical Making and Social Media'', eds. Matt Ratto and Megan Boler (Cambridge: MIT Press, 2014), 40.</ref> Whether textual or object-based: amplify the grayness of systems to render their evil doings in legible form.		To parse the complexity of our socio-technical world and undo occlusions in these systems, Matt Ratto and Garnet Hertz suggest a number of strategies under the term “critical making.”<ref>Matt Ratto and Garnet Hertz, “Critical Making and Interdisciplinary Learning: Making as a Bridge Between Art, Science, Engineering, and Social Interventions,” ''The Critical Makers Reader: (Un)Learning Technology'', eds. Loes Bogers and Letizia Chiappini (Amsterdam: Institute of Network Cultures, 2019), 25.</ref> Firstly: identify metaphors and assumptions that guide and shape a discipline (see also Deconstructing Expertise), such as efficiency, convenience, and pervasive connectivity. Secondly: recognize what these values and metaphors exclude or marginalize. How can we see what is meant to be invisible? Keep your eyes peeled for blandness and ambiguity—or grayness—and amplify it. Scrutinize what is bland and unexciting, "Grayness is a quality that is easily overlooked, and that is what gives it its great attraction, an unremarkableness that can be of inestimable value in background operations."<ref> Fuller and Goffey, ''Evil Media'', 11.</ref> In 2013, artist duo YoHa invited fifty-one artists to choose a gray object and describe its exclusionary power. From ASCII character set to Zero-hour-contracts, the texts shown as part of the ''Evil Media Distribution Centre'' highlight a wide range of directive objects forming the background of contemporary society.<ref> “Evil Media Distribution Centre,” YoHa, 2013, http://yoha.co.uk/evilmedia</ref> The texts in this collaborative work are somewhat similar to the third and last move, of making found occlusions legible. This might be in textual form, or occlusions might be inverted by bringing the exclusion to the center, and then building and deploying an object that embodies this reversal. A notable example is the project ''SeatSale'' by Steve Mann: a physical chair that highlights the way digital rights management (DRM) systems create artificial scarcity. Such software allocates "seats" to limit the use of a software license, which took the shape of a mechanical chair with spikes in the seat that can be lowered and lifted depending on the amount of "seats" occupied on the license.<ref> Steve Mann, “Maktivism: Authentic Making for Technology in the Service of Humanity,” D''IY Citizenship: Critical Making and Social Media'', eds. Matt Ratto and Megan Boler (Cambridge: MIT Press, 2014), 40.</ref> Whether textual or object-based: amplify the grayness of systems to render their evil doings in legible form.

	:''Prompt: Locate a resource that claims to explain an aspect of computing. A title like “How Computers Really Work” or any other indication of authoritative helpfulness is great to look for. Pick an aspect of computing that seems excessively boring, and articulate what written and unwritten rules are at play to make the subsystem function. Imagine and describe, visualize, or build a scenario where you introduce another interpretative layer into that system. Remember that computer things "work" by means of excluding ambiguity. ''		:''Prompt: Locate a resource that claims to explain an aspect of computing. A title like “How Computers Really Work” or any other indication of authoritative helpfulness is great to look for. Pick an aspect of computing that seems excessively boring, and articulate what written and unwritten rules are at play to make the subsystem function. Imagine and describe, visualize, or build a scenario where you introduce another interpretative layer into that system. Remember that computer things "work" by means of excluding ambiguity. ''

Hd-onions at 14:22, 3 November 2022

2022-11-03T14:22:27Z

← Older revision		Revision as of 16:22, 3 November 2022
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	:<small> 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_</small>		:<small> 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_</small>

	You might be thinking: Haven't we already demystified computers in so many ways? I can open an Instructable<ref> ''Instructables'', https://www.instructables.com </ref> to set up my own server in 12 easy steps,<ref>“Set Up Your Very Own Web Server!,” ''Instructables'', https://www.instructables.com/Set-up-your-very-own-Web-server/ </ref> or find a blog describing how to solar power my Arduino project with a Sparkfun charging board.<ref>“Using Arduino with Parts and Sensors – Solar Powered Arduino (Part 1),”Device Plus, March 1, 2016, https://www.deviceplus.com/arduino/entry025/ </ref> Maybe from there we can open another line of inquiry and experimentation. In your set up, which elements are in fact pre-designed toolkits that you depend on and could unpack further? The Arduino in your hand feels like a singular, cohesive object. Take any of the following tools to highlight its modularity and connectedness to other infrastructures, social rules, and systems. A loupe brings into view the shapes of the teeny tiny components on your chip, and sometimes even a number or factory code. What is it? What does it do? What shapes, sizes, and formats does it come in and what unspoken rules are behind those shapes and sizes? What materials are involved in making it and where do they come from? How do these relate to the software environment you use to make the chip read and do things? How is the software interface connected to text files in the deep folder structure of your computer? Where does the software refer to something tangible you can find with your loupe, and why? What is the relationship between the abstract representations offered in a component's datasheet and the physical object in your hand? Unpacking any computer will bring out an infinite number of relations up for interrogating, interrupting, and intervening. By virtue of seeing and feeling the relationships you are offered opportunities to change the engagement. An insightful example of a process of making an “untoolkit” is described in "Microcontrollers as material" by David Mellis et al., at MIT Medialab (2013).<ref> David A. Mellis et al., “Microcontrollers as Material: Crafting Circuits with Paper, Conductive Ink, Electronic Components, and an "Untoolkit,” ''Proceedings of the 7th International Conference on Tangible, Embedded and Embodied Interaction'' (February 2013), 83-90, https://doi.org/10.1145/2460625.2460638 </ref>		You might be thinking: Haven't we already demystified computers in so many ways? I can open an Instructable<ref> ''Instructables'', https://www.instructables.com </ref> to set up my own server in 12 easy steps,<ref>“Set Up Your Very Own Web Server!,” ''Instructables'', https://www.instructables.com/Set-up-your-very-own-Web-server/ </ref> or find a blog describing how to solar power my Arduino project with a Sparkfun charging board.<ref>“Using Arduino with Parts and Sensors – Solar Powered Arduino (Part 1),”Device Plus, March 1, 2016, https://www.deviceplus.com/arduino/entry025/ </ref> Maybe from there we can open another line of inquiry and experimentation. In your set up, which elements are in fact pre-designed toolkits that you depend on and could unpack further? The Arduino in your hand feels like a singular, cohesive object. Take any of the following tools to highlight its modularity and connectedness to other infrastructures, social rules, and systems. A loupe brings into view the shapes of the teeny tiny components on your chip, and sometimes even a number or factory code. What is it? What does it do? What shapes, sizes, and formats does it come in and what unspoken rules are behind those shapes and sizes? What materials are involved in making it and where do they come from? How do these relate to the software environment you use to make the chip read and do things? How is the software interface connected to text files in the deep folder structure of your computer? Where does the software refer to something tangible you can find with your loupe, and why? What is the relationship between the abstract representations offered in a component's datasheet and the physical object in your hand? Unpacking any computer will bring out an infinite number of relations up for interrogating, interrupting, and intervening. By virtue of seeing and feeling the relationships you are offered opportunities to change the engagement. An insightful example of a process of making an “untoolkit” is described in "Microcontrollers as material" by David Mellis et al., at MIT Medialab (2013).<ref> David A. Mellis et al., “Microcontrollers as Material: Crafting Circuits with Paper, Conductive Ink, Electronic Components, and an "Untoolkit,” ''Proceedings of the 7th International Conference on Tangible, Embedded and Embodied Interaction'' (February 2013), 83-90, https://doi.org/10.1145/2460625.2460638</ref><br>

	The field of wearable computing and soft circuitry offers a wealth of examples that imagine other ways of relating to computing. In the process of trying to make hardware softer to the touch, practitioners have sought out alternative materials and modes of connecting those materials. Hannah Perner-Wilson's ''Kit-Of-No-Parts: Recipes for Materially Diverse, Functionally Transparent and Expressive Electronics'' opens up further exploration and material investigation of electronics, instead of the straightforward replication implicit in most electronics design.<ref> Hannah Perner-Wilson, A ''Kit-of-No-Parts: Recipes for Materially Diverse, Functionally Transparent and Expressive Electronics'', 2011, http://konp.plusea.at </ref> Irene Posch and Ebru Kurbak's handcrafted and functional ''Embroidered Computer'' explores the history of mechanical relays, which dominated computing before the invention of semiconductors such as transistors, and make a compelling weaving of historic embroidery knowledge and 8-bit computers.<ref>Irene Posch and Ebru Kurbak, ''The Embroidered Computer'', http://www.ireneposch.net/the-embroidered-computer </ref> More broadly oriented and more recent, is the research project ''Feminist Hacking: Building Circuits as Artistic Practice'' by Stefanie Wuschitz, Patrícia Reis, and Taguhi Torosyan.<ref>Stefanie Wuschitz, Patrícia Reis, and Taguhi Torosyan, “Feminist Hacking: Building Circuits as an Artistic Practice,” ''Akademie der bildenden Künste Wien'', https://www.akbild.ac.at/en/research/projects/research_projects/2020/feminist-hacking-building-circuits-as-an-artistic-practice</ref> This project looks into ethical and ecological issues connected to computing hardware, such as mining semi-precious materials in developing countries, and aims to ground media art-making in fair practices of hardware production. Engaging with computing as a fundamentally material practice offers the possibility to rethink the terms of engagement between different materials, histories, and systems.		The field of wearable computing and soft circuitry offers a wealth of examples that imagine other ways of relating to computing. In the process of trying to make hardware softer to the touch, practitioners have sought out alternative materials and modes of connecting those materials. Hannah Perner-Wilson's ''Kit-Of-No-Parts: Recipes for Materially Diverse, Functionally Transparent and Expressive Electronics'' opens up further exploration and material investigation of electronics, instead of the straightforward replication implicit in most electronics design.<ref> Hannah Perner-Wilson, A ''Kit-of-No-Parts: Recipes for Materially Diverse, Functionally Transparent and Expressive Electronics'', 2011, http://konp.plusea.at </ref> Irene Posch and Ebru Kurbak's handcrafted and functional ''Embroidered Computer'' explores the history of mechanical relays, which dominated computing before the invention of semiconductors such as transistors, and make a compelling weaving of historic embroidery knowledge and 8-bit computers.<ref>Irene Posch and Ebru Kurbak, ''The Embroidered Computer'', http://www.ireneposch.net/the-embroidered-computer </ref> More broadly oriented and more recent, is the research project ''Feminist Hacking: Building Circuits as Artistic Practice'' by Stefanie Wuschitz, Patrícia Reis, and Taguhi Torosyan.<ref>Stefanie Wuschitz, Patrícia Reis, and Taguhi Torosyan, “Feminist Hacking: Building Circuits as an Artistic Practice,” ''Akademie der bildenden Künste Wien'', https://www.akbild.ac.at/en/research/projects/research_projects/2020/feminist-hacking-building-circuits-as-an-artistic-practice</ref> This project looks into ethical and ecological issues connected to computing hardware, such as mining semi-precious materials in developing countries, and aims to ground media art-making in fair practices of hardware production. Engaging with computing as a fundamentally material practice offers the possibility to rethink the terms of engagement between different materials, histories, and systems.

Hd-onions at 20:26, 2 November 2022

2022-11-02T20:26:04Z

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	# Search for a piece of code on Google		# Search for a piece of code on Google
	# Run it		# Run it
	# You're a hacker!<ref> 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_ </ref>		# You're a hacker!
	</blockquote>		</blockquote>
			:<small> 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_</small>

	You might be thinking: Haven't we already demystified computers in so many ways? I can open an Instructable<ref> ''Instructables'', https://www.instructables.com </ref> to set up my own server in 12 easy steps,<ref>“Set Up Your Very Own Web Server!,” ''Instructables'', https://www.instructables.com/Set-up-your-very-own-Web-server/ </ref> or find a blog describing how to solar power my Arduino project with a Sparkfun charging board.<ref>“Using Arduino with Parts and Sensors – Solar Powered Arduino (Part 1),”Device Plus, March 1, 2016, https://www.deviceplus.com/arduino/entry025/ </ref> Maybe from there we can open another line of inquiry and experimentation. In your set up, which elements are in fact pre-designed toolkits that you depend on and could unpack further? The Arduino in your hand feels like a singular, cohesive object. Take any of the following tools to highlight its modularity and connectedness to other infrastructures, social rules, and systems. A loupe brings into view the shapes of the teeny tiny components on your chip, and sometimes even a number or factory code. What is it? What does it do? What shapes, sizes, and formats does it come in and what unspoken rules are behind those shapes and sizes? What materials are involved in making it and where do they come from? How do these relate to the software environment you use to make the chip read and do things? How is the software interface connected to text files in the deep folder structure of your computer? Where does the software refer to something tangible you can find with your loupe, and why? What is the relationship between the abstract representations offered in a component's datasheet and the physical object in your hand? Unpacking any computer will bring out an infinite number of relations up for interrogating, interrupting, and intervening. By virtue of seeing and feeling the relationships you are offered opportunities to change the engagement. An insightful example of a process of making an “untoolkit” is described in "Microcontrollers as material" by David Mellis et al., at MIT Medialab (2013).<ref> David A. Mellis et al., “Microcontrollers as Material: Crafting Circuits with Paper, Conductive Ink, Electronic Components, and an "Untoolkit,” ''Proceedings of the 7th International Conference on Tangible, Embedded and Embodied Interaction'' (February 2013), 83-90, https://doi.org/10.1145/2460625.2460638 </ref>		You might be thinking: Haven't we already demystified computers in so many ways? I can open an Instructable<ref> ''Instructables'', https://www.instructables.com </ref> to set up my own server in 12 easy steps,<ref>“Set Up Your Very Own Web Server!,” ''Instructables'', https://www.instructables.com/Set-up-your-very-own-Web-server/ </ref> or find a blog describing how to solar power my Arduino project with a Sparkfun charging board.<ref>“Using Arduino with Parts and Sensors – Solar Powered Arduino (Part 1),”Device Plus, March 1, 2016, https://www.deviceplus.com/arduino/entry025/ </ref> Maybe from there we can open another line of inquiry and experimentation. In your set up, which elements are in fact pre-designed toolkits that you depend on and could unpack further? The Arduino in your hand feels like a singular, cohesive object. Take any of the following tools to highlight its modularity and connectedness to other infrastructures, social rules, and systems. A loupe brings into view the shapes of the teeny tiny components on your chip, and sometimes even a number or factory code. What is it? What does it do? What shapes, sizes, and formats does it come in and what unspoken rules are behind those shapes and sizes? What materials are involved in making it and where do they come from? How do these relate to the software environment you use to make the chip read and do things? How is the software interface connected to text files in the deep folder structure of your computer? Where does the software refer to something tangible you can find with your loupe, and why? What is the relationship between the abstract representations offered in a component's datasheet and the physical object in your hand? Unpacking any computer will bring out an infinite number of relations up for interrogating, interrupting, and intervening. By virtue of seeing and feeling the relationships you are offered opportunities to change the engagement. An insightful example of a process of making an “untoolkit” is described in "Microcontrollers as material" by David Mellis et al., at MIT Medialab (2013).<ref> David A. Mellis et al., “Microcontrollers as Material: Crafting Circuits with Paper, Conductive Ink, Electronic Components, and an "Untoolkit,” ''Proceedings of the 7th International Conference on Tangible, Embedded and Embodied Interaction'' (February 2013), 83-90, https://doi.org/10.1145/2460625.2460638 </ref>

Juju: /* Solarpunk Postscript */

2022-11-02T15:06:45Z

Solarpunk Postscript

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	:''Prompt:''		:''Prompt:''
	...		...

			<small>[[#Am I a hacker now?\|'''Loes Boger''''s bio.]]</small>
	</div>		</div>

Juju: /* Solarpunk Postscript */

2022-11-02T10:56:09Z

Solarpunk Postscript

← Older revision		Revision as of 12:56, 2 November 2022
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	#physical and linguistic realizations of such structures and algorithms in the form of tools, games, art or other.<ref> Matt Tedre and Ron Eglash, “Ethnocomputing,” ''Software Studies: A Lexicon'' (Cambridge: MIT Press, 2008), 93.</ref>		#physical and linguistic realizations of such structures and algorithms in the form of tools, games, art or other.<ref> Matt Tedre and Ron Eglash, “Ethnocomputing,” ''Software Studies: A Lexicon'' (Cambridge: MIT Press, 2008), 93.</ref>

	Through this lens they are able to identify and acknowledge alternative ways of knowing computing, such as Inca Quipu, Ashanti board and pebble [[#Cooperative_gaming\|games]], and the intentional design of fractal geometry in African architecture and hair braiding practices. Sadie Plant's feminist manifesto Zeros + Ones weaves together histories that connect women to the development of computing, and in doing so highlights sensory ways of knowing that stem from textile production.<ref> Sadie Plant, ''Zeroes and Ones: Digital Women and the New Technoculture'' (New York: Doubleday, 1997).</ref> Visiting unchecked narratives can help to open up space for more ways of knowing, and undo some of the unquestioned disciplinary boundaries that have been put in place and solidified over time.		Through this lens they are able to identify and acknowledge [[#Critical Coding Cookbook\|alternative ways of knowing computing]], such as Inca Quipu, Ashanti board and pebble [[#Cooperative_gaming\|games]], and the intentional design of fractal geometry in African architecture and hair braiding practices. Sadie Plant's feminist manifesto Zeros + Ones weaves together histories that connect women to the development of computing, and in doing so highlights sensory ways of knowing that stem from textile production.<ref> Sadie Plant, ''Zeroes and Ones: Digital Women and the New Technoculture'' (New York: Doubleday, 1997).</ref> Visiting unchecked narratives can help to open up space for more ways of knowing, and undo some of the unquestioned disciplinary boundaries that have been put in place and solidified over time.

	:''Prompt: Meet your friend from another discipline. Swap your work computers. Open each other's email clients and pick an unanswered email. Draft a response. What can you gather from each other's methods of knowing and not knowing? ''		:''Prompt: Meet your friend from another discipline. Swap your work computers. Open each other's email clients and pick an unanswered email. Draft a response. What can you gather from each other's methods of knowing and not knowing? ''

Hd-onions: /* Solarpunk Postscript */

2022-11-01T20:51:22Z

Solarpunk Postscript

Show changes

MaisaMaisa at 05:43, 27 October 2022

2022-10-27T05:43:59Z

← Older revision		Revision as of 07:43, 27 October 2022
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	<div class="article ~~entangled-computing~~ layout-2" id="~~Entangled-computing~~">		<div class="article Solarpunk_Postscript layout-2" id="Solarpunk_Postscript">

	[[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_]]		[[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_]]